An Egyptian Princess. Georg EbersЧитать онлайн книгу.
clearer to me now than when I first sent this book before the public. In some points I agree with this judgment, but that the act is kindly received, when a scholar does not scorn to render the results of his investigations accessible to the largest number of the educated class, in the form most generally interesting to them, is proved by the rapid sale of the first large edition of this work. I know at least of no better means than those I have chosen, by which to instruct and suggest thought to an extended circle of readers. Those who read learned books evince in so doing a taste for such studies; but it may easily chance that the following pages, though taken up only for amusement, may excite a desire for more information, and even gain a disciple for the study of ancient history.
Considering our scanty knowledge of the domestic life of the Greeks and Persians before the Persian war—of Egyptian manners we know more—even the most severe scholar could scarcely dispense with the assistance of his imagination, when attempting to describe private life among the civilized nations of the sixth century before Christ. He would however escape all danger of those anachronisms to which the author of such a work as I have undertaken must be hopelessly liable. With attention and industry, errors of an external character may be avoided, but if I had chosen to hold myself free from all consideration of the times in which I and my readers have come into the world, and the modes of thought at present existing among us, and had attempted to depict nothing but the purely ancient characteristics of the men and their times, I should have become unintelligible to many of my readers, uninteresting to all, and have entirely failed in my original object. My characters will therefore look like Persians, Egyptians, &c., but in their language, even more than in their actions, the German narrator will be perceptible, not always superior to the sentimentality of his day, but a native of the world in the nineteenth century after the appearance of that heavenly Master, whose teaching left so deep an impression on human thought and feeling.
The Persians and Greeks, being by descent related to ourselves, present fewer difficulties in this respect than the Egyptians, whose dwelling-place on the fruitful islands won by the Nile from the Desert, completely isolated them from the rest of the world.
To Professor Lepsius, who suggested to me that a tale confined entirely to Egypt and the Egyptians might become wearisome, I owe many thanks; and following his hint, have so arranged the materials supplied by Herodotus as to introduce my reader first into a Greek circle. Here he will feel in a measure at home, and indeed will entirely sympathize with them on one important point, viz.: in their ideas on the Beautiful and on Art. Through this Hellenic portico he reaches Egypt, from thence passes on to Persia and returns finally to the Nile. It has been my desire that the three nations should attract him equally, and I have therefore not centred the entire interest of the plot in one hero, but have endeavored to exhibit each nation in its individual character, by means of a fitting representative. The Egyptian Princess has given her name to the book, only because the weal and woe of all my other characters were decided by her fate, and she must therefore be regarded as the central point of the whole.
In describing Amasis I have followed the excellent description of Herodotus, which has been confirmed by a picture discovered on an ancient monument. Herodotus has been my guide too in the leading features of Cambyses’ character; indeed as he was born only forty or fifty years after the events related, his history forms the basis of my romance.
“Father of history” though he be, I have not followed him blindly, but, especially in the development of my characters, have chosen those paths which the principles of psychology have enabled me to lay down for myself, and have never omitted consulting those hieroglyphic and cuneiform inscriptions which have been already deciphered. In most cases these confirm the statements of Herodotus.
I have caused Bartja’s murder to take place after the conquest of Egypt, because I cannot agree with the usually received translation of the Behistun inscription. This reads as follows: “One named Cambujiya, son of Curu, of our family, was king here formerly and had a brother named Bartiya, of the same father and the same mother as Cambujiya. Thereupon Cambujiya killed that Bartiya.” In a book intended for general readers, it would not be well to enter into a discussion as to niceties of language, but even the uninitiated will see that the word “thereupon” has no sense in this connection. In every other point the inscription agrees with Herodotus’ narrative, and I believe it possible to bring it into agreement with that of Darius on this last as well; but reserve my proofs for another time and place.
It has not been ascertained from whence Herodotus has taken the name Smerdis which he gives to Bartja and Gaumata. The latter occurs again, though in a mutilated form, in Justin.
My reasons for making Phanes an Athenian will be found in Note 90. Vol. I. This coercion of an authenticated fact might have been avoided in the first edition, but could not now be altered without important changes in the entire text. The means I have adopted in my endeavor to make Nitetis as young as possible need a more serious apology; as, notwithstanding Herodotus’ account of the mildness of Amasis’ rule, it is improbable that King Hophra should have been alive twenty years after his fall. Even this however is not impossible, for it can be proved that his descendants were not persecuted by Amasis.
On a Stela in the Leyden Museum I have discovered that a certain Psamtik, a member of the fallen dynasty, lived till the 17th year of Amasis’ reign, and died at the age of seventy-five.
Lastly let me be permitted to say a word or two in reference to Rhodopis. That she must have been a remarkable woman is evident from the passage in Herodotus quoted in Notes 10, and 14, Vol. I., and from the accounts given by many other writers. Her name, “the rosy-cheeked one,” tells us that she was beautiful, and her amiability and charm of manner are expressly praised by Herodotus. How richly she was endowed with gifts and graces may be gathered too from the manner in which tradition and fairy lore have endeavored to render her name immortal. By many she is said to have built the most beautiful of the Pyramids, the Pyramid of Mycerinus or Menkera. One tale related of her and reported by Strabo and AElian probably gave rise to our oldest and most beautiful fairy tale, Cinderella; another is near akin to the Loreley legend. An eagle, according to AElian—the wind, in Strabo’s tale,—bore away Rhodopis’ slippers while she was bathing in the Nile, and laid them at the feet of the king, when seated on his throne of justice in the open market. The little slippers so enchanted him that he did not rest until he had discovered their owner and made her his queen.
The second legend tells us how a wonderfully beautiful naked woman could be seen sitting on the summit of one of the pyramids (ut in una ex pyramidibus); and how she drove the wanderers in the desert mad through her exceeding loveliness.
Moore borrowed this legend and introduces it in the following verse:
“Fair Rhodope, as story tells—
The bright unearthly nymph, who dwells
‘Mid sunless gold and jewels hid,
The lady of the Pyramid.”
Fabulous as these stories sound, they still prove that Rhodopis must have been no ordinary woman. Some scholars would place her on a level with the beautiful and heroic Queen Nitokris, spoken of by Julius Africanus, Eusebius and others, and whose name, (signifying the victorious Neith) has been found on the monuments, applied to a queen of the sixth dynasty. This is a bold conjecture; it adds however to the importance of our heroine; and without doubt many traditions referring to the one have been transferred to the other, and vice versa. Herodotus lived so short a time after Rhodopis, and tells so many exact particulars of her private life that it is impossible she should have been a mere creation of fiction. The letter of Darius, given at the end of Vol. II., is intended to identify the Greek Rhodopis with the mythical builder of the Pyramid. I would also mention here that she is called Doricha by Sappho. This may have been her name before she received the title of the “rosy-cheeked one.”
I must apologize for the torrent of verse that appears in the love-scenes between Sappho and Bartja; it is also incumbent upon me to say a few words about the love-scenes themselves, which I have altered very slightly in the new edition, though they have been more severely criticised than any other portion of the work.
First I will confess that the lines describing the happy love of a handsome young couple to whom I had myself become warmly attached,