But I must be allowed to make one observation. From studying the conventional mode of execution of ancient Egyptian art—which was strictly subject to the hieratic laws of type and proportion—we have accustomed ourselves to imagine the inhabitants of the Nile-valley in the time of the Pharaohs as tall and haggard men with little distinction of individual physiognomy, and recently a great painter has sought to represent them under this aspect in a modern picture. This is an error; the Egyptians, in spite of their aversion to foreigners and their strong attachment to their native soil, were one of the most intellectual and active people of antiquity; and he who would represent them as they lived, and to that end copies the forms which remain painted on the walls of the temples and sepulchres, is the accomplice of those priestly corrupters of art who compelled the painters and sculptors of the Pharaonic era to abandon truth to nature in favor of their sacred laws of proportion.
He who desires to paint the ancient Egyptians with truth and fidelity, must regard it in some sort as an act of enfranchisement; that is to say, he must release the conventional forms from those fetters which were peculiar to their art and altogether foreign to their real life. Indeed, works of sculpture remain to us of the time of the first pyramid, which represent men with the truth of nature, unfettered by the sacred canon. We can recall the so-called “Village Judge” of Bulaq, the “Scribe” now in Paris, and a few figures in bronze in different museums, as well as the noble and characteristic busts of all epochs, which amply prove how great the variety of individual physiognomy, and, with that, of individual character was among the Egyptians. Alma Tadelna in London and Gustav Richter in Berlin have, as painters, treated Egyptian subjects in a manner which the poet recognizes and accepts with delight.
Many earlier witnesses than the late writer Flavius Vopiscus might be referred to who show us the Egyptians as an industrious and peaceful people, passionately devoted it is true to all that pertains to the other world, but also enjoying the gifts of life to the fullest extent, nay sometimes to excess.
Real men, such as we see around us in actual life, not silhouettes constructed to the old priestly scale such as the monuments show us—real living men dwelt by the old Nile-stream; and the poet who would represent them must courageously seize on types out of the daily life of modern men that surround him, without fear of deviating too far from reality, and, placing them in their own long past time, color them only and clothe them to correspond with it.
I have discussed the authorities for the conception of love which I have ascribed to the ancients in the preface to the second edition of “An Egyptian Princess.”
With these lines I send Uarda into the world; and in them I add my thanks to those dear friends in whose beautiful home, embowered in green, bird-haunted woods, I have so often refreshed my spirit and recovered my strength, where I now write the last words of this book.
Rheinbollerhutte, September 22, 1876.
GEORG EBERS.
PREFACE TO THE FIFTH GERMAN EDITION.
The earlier editions of “Uarda” were published in such rapid succession, that no extensive changes in the stereotyped text could be made; but from the first issue, I have not ceased to correct it, and can now present to the public this new fifth edition as a “revised” one.
Having felt a constantly increasing affection for “Uarda” during the time I was writing, the friendly and comprehensive attention bestowed upon it by our greatest critics and the favorable reception it met with in the various classes of society, afforded me the utmost pleasure.
I owe the most sincere gratitude to the honored gentlemen, who called my attention to certain errors, and among them will name particularly Professor Paul Ascherson of Berlin, and Dr. C. Rohrbach of Gotha. Both will find their remarks regarding mistakes in the geographical location of plants, heeded in this new edition.
The notes, after mature deliberation, have been placed at the foot of the pages instead of at the end of the book.
So many criticisms concerning the title “Uarda” have recently reached my ears, that, rather by way of explanation than apology, I will here repeat what I said in the preface to the third edition.
This title has its own history, and the more difficult it would be for me to defend it, the more ready I am to allow an advocate to speak for me, an advocate who bears a name no less distinguished than that of G. E. Lessing, who says:
“Nanine? (by Voltaire, 1749). What sort of title is that? What thoughts does it awake? Neither more nor less than a title should arouse. A title must not be a bill of fare. The less it betrays of the contents, the better it is. Author and spectator are both satisfied, and the ancients rarely gave their comedies anything but insignificant names.”
This may be the case with “Uarda,” whose character is less prominent than some others, it is true, but whose sorrows direct the destinies of my other heroes and heroines.
Why should I conceal the fact? The character of “Uarda” and the present story have grown out of the memory of a Fellah girl, half child, half maiden, whom I saw suffer and die in a hut at Abu el Qurnah in the Necropolis of Thebes.
I still persist in the conviction I have so frequently expressed, the conviction that the fundamental traits of the life of the soul have undergone very trivial modifications among civilized nations in all times and ages, but will endeavor to explain the contrary opinion, held by my opponents, by calling attention to the circumstance, that the expression of these emotions show considerable variations among different peoples, and at different epochs. I believe that Juvenal, one of the ancient writers who best understood human nature, was right in saying:
“Nil erit ulterius, quod nostris moribus addat
Posteritas: eadem cupient facientque minores.”
Leipsic, October 15th, 1877.
CHAPTER 1.
By the walls of Thebes—the old city of a hundred gates—the Nile spreads to a broad river; the heights, which follow the stream on both sides, here take a more decided outline; solitary, almost cone-shaped peaks stand out sharply from the level background of the many-colored. limestone hills, on which no palm-tree flourishes and in which no humble desert-plant can strike root. Rocky crevasses and gorges cut more or less deeply into the mountain range, and up to its ridge extends the desert, destructive of all life, with sand and stones, with rocky cliffs and reef-like, desert hills.
Behind the eastern range the desert spreads to the Red Sea; behind the western it stretches without limit, into infinity. In the belief of the Egyptians beyond it lay the region of the dead.
Between these two ranges of hills, which serve as walls or ramparts to keep back the desert-sand, flows the fresh and bounteous Nile, bestowing blessing and abundance; at once the father and the cradle of millions of beings. On each shore spreads the wide plain of black and fruitful soil, and in the depths many-shaped creatures, in coats of mail or scales, swarm and find subsistence.
The lotos floats on the mirror of the waters, and among the papyrus reeds by the shore water-fowl innumerable build their nests. Between the river and the mountain-range lie fields, which after the seed-time are of a shining blue-green, and towards the time of harvest glow like gold. Near the brooks and water-wheels here and there stands a shady sycamore; and date-palms, carefully tended, group themselves in groves. The fruitful plain, watered and manured every year by the inundation, lies at the foot of the sandy desert-hills behind it, and stands out like a garden flower-bed from the gravel-path.
In the fourteenth century before Christ—for to so remote a date we must direct the thoughts of the reader—impassable limits had been set by the hand of