Part 5 (1/2)
”The hour that Setna saw her, he knew not the place on earth where he was”; and he called to his servants and told them to ”go quickly to the place where she is, and learn what comes under her command.” The beautiful lady proved finally to be named Tabubna, the daughter of a priest of Bast, the Cat. Setna's acquaintance with her was later of a most disgraceful character; and, from motives which are not clear, she made him murder his own children to please her. At the critical moment, however, when the climax is reached, the old, old joke is played upon the listener, who is told that Setna then woke up, and discovered that the whole affair had been an afternoon dream in the shade of the temple court.
The Egyptians often amused themselves by drawing comic pictures and caricatures, and there is an interesting series still preserved in which animals take the place of human beings, and are shown performing all manner of antics. One sees a cat walking on its hind legs driving a flock of geese, while a wolf carrying a staff and knapsack leads a herd of goats. There is a battle of the mice and cats, and the king of the mice, in his chariot drawn by two dogs, is seen attacking the fortress of the cats. A picture which is worthy of Edward Lear shows a ridiculous hippopotamus seated amidst the foliage of a tree, eating from a table, whilst a crow mounts a ladder to wait upon him. There are caricatures showing women of fas.h.i.+on rouging their faces, unshaven and really amusing old tramps, and so forth. Even upon the walls of the tombs there are often comic pictures, in which one may see little girls fighting and tearing at each others' hair, men tumbling one over another as they play, and the like; and one must suppose that these were the scenes which the owner of the tomb wished to perpetuate throughout the eternity of Death.
The Egyptians took keen delight in music. In the sound of the trumpet and on the well-tuned cymbals they praised G.o.d in Egypt as merrily as the Psalmist could wish. The strings and the pipe, the lute and the harp, made music at every festival--religious, national, or private.
Plato tells us that ”nothing but beautiful forms and fine music was permitted to enter into the a.s.semblies of young people” in Egypt; and he states that music was considered as being of the greatest consequence for its beneficial effects upon youthful minds. Strabo records the fact that music was largely taught in Egypt, and the numbers of musical instruments buried in the tombs or represented in the decorations confirm his statement. The music was scientifically taught, and a knowledge of harmony is apparent in the complicated forms of the instruments. The harps sometimes had as many as twenty-two strings: the long-handled guitars, fitted with three strings, were capable of wide gradations; and the flutes were sufficiently complicated to be described by early writers as ”many-toned.” The Egyptian did not merely bang a drum with his fist because it made a noise, nor blow blasts upon a trumpet as a means of expressing the inexpressible. He was an educated musician, and he employed the medium of music to encourage his lightness of heart and to render his gaiety more gay.
[Ill.u.s.tration: PL. X. A relief of the Saitic Period, representing an old man playing upon a harp, and a woman beating a drum. Offerings of food and flowers are placed before them.
--ALEXANDRIA MUSEUM.]
[_Photo by E. Brugsch Pasha._
One sees representations of the women in a rich man's harem amusing themselves by dancing and singing. In the tomb of Ay there is a scene showing the interior of the women's quarters, and here the ladies are shown dancing, playing guitars, feasting, or adorning themselves with their jewellery; while the store-rooms are seen to be filled with all manner of musical instruments, as well as mirrors, boxes of clothes, and articles of feminine use. At feasts and banquets a string band played during the meal, and songs were sung to the accompaniment of the harp.
At religious festivals choruses of male and female voices were introduced. Soldiers marched through the streets to the sound of trumpets and drums, and marriage processions and the like were led by a band. At the feasts it was customary for the dancing-girls, who were employed for the amus.e.m.e.nt of the guests, to perform their dances and to play a guitar or a flute at the same time. One sees representations of girls, their heads thrown back and their long hair flying, merrily tw.a.n.ging a guitar as they skip round the room. In the civil and religious processions many of the partic.i.p.ators danced along as though from sheer lightness of heart; and on some occasions even the band footed it down the high-road, circling, jumping, and skipping as they played.
The words for ”rejoice” and ”dance” were synonymous in the literature of the Egyptians. In early days dancing naturally implied rejoicing, and rejoicing was most easily expressed by dancing. But the Egyptians of the refined periods more often danced to amuse themselves, regarding it, just as we do at the present day, as an exhilaration. Persons of the upper cla.s.ses, however, did not indulge very freely in it, but preferred to watch the performances of professional dancers. At all banquets dancing was as indispensable as wine, women, and song, and it rather depended on the nature of the wine and women as to whether the guests joined personally in the sport or sat still while the dancers swayed around the room. The professionals were generally women, but sometimes men were employed, and one sees representations of a man performing some difficult solo while a chorus of women sings and marks time by clapping the hands. Men and women danced together on occasions, but as a general rule the Egyptian preferred to watch the movements of the more graceful s.e.x by themselves. The women sometimes danced naked, to show off the grace of their poses and the suppleness of their muscles; sometimes they were decked with ribbons only; and sometimes they wore transparent dresses made of linen of the finest texture. It was not unusual for them to carry tambourines and castanets with which to beat time to their dances. On the other hand, there were delicate and sober performances, unaccompanied by music. The paintings show some of the poses to have been exceedingly graceful, and there were character dances enacted in which the figures must have been highly dramatic and artistic. For example, the tableau which occurs in one dance, and is called ”The Wind,” shows two of the dancing-girls bent back like reeds when the wind blows upon them, while a third figure stands over them in protection, as though symbolising the immovable rocks.
But more usually the merry mood of the Egyptians a.s.serted itself, as it so often does at the present day, in a demand for something approaching nearer to buffoonery. The dancers whirled one another about in the wildest manner, often tumbling head over heels on the floor. A trick, attended generally with success, consisted in the attempt by the dancers to balance the body upon the head without the support of the arms. This buffoonery was highly appreciated by the audience which witnessed it; and the banqueting-room must have been full of the noise of riotous mirth. One cannot, indeed, regard a feast as pompous or solemn at which the banging of the tambourines and the click of castanets vied with the clatter of the dishes and the laughter of the guests in creating a general hullabaloo. Let those state who will that the Egyptian was a gloomy individual, but first let them not fail to observe that same Egyptian standing upon his head amidst the roars of laughter of his friends.
Dancing as a religious ceremony is to be found in many primitive countries, and in Egypt it exists at the present day in more than one form. In the days of the Pharaohs it was customary to inst.i.tute dances in honour of some of the G.o.ds, more especially those deities whose concerns were earthy--that is to say, those connected with love, joy, birth, death, fertility, reproduction, and so on. It will be remembered how David danced before the Ark of the Lord, and how his ancestors danced in honour of the golden calf. In Egypt the king was wont to dance before the great G.o.d Min of the crops, and at harvest-time the peasants performed their thanksgiving before the figures of Min in this manner.
Hathor and Bast, the two great G.o.ddesses of pleasure, were wors.h.i.+pped in the dance. Hathor was mistress of sports and dancing, and patron of amus.e.m.e.nts and mirth, joy and pleasure, beauty and love; and in regard to the happy temperament of the Egyptians, it is significant that this G.o.ddess was held in the highest esteem throughout the history of the nation.
Bast was honoured by a festival which for merriment and frivolity could not well be equalled. The festival took place at Bubastis, and is described by Herodotus in the following words:--
”This is the nature of the ceremony on the way to Bubastis. They go by water, and numerous boats are crowded with persons of both s.e.xes. During the voyage several women strike the cymbals, some men play the flute, the rest singing and clapping their hands. As they pa.s.s near a town they bring the boat close to the bank.
Some of the women continue to sing and play the cymbals; others cry out as long as they can, and utter mocking jests against the people of the town, who begin to dance, while the former pull up their clothes before them in a scoffing manner. The same is repeated at every town they pa.s.s upon the river. Arrived at Bubastis, they celebrate the festival of Bast, sacrificing a great number of victims, and on that occasion a greater consumption of wine takes place than during the whole of the year.”
At this festival of Bast half the persons taking part in the celebrations must have become intoxicated. The Egyptians were always given to wine-drinking, and Athenaeus goes so far as to say that they were a nation addicted to systematic intemperance. The same writer, on the authority of h.e.l.lanicus, states that the vine was cultivated in the Nile valley at a date earlier than that at which it was first grown by any other people; and it is to this circ.u.mstance that Dion attributes the Egyptian's love of wine. Strabo and other writers speak of the wines of Egypt as being particularly good, and various kinds emanating from different localities are mentioned. The wines made from grapes were of the red and white varieties; but there were also fruit wines, made from pomegranates and other fruits. In the lists of offerings inscribed on the walls of temples and tombs one sees a large number of varieties recorded--wines from the north, wines from the south, wines provincial, and wines foreign. Beer, made of barley, was also drunk very largely, and this beverage is heartily commended by the early writers. Indeed, the wine and beer-bibber was so common an offender against the dignity of the nation, that every moralist who arose had a word to say against him. Thus, for example, in the Maxims of Ani one finds the moralist writing--
”Do not put thyself in a beer-house. An evil thing are words reported as coming from thy mouth when thou dost not know that they have been said by thee. When thou fallest thy limbs are broken, and n.o.body giveth thee a hand. Thy comrades in drink stand up, saying, 'Away with this drunken man.'”
The less thoughtful members of society, however, considered drunkenness as a very good joke, and even went so far as to portray it in their tomb decorations. One sees men carried home from a feast across the shoulders of three of their companions, or ignominiously hauled out of the house by their ankles and the scruff of their neck. In the tomb of Paheri at El Kab women are represented at a feast, and sc.r.a.ps of their conversation are recorded, such, for instance, as ”Give me eighteen cups of wine, for I should love to drink to drunkenness: my inside is as dry as straw.” There are actually representations of women overcome with nausea through immoderate drinking, and being attended by servants who have hastened with basins to their a.s.sistance. In another tomb-painting a drunken man is seen to have fallen against one of the delicate pillars of the pavilion with such force that it has toppled over, to the dismay of the guests around.
In the light of such scenes as these one may picture the life of an Egyptian in the elder days as being not a little depraved. One sees the men in their gaudy raiment, and the women luxuriously clothed, staining their garments with the wine spilt from the drinking-bowls as their hands shake with their drunken laughter; and the vision of Egyptian solemnity is still further banished at the sight. It is only too obvious that a land of laughter and jest, feasting and carouse, must be situated too near a Pompeian volcano to be capable of endurance, and the inhabitants too purposeless in their movements to avoid at some time or other running into the paths of burning lava. The people of Egypt went merrily through the radiant valley in which they lived, employing all that the G.o.ds had given them,--not only the green palms, the thousand birds, the blue sky, the hearty wind, the river and its reflections, but also the luxuries of their civilisation,--to make for themselves a frail feast of happiness. And when the last flowers, the latest empty drinking-cup, fell to the ground, nothing remained to them but that sodden, drunken night of disgrace which shocks one so at the end of the dynastic history, and which inevitably led to the fall of the nation.
Christian asceticism came as the natural reaction and Muhammedan strictness followed in due course; and it required the force of both these movements to put strength and health into the people once more.
[Ill.u.s.tration: PL. XI. An Egyptian n.o.ble of the Eighteenth Dynasty hunting birds with a boomerang and decoys.
He stands in a reed-boat which floats amidst the papyrus clumps, and a cat retrieves the fallen birds. In the boat with him are his wife and son.
--FROM A THEBAN TOMB-PAINTING, BRITISH MUSEUM.]
One need not dwell, however, on this aspect of the Egyptian temperament.
It is more pleasing, and as pertinent to the argument, to follow the old lords of the Nile into the suns.h.i.+ne once more, and to glance for a moment at their sports. Hunting was a pleasure to them, in which they indulged at every opportunity. One sees representations of this with great frequency upon the walls of the tombs. A man will be shown standing in a reed boat which has been pushed in amongst the waving papyrus. A boomerang is in his hand, and his wife by his side helps him to locate the wild duck, so that he may penetrate within throwing-distance of the birds before they rise. Presently up they go with a whir, and the boomerang claims its victims; while all manner of smaller birds dart from amidst the reeds, and gaudy b.u.t.terflies pa.s.s startled overhead. Again one sees the hunter galloping in his chariot over the hard sand of the desert, shooting his arrows at the gazelle as he goes. Or yet again with his dogs he is shown in pursuit of the long-eared Egyptian hare, or of some other creature of the desert. When not thus engaged he may be seen excitedly watching a bullfight, or eagerly judging the merits of rival wrestlers, boxers, and fencers. One may follow him later into the seclusion of his garden, where, surrounded by a wealth of trees and flowers, he plays draughts with his friends, romps with his children, or fishes in his artificial ponds. There is much evidence of this nature to show that the Egyptian was as much given to these healthy amus.e.m.e.nts as he was to the mirth of the feast.
Josephus states that the Egyptians were a people addicted to pleasure, and the evidence brought together in the foregoing pages shows that his statement is to be confirmed. In sincere joy of living they surpa.s.sed any other nation of the ancient world. Life was a thing of such delight to the Egyptian, that he shrank equally from losing it himself and from taking it from another. His prayer was that he might live to be a centenarian. In spite of the many wars of the Egyptians, there was less unnecessary bloodshed in the Nile valley than in any other country which called itself civilised. Death was as terrible to them as it was inevitable, and the constant advice of the thinker was that the living should make the most of their life. When a king died, it was said that ”he went forth to heaven having spent life in happiness,” or that ”he rested after life, having completed his years in happiness.” It is true that the Egyptians wished to picture the after-life as one of continuous joy. One sees representations of a man's soul seated in the shade of the fruit-trees of the Underworld, while birds sing in the branches above him, and a lake of cool water lies before him; but they seemed to know that this was too pleasant a picture to be the real one. A woman, the wife of a high priest, left upon her tombstone the following inscription, addressed to her husband:--
”O, brother, husband, friend,” she says, ”thy desire to drink and to eat hath not ceased. Therefore be drunken, enjoy the love of women--make holiday. Follow thy desire by night and by day. Put not care within thy heart. Lo!