diff options
67 files changed, 17 insertions, 3271 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..02352a6 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68568 (https://www.gutenberg.org/ebooks/68568) diff --git a/old/68568-0.txt b/old/68568-0.txt deleted file mode 100644 index c66a53c..0000000 --- a/old/68568-0.txt +++ /dev/null @@ -1,1423 +0,0 @@ -The Project Gutenberg eBook of Sketches in Egypt, by Charles Dana -Gibson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Sketches in Egypt - -Author: Charles Dana Gibson - -Release Date: July 19, 2022 [eBook #68568] - -Language: English - -Produced by: Chuck Greif (This file was produced from images available - at Google Books) - -*** START OF THE PROJECT GUTENBERG EBOOK SKETCHES IN EGYPT *** - - - - - - Sketches in Egypt - - Written and illustrated by - - Charles Dana Gibson - - [Illustration: colophon] - - New York - - Doubleday & McClure Co. - - 1899 - - Copyright, 1899, by - S. S. McCLURE Co. - - Copyright, 1899, by - DOUBLEDAY & MCCLURE Co. - -[Illustration] - - - - -ILLUSTRATIONS - - - PAGE - -British Influence Frontispiece - -Indifference xi - -A Son of the Desert 3 - -A Peddler 5 - -The Slipper Bazaar, Cairo, January 22, 1898 7 - -Egyptian High Life 9 - -The Present Situation 12 - -A Dealer in Antiquities 13 - -The Bridge 14 - -A Village on the Road to the Pyramids 14 - -In the Fish-Market 15 - -Rameses the Great 17 - -At Lady Grenfell’s Masquerade Ball--on the eve of Kitchener’s - departure for the Soudan 20 - -A Descendant of the Prophet--El Saied Ahmad Abdel Khalek -Affandi, Sheik el Sadat 22 - -A Bargain in the Ghezireh Gardens 23 - -A Dancing-Girl 25 - -A Daughter of the Nile 27 - -On the Road to Cairo 31 - -Our Christmas Dinner, Esneh, December 23 35 - -Karnak, January 2, 1898 37 - -Salem Ghesiri, Dragoman 39 - -A Karnak Beggar 40 - -Ali, the Pilot 42 - -Statue of Thothmes, Karnak 43 - -Lunching in Karnak 45 - -An Assiût Donkey 47 - -Temple of Ti 50 - -Tombs of the Kings, Thebes 51 - -A Guardian of the Temple 53 - -“Most of the day was spent with Baedeker” 55 - -Christmas, 1897 59 - -Guardians of the Temple 61 - -Christmas Night-“Auld Lang Syne” 63 - -Thebes, January 2, 1898 67 - -Some Visitors 71 - -Vignette 74 - -His Highness Prince Mahomet Ali, Cairo, February 14, 1898 76 - -On the Bank 77 - -Shopping 79 - -Shepheard’s Hotel, Cairo 81 - -A Luxor Dancing-Girl 83 - -Camel-Back 85 - -The Sheik of the Pyramids 88 - -On Grenfell Hill The Keeper of the Tomb, Assuan, - December 29, 1897 89 - -At the Races, Khedival Sporting Club 94 - -An Assuan Beggar 95 - -An Artist in the Mouskie 97 - -Our Bisharin Friends, Assuan 100 - -Beni-Hassan 101 - -At Philæ 104 - -“As good an imitation of Monte Carlo as the law allows” 105 - -“The man who has ‘been there before’” 110 - -In a Coffee-House, Cairo 111 - -At Komombos 115 - - - - -SKETCHES IN EGYPT - -C. D. GIBSON - - - - -CHAPTER FIRST - -[Illustration: A Son of the Desert.] - -EGYPT has sat for her likeness longer than any other country. Nothing -disturbs her composure. Financial ruin may stare her in the face, armies -may come and go, but each year the Nile rises and spreads out over her, -and all traces of disturbances are gone. - -Newspapers may be busy telling of her troubles, but very few of those -troubles seem to affect her expression. The stockholders in London -worry, and send out more Englishmen to look after their interests. -Sugar-factories are inspected, and the barrage is doctored. But it is -all very quietly done. - -The French cabinet may resign on account of her, and the English army -may be increased for her sake, but few signs of these compliments does -she show. All is tranquil. The only disturbance seems to be made by the -dragomans who meet you at the station. - -Important events follow each other so closely in Egypt that a year-old -guide-book is several chapters too short. Last year it was Kitchener’s -campaign against the dervishes, and now the French are threatening to -interfere with England’s march to the Cape. The dragoman is sometimes as -satisfactory as the guide-book, and it is often pleasant to find how -soon he is through with his recitation and you are allowed to go alone -among the great temples. Earthquakes have shaken some in orderly ruin, -as if the unseen hands of the men who built them were quietly and slowly -building them up again. - -[Illustration: A Peddler.] - -But there is a temptation to grow sentimental over Egypt. It is far more -cheerful than it sounds. It is happy and a place for a holiday--a -country to make sketches in. These were made between December, 1897, and -March, 1898, and I have been asked to help them tell their story of that -part of Egypt the tourist is most likely to see, where the old and the -new world meet most often. - -The ancient Egyptian artist must have been very happy. Temples were -built with great smooth walls for him to cover with pictures that -required very little writing to go with them, seldom more than Pharaoh’s -cartouches, and even these he made more like a picture than a name. That -must have been very pleasant, and it should have compensated him for -all the restrictions imposed upon him by the high priest of those days, -who often limited his choice of subject to a king. The choice of subject -is now unlimited. There never were so many different kinds of people in -Egypt before. But it would be difficult to draw the king now, for there -is much difference of opinion as to who he is. - -I left New York with a small library of Egyptian guide-books, and in -nearly every one of them was a good description of a traveler’s feelings -upon arriving at Alexandria or Port Saïd. I have been in both places, -and about the same sensations will fit either port; and traveling is too -personal a matter to describe at length, unless it is done with skill. -To give advice is much more simple; and mine is that if you are on a -steamer that is going through the Canal, don’t stay on her until she -gets to Ismailia, but disembark at Port Saïd and get to Cairo that night -all the way by - -[Illustration: The Slipper Bazaar, Cairo, January 22, 1898.] - -[Illustration: Egyptian High Life.] - -rail. You will see as much of the Canal as you want to, and you will not -run the chance of being delayed a day, as the _Königin Luise_ was last -year by a little tramp steamer that had run foul of a coal-barge. - -More advice is to look out of the right-hand window of the car for a -first glimpse of the pyramids, the first sure proof that you are in -Napoleon’s Egypt. After they are once found, it is easy for your eye to -follow them through palm-trees and over mud villages until darkness -interferes. Then you come to the station in Cairo, a hotbed of porters -and dragomans, and through the confusion you finally reach Shepheard’s, -on the street like a great show-window--all but the plate glass--full of -odds and ends from all the world. New arrivals are handed in by the -dragomans and porters. It is as if you climbed over the footlights to -assist in the performance. You finally stand before the good-looking Mr. -Bailer, at the back of the stage. If he thinks you will stand a room -overlooking the stable-yard, you will get it. The next morning I moved -to the sunny side, overlooking the garden, where a tame pelican walked -among tall palm-trees. - -The dragoman who first lays hands on you claims you for his own. You -will find him waiting for you in the morning. He will sell you antiques, -will take you snipe-shooting. He knows when the dervishes will howl or -whirl, or where there is a native wedding, to which he will take you. It -may be the fame of Shepheard’s, or the magic name of Egypt, but it all -has a wonderful charm. - -[Illustration: The Present Situation.] - -[Illustration: A Dealer in Antiquities.] - -The remains of Rameses and Seti are lying on their backs out in the -Gizeh Museum, and there is a strong desire to hurry to them, in spite of -the fact that they will keep. But the panorama in front of Shepheard’s -is absorbing, and your first morning will most likely be spent in -watching it. - -My first afternoon was spent with an evil-eyed dragoman whose pockets -were filled with dirty cards and letters, all testimonials from former -customers proving that he was, as he continually told me, the best -dragoman in the business. He could recite some of - -[Illustration: The Bridge.] - -“Mother Goose,” but knew very little English besides. With him I drove -through streets that might have been in Paris, and by barracks and -sentries that might have been in London, to a river that could only be - -[Illustration: A Village on the Road to the Pyramids.] - -[Illustration: In the Fish-Market.] - -in Egypt. My carriage went between the two bronze lions and joined in -the procession of camels across the bridge over the famous river to the -Gizeh side, where tall trees meet overhead; then to a smaller bridge, -more trees, quaint shipping, and a stucco palace, once a harem where -some of Ismail’s wives lived, and now a museum, the temporary -resting-place of those uneasy mummied heads that once wore Egypt’s -crown; small mouse-colored - -[Illustration: Rameses the Great.] - -donkeys on all sides, and, streaking in among them, tall camels; then -seven more miles of trees and a good causeway to the pyramids. Since -then I have gone over the road many times, and I am of the opinion that -the Nile’s valley would make an ideal “happy hunting-ground,” to which -all good tourists might go when cruel waves have ceased to toss them and -their hotel lives are over. - -All too soon you must go hack to Cairo, where the Bedouin ceases to be -the proud son of the desert and becomes a peddler, where sheep become -mutton and clover is only fodder. But Cairo is about what the tourist -expects of it and what the hotel proprietor thinks you want. He fills -the halls of his hotel with gaily painted columns, and on each side of -the staircase are gaudy figures; and for those tourists who take their -Egypt between the slipper bazaar and the fish-market it may do. - -[Illustration: At Lady Grenfell’s Masquerade Ball--on the eve of -Kitchener’s departure for the Soudan.] - -The Gizeh side of the river is more restful, with its ferry to Bulak, -its gardens, and its khedival sporting club, which is Egypt as England -would have it--polo twice a week, croquet and rackets, a grand stand, -and a steeplechase course; and the same men who play polo spend their -mornings on the desert, teaching their troops to form hollow squares -against the day they will have to meet the dervishes. - -You should choose your own Cairo. If you leave it to a dragoman you will -get mostly howling dervishes and mosques; and if you leave it to a -donkey-boy, there is no telling where he will take you--most likely to -the fish-market. But with a guide-book and a bicycle you will miss very -little that lies between the citadel and the pyramids. Cairo is not all -hotel life, and bazaars lining narrow streets like open fireplaces, -filled with putty-faced Turks as watchful as the brown buzzards that fly -overhead; there are streets - -[Illustration: A Descendant of the Prophet--El Saied Ahmad Abdel Khalek -Affandi, Sheik el Sadat.] - -that are difficult to find, leading to forgotten courtyards with great -trees standing in the middle of them, latticed windows bulging out over -uneven pavements below, where black and gray crows waddle about. In such -a - -[Illustration: A Bargain in the Ghezireh Gardens.] - -[Illustration: A Dancing-Girl.] - -place sits the neglected Sheik el Sadat, a lineal descendant of the -prophet. Through a doorway, in one corner of a tiled room, stands the -gold-mounted saddle on which his ancestors once proudly rode. That was -long before the days of the Suez Canal, boulevards, stucco palaces, and -the opera-house. At court the sheik is no longer the fashion, but there -is still a little band of Mohammedans who believe in him. To them the -sheik and his old house are sacred. Through the thirty days of Ramadan -they sat and howled in his courtyard, and respectfully kissed his hand; -and, like the sheik, there must be many other distinguished Oriental -relics of the days gone by, left behind by the former tenants, and of no -use to the present occupants. - -In Egypt the English hold the reins, and one of these days the Egyptian -donkey may turn to the left when you meet him, as his distant relative -in Whitechapel does. At present he keeps to the right, and staggers -along under a load that is much too big for him. To-day he is not the -fashion in Cairo. He is only ridden by tourists after dark, through -streets that are too narrow and crooked for a carriage. But up the river -it is very different. There you learn to like him. From his back you -first see Karnak, and the statues of Memnon, and he is forever -associated in your memory with the tombs of the kings. Tourists quarrel -over him, and in most cases his name is “Rameses, the Great.” His chief -complaint must be that an Englishman weighs more than an Egyptian; but -he should consider - -[Illustration: A Daughter of the Nile.] - -how much better off the Egyptian is since the English have held the -reins. He will only know of this from his own observation, and from what -he hears the English say. He will never get it from a Frenchman; and the -Egyptian, who could tell him, is sulky, and stupidly wishes that he had -been rescued by some one else. The half-breed Jew and Turk in the -“Mooskee” is too busy; and all the rest of Egypt don’t know why they are -better off, or who to thank for law and order or the improved irrigation -that gives them a fair chance with the rest of civilized mankind. But -whether the donkey knows it or not, he is much hotter off, for an -Englishman never rides him when he is old and weak, and that is more -than he can expect from his Egyptian friends, who often get on him two -at a time. - -At Shepheard’s people put aside their guide-books for a while. It is a -play that requires no libretto. On the crowded piazza overlooking the -street, London shopkeepers and foreign noblemen elbow each other, and -all celebrities look very much alike. - -Cairo is the foyer of Egypt. To go to Egypt and not go up the Nile is -very much like standing outside of a theater and watching the audience -go in, and then waiting until they come out, to glean from their -conversation some idea of the play. But the tourists who go up the river -see the drama of Egypt with all its wonderful scenery, and they feel far -superior to those who waited for them at Shepheard’s. After one month -on the river, it is with a very different feeling they come back to the -museum at Gizeh and look on the face of Seti and his distinguished son, -whom they have tracked from Sakkara to Philæ and back to their tombs in -the sun-baked valley at Thebes, where they had hoped to rest in peace, -surrounded by all that a first-class mummy requires during its long -wait. - -[Illustration: On the Road to Cairo.] - - - - -CHAPTER SECOND - -[Illustration: On the Bank at Komombos.] - - - - -CHAPTER SECOND - -[Illustration: Our Christmas Dinner, Esneh, December 23.] - - -SOME Egypt-bound tourists decide to go up the Nile before they buy their -tickets at the company’s office in Bowling Green. Others, if they are -good sailors, make up their minds before they reach Naples. Some are ill -all the way to Port Saïd, and don’t cave. But most travelers are pretty -sure to decide one way or the other soon after Mount Etna has been left -behind, for the East begins for most people from that moment. If the -guide-books fail to persuade you, there is pretty sure to be a -fellow-passenger who will. The man who has once seen Upper Egypt does -his best to make you dissatisfied with Lower Egypt. He can easily show -you that your journey’s end is not Cairo, but, at the very least, the -first cataract. This is the shortest distance he will listen to. And -after he has your promise to go that far, he tells you of the wonders -that can only be seen by going on to the second cataract. - -My fellow-passenger was an old traveler. Others besides myself fell -under the spell of his eloquence; so, before we had been at Shepheard’s -a week, we were a party of six, with the steam-dahabiyeh _Nitocris_ -chartered for a month, beginning December 12. There were growing plants, -rugs, and a piano on her deck, and six state-rooms below. Salem Ghesiri -was our dragoman. He spoke - -[Illustration: Karnak, January 2, 1898.] - -good English, and knew the river by heart. Before we left, a few days -were spent in buying cork hats and sun umbrellas, and by ten o’clock on -the morning of the 12th the crew had unloaded the trucks that had -brought our belongings down from Shepheard’s, and we had started, with -the wind and the current so strong against us that it was all we could -do to make six miles an hour against them. - -On our left were the mud houses of Old Cairo, with ancient quarries in -the distance, and on the right, far beyond a forest of slanting masts -that belonged to the picturesque ships which lined the bank, were the -tops of the pyramids that we were leaving for a month. As evening -approached, the - -[Illustration: Salem Ghesiri Dragoman.] - -right bank seemed peopled with silhouettes of camels, donkeys, and men, -while the figures on the opposite bank were rose-color. To us the day -was cool, but to the crew it must have been cold, for their heads were -wrapped in shawls and they huddled together in groups about the deck. -The awning over us had been removed, and Ali, the pilot, looked like a -partly unwrapped mummy as he sat at the wheel. - -Those who go up the river in a dahabiyeh like to feel that they are in -the same boat with the travelers whose books they read from New York to -Port Saïd. This would be a very pleasant feeling, if it did not suggest -the responsibility of keeping a record of days that, from all accounts, -are sure to be of so much importance. There is a - -[Illustration: A Karnak Beggar.] - -[Illustration: All, the Pilot.] - -sentimental belief that each day on the river is to be of the greatest -importance, just as if thousands of tourists on Cook’s steamers were not -taking the same journey each year. So overpowering becomes this delusion -that even letters home seem to take the form of historic biographies, -and sound like messages that are sometimes found floating in bottles -thrown overboard by shipwrecked people. The Nile itself seems to insist -that all mention of it should be made in the form of a diary, for, with -very few exceptions, all accounts adopt that mode of expression when -they come to it. Cairo and - -[Illustration: Statue of Thothmes, Karnak.] - -Upper Egypt may be treated in the form of essays, but the endless -parallel banks of the river immediately suggest that all days will be -very much alike and lose their identity, unless they are numbered and -described. It seems to be of the greatest importance to find the best -way to spell the name of the mud village where you tie up for the night -(which name most of the guide-books spell differently)--as if it made -any difference to the people at home. - -But the diaries on the _Nitocris_ during that month were very -conscientious and particular about these small things, and I think they -will all agree in their spelling, for each one of us waited until all -the others had agreed upon the most popular way to spell the names of -these various landmarks before we wrote them down. - -We soon made friends with our crew. There were sixteen of them. They -were - -[Illustration: Lunching in Karnak.] - -[Illustration: An Assiût Donkey.] - -from every part of Egypt, and of all colors, shading from the engineer, -who was a cream-colored Turk,--when his face was washed,--to Ali, who -must have been a Sudanese. Our head steward was almost as black, and the -second steward was another of the cream-colored variety. We seldom saw -the cook. Sometimes he would put his head and shoulders out of the -hatchway, with his arms on the deck, and then we could see that he was a -little, white-faced Turk with a large black mustache. - -Salem was a Syrian Christian, and he had lost all his earnings in an -unprofitable exhibit at the World’s Fair in Chicago. His costumes were -always elaborate, and he was very ornamental, with his silk sashes and -fancy turbans. He superintended our meals, and always suggested the next -day’s program during dinner; so with our coffee we would read aloud -Charles Dudley Warner’s and Miss Edwards’s opinions of our next -stopping-place. - -After our first dinner we tied to the bank, by a little village, Salem -said, just big enough to have a name. It was-dark, and we could hear and -see nothing; so we took his word for it. - -We were off early the next morning, and all that day the river’s banks -were fringed with sugar-cane and sakiehs. The many boats we passed were -loaded with natives, sometimes perched upon loads of grain, or mixed in -with turkeys and cattle. - -[Illustration: Temple of Ti.] - -[Illustration: Tombs of the Kings, Thebes.] - -On December 14 we made our first landing, and had our first donkey ride, -at Beni-Hassan, one hundred and seventy-one miles from Cairo. The -Egyptian policemen who accompanied us to the tombs were out of keeping -with the peaceful look of the place, and only succeeded in keeping at a -distance the children, who were very pretty. - -From the cliffs back of the village we had our first view of the valley -of the Nile, with its delicate green fields, beginning immediately at -the foot of the sun-baked hills on which we stood. I rode back before -the rest to make a sketch; but the arrival of the post-boat put an end -to that, and its passengers soon had our donkeys, beggars, naked -children, policemen, and all, and were taking them back to - -[Illustration: A Guardian of the Temple.] - -the tombs we had just left. The post-boat was to us what the foot-prints -in the sand must have been to Robinson Crusoe. Our frame of mind -underwent a change. We finally became reconciled to the fact that we -were not doing anything uncommon, and from that moment our diaries -suffered. Then the most contagious of all Nile ambitions seized us, and -our one desire was to find a mummy. - -Most of the 15th was spent with Baedeker, preparing for Assiût, where we -were to tie up for the night. - -After an early breakfast, we climbed the bank, and found that it was -chiefly inhabited by beggars. We visited the tombs, and came back to the -dahabiyeh by way of the bazaars, where the natives were dyeing the -dark-blue cloth which they all dress in. That afternoon we came upon an -army of pelicans on a mud flat in the middle of the river. At the sound -of our whistle they got up, and we - -[Illustration: “Most of the day was spent with Baedeker.”] - -lost them far ahead in the twilight, and we thought of that tame pelican -that waddles about in Shepheard’s stable-yard. - -The next day we went by mud villages at the foot of high mountains of -white limestone, until we stopped at Farshut for coal, and tried to -awaken some sign of friendliness in the natives, who were as dull as the -mud banks on which they sat. - -On the afternoon of the 18th we reached Keneh, and in fifteen minutes we -were on donkeys, going by villages filled with children and barking -dogs, on our way to the temple of Dendera. This was to be our first big -temple, and Salem had made it his chief excuse for hurrying us away from -Beni-Hassan, Assiût, and the rest. Our donkeys raced along the edge of -an empty canal, through herds of goats and buffalo, until we saw a low -pile of stones in the distance, and then we reached the half-buried -temple, and lighted candles, and went down into it and looked up at the -mighty columns. Salem repeated all that the guide-books knew, and then -took us around to the back wall and showed us the famous likeness of -Cleopatra and her son Cæsarion. - -Salem was pleased with the way we took our first temple, and rewarded us -by saying it was only the beginning of what was to come. We complimented -him on his choice of subjects, blew out our candles, picked the -candle-grease from our fingers, and reached the dahabiyeh by sundown. - -By one o’clock, on December 19, we were abreast of the promised Karnak, -and could see the top of its pylons and obelisk. We had saved most of -our enthusiasm for this place, and we were anxious to get ashore and -expend it; reluctantly we went by it a few miles to Luxor for a better -landing, where we were watched by a bank-load of natives until four -o’clock. Then we walked through them to the village and temple of Luxor, -which - -[Illustration: Christmas, 1897.] - -[Illustration: Guardians of the Temple.] - -served as a curtain-raiser to the next day’s visit to the greatest of -all temples. - -That evening a Cook’s steamer arrived, and we were deserted by the crowd -on the bank. After dinner Ghesiri entertained the sheiks of the -donkey-boys and made arrangements for our mounts for the next day. Two -of us volunteered to go to the village and locate the dancing that the -guide-books said could be found here, but we learned there was to be -none until the following Saturday. - -The next day was spent at Karnak, where Ghesiri led us over its famous -stones, until lunch was brought from the _Nitocris_, and served in a -colonnade surrounded by columns resembling huge granite lozenges, piled -at all angles, one on top of the other, like ancient friends, those who -had fought successfully with time supporting those who had been less -fortunate; and apart from the rest, requiring no support, and with no -friends to be helped, stood the greatest column of them all, the lonely -survivor of the great peristyle court, with its lotus capital, looking -down on all but its lonely rival, an obelisk. It looks as though it had -been polished and placed there the day before, in striking contrast to -its unfortunate mate, which centuries ago gave up battling with -earthquakes and wars, and now lies, a hopeless ruin, at its feet. - -[Illustration: Christmas Night--“Auld Lang Syne.”] - -We spent the next three days at Karnak and Thebes, saving the tombs of -the kings until we should stop again on our way down from Assuan. - -And now the important question was, Where should we spend Christinas? -The better we knew Karnak and Thebes, the more forbidding they had -grown. They were too stiff and formal, and their great rigid Rameses too -depressing for a Christmas. We wanted a cheerful temple, and we found it -at Komombos. - -We left Karnak on the morning of December 24, and spent Christmas eve at -Edfu. That night the deck was entirely housed in by canvas. The crew sat -in a circle back of the smoke-stack, and while they divided the -cigarettes we had bought for them at Luxor, they listened to our “Down -upon the Suwanee River.” - -Christmas morning we came on deck, and found that Ghesiri had -transformed it into a bower of palm-branches, sugar-cane, and oranges. -The crew were all smiles, and when we presented them with the price of a -sheep, they gave us three cheers and a merry Christmas. More cigarettes -were distributed, and shortly after breakfast we started for Komombos. - -There was little in the day to remind a New-Englander of Christmas. In -the lightest clothes, we sat about the deck and watched the villages go -by. It was good to see our old friends the water-wheels and cheerful -sakiehs again. They looked better to us after our somber stay at Karnak. -Early in the afternoon we came to Komombos, the temple we were looking -for, and tied to the river’s bank just below it; and if you must be -traveling on Christmas, there can be no better place to stop. - -At Komombos the never-resting Nile has worked its way to the foot of the -little hill on which the temple is making its last stand - -[Illustration: Thebes, January 2, 1898.] - -against time. Some kind friends have covered the bank with stones, but -the river is slowly wearing them away, and sooner or later it will claim -its own; and it will be a pity, for Komombos’s temple is dainty in -comparison with Karnak, where great stiff Rameses stand with their arms -folded across their breasts in very much the same manner in which the -real arms are held in the glass case at the Gizeh Museum. - -At Karnak there were miles of half-buried walls, and cut deep in them -gigantic figures of Rameses, with one hand raised about to strike off -the heads of enemies done up in bundles like asparagus and held by the -hair of their heads, while armies are shown flying in confusion. The -bas-reliefs at Komombos are more cheerful and cut with greater skill. -They represent the ancient gods of Egypt in their more playful moods, -floating down the Nile, spearing miniature hippopotamuses and -crocodiles, with here and there a triumphant procession. The debris of -the forgotten city that once covered Komombos has been removed, and the -great hall, with its holy of holies now exposed to the light of day, is -swept by the wind as clean as a Dutch kitchen; and yet the carvings are -as fresh as the day they were made. From the _Nitocris_ to the temple -is only a few steps through some sugar-cane. It was a novel experience -to find no donkey-boys with their patient and sleepy donkeys. - -But the natives were different from any we had heretofore seen, and -proved that we were getting into real Africa. They were mostly Nubians, -and very black, and our preconceived idea of what an African should be. - -Komombos and Philæ are the only temples we climbed up to, and it seems -to me that they, above all others, lend themselves more readily to the -sentimental tourist. It is easier for the imagination to people them; -they are more like dwellings. - -[Illustration: Home Visitors.] - -After tea had been brought from the _Nitocris_ and served in its -portals, we all decided that Komombos would be the temple to own. That -evening the crew hung lanterns around the deck among the sugar-canes and -palms, and after dinner they gave an exhibition, which started well -enough with a dance by the first mate. - -Since then I have found that all travelers on the Nile are likely to -have this same experience. We were proof against the “Dhabir Devil” that -the guide-books had warned us against, but Baedeker had made no mention -of the possibility of this entertainment happening to us; still, the -crew went at it as though it was an old story with them, and as I write -this there may be some unsuspecting tourist about to go through with it. -It sounds very good-natured on the part of the crew; and if the -entertainment had stopped when the mate had finished the dance, it would -have been well enough; but the dance was only to hold our attention -while the others were getting ready, and then the dreary horse-play -began. There was a barber-shop scene, in which flour paste was used and -a door-mat acted as a towel. A crew that mutinies is tame compared with -an Egyptian crew that acts. We stopped them as soon as we could without -hurting their feelings, and they subsided and formed a circle back of -the smoke-stack. The rest of the evening was spent in entertainment of -our own choice, and by midnight all was still but the river, which never -rests. - -[Illustration] - - - - -CHAPTER THREE - -[Illustration: His Highness Prince Mahomet Ali, Cairo, February 14, -1898.] - -[Illustration: On the Bank.] - - - -CHAPTER THIRD - -THE starting of the engines had us up fairly early the next morning, and -we found the country very much changed. The desert now came to the -river’s edge, and granite had taken the place of limestone; it seemed as -though we had come to the end of fertile Egypt. Two white vultures were -the only living things in sight. Then we came to some wonderful bends -in the river, and the sakiehs once more began to dip up the muddy water; -but the skins of the men who worked them had changed: they glistened -like coal in the sunlight. - -By two o’clock we reached Assuan, and moored to the island of -Elephantine, just opposite the town, from which any number of little -bright-painted ferry-boats rowed toward us; and in a few minutes some -thin-legged Egyptian policemen and a few natives were on the bank, and a -small boy with a stick had been selected to mind the turkeys that we had -brought from Esneh. Some of the poor birds were very weak on their legs, -and where they ought to have been red they were only a pale -salmon-color; but the little cook promised that they would be all right -in a day or two. Some of the crew had homes on the island, and they all -put on their best clothes and were met by friends. They immediately -established a laundry on shore, and the building of an oven proved that -we were to be there for some time. - -We began the 27th with a visit to the tombs on Grenfell Hill, high on -the river’s bank, below Elephantine. There was a strong wind, full of -sand, from the south, and the light natives had trouble in getting the -heavy boat to the foot of the hill. The wind helped us back to the -_Nitocris_, and after lunch we crossed the river to Assuan, where the -inhabitants seemed especially prepared for tourists. The natives were -more theatrical in Assuan, and the bazaars were filled with musical -instruments, made as primitive as possible to please the traveler. - -[Illustration: Shopping.] - -There is a railroad at Assuan. It is only a small, disconnected link; -but some day it will be part of a road to the Cape, and vestibule -trains will run over it, and passengers may get only flying glimpses of -Philæ from car windows. Think of being on a train that went by Pharaoh’s -Bed in the night! But it is impossible to believe that the world could -become used to such a wonderful place, and it is to be hoped that all -trains will go slow when they come to Philæ; for without it Egypt would -be like “Romeo and Juliet” without a balcony. It is the most romantic -ruin in Egypt, and it marks the end of the first-cataract tourist’s -journey. - -If the _Nitocris_ had been a sailing-dahabiyeh, and had belonged to us, -and if the season had been younger and the river higher, we would have -had her pulled up one cataract after another until we had made some -important discoveries; but we were one-month tourists on a hired boat, -and that night, while the _Nitocris_ was tied fast to some large wooden -pegs driven deep into the - -[Illustration: Shepheard’s Hotel, Cairo.] - -[Illustration: A Luxor Dancing-girl.] - -beach, we read how the _Rip Van Winkle_ and other dahabiyehs had gone to -Abu-Simbel. - -The next morning we chose the nine-o’clock train, in preference to -camels and donkeys; and after some minutes of rocking and twisting in -the little box-car, we were ferried from the mainland to the famous -island, where we were to forget Komombos and all the others amid new -beauties, which no guide-book can exaggerate. - -After lunch we walked to the northern end of the island, hoarded a big, -clumsy, eight-oared boat with a great deal of rigging lashed overhead, -and our homeward journey began. There was a crew of ten, and we soon had -the greatest respect for their skill, especially one little man with -crooked teeth, who sat in the stern and shouted over our heads at the -men in the boat. - -The rapids were tame enough at first. The wind was strong against us, -and we found some shelter behind the high granite islands we drifted -among. The river had worn them into fantastic shapes so closely -resembling temples that hieroglyphics had been cut on the polished -stones by the Pharaohs, who never tired of seeing their names in print. - -At one place we stopped and watched ten or fifteen boys swim and float -down a part of the rapids. They would come shivering up to us, and the -next instant they would be in - -[Illustration: Camel-back.] - -the water shooting by us on a log, screaming to attract our attention, -and then back again to us, with their teeth chattering for bakshish. - -But after that it was very different. The man at the tiller half stood -up, and I could see, by the little patches of sand on his forehead that -the wrinkles there had formed in two parallel lines, that he had been -praying while we had been watching the boys swim, and by the same sign I -could see that most of the crew had been doing the same thing; and -Mohammed must have been with us, for fifty times within half that number -of minutes we needed help. With the little man in the stern continually -wetting his lips and jamming the tiller from side to side, apparently -steering in just the wrong place, and always proving that he was right, -we “shot” over the uneven surface of the river, dodging half-buried -rocks, first near one bank and then the other, until we reached the -natural bed of the - -[Illustration: The Sheik of the Pyramids.] - -river. Here the crew began their battle with the wind, and by evening, -after much chanting and hard rowing on their part, we reached the -_Nitocris_, feeling very much as if our faces had been sandpapered. -During our stay at Elephantine we made friends with four little Bisharin -girls. They were graceful and pretty, and had the power to make the most -dismal tomb cheerful. They followed us to the quarries back of Assuan, -and turned the top of the half-finished obelisk into a stage and danced -in the sunlight, while the blackest man in Africa played an instrument -of his own invention. And the last I remember of Assuan is their - -[Illustration: On Grenfell Hill. The Keeper of the Tomb, Assuan, -December 29, 1897.] - -four little figures wrapped in the brightest-colored shawls that could -be bought in Lower Egypt, and they waving their hands until a bend in -the river hid them. - -It was a novelty to find ourselves going with the current, which had -been until now against us, and we could count on much bigger runs; but -there was double the danger of running on a sand-bar, and from that time -on there was always a man with a pole in the bow. - -On the 30th we stopped beneath our old friend Komombos, and visited Edfu -the next day; and from the top of its pylons we looked into the -mud-walled yards of the town, where little fly-covered children stopped -playing with goats and called to us, even at that height, for bakshish. - -On the 31st we were once more in Luxor, where the donkey-boys and -beggars gave us a hearty welcome. Again we visited Thebes, and were -followed from tomb to tomb by the usual venders of imitation antiques -and shriveled mummy-hands. - -Our trips back from Thebes were always enlivened by donkey-races across -the great fields of young wheat, in the middle of which the great -Memnons sit. Those races generally proved that “Columbus” was a faster -donkey than “New York.” - -Pharaoh must have continually thought of the future. His tombs at Thebes -show how anxious he was to outlast time. And it seems hard that his -carefully prepared plans should have been interfered with. How -impressive it would be to find, at the end of the long subterranean -passage, the king whose one wish had been to lie there. He must have -visited it often before his death. He might have superintended its -building and criticized the drawings that decorate its walls. But the -sarcophagus is now empty, and its lid is broken, and the king’s new -friends have put him in a cheap wooden house; and written - -[Illustration: At the Races, Khedival Sporting Club.] - -[Illustration: An Assuan Beggar.] - -on a piece of cardboard, and tacked on the glass case in which he now -lies, is the name he was so fond of cutting in granite. - -One year more or less makes very little difference to Egypt, but the New -Year was properly welcomed aboard the _Nitocris_, for one of us had -never seen a January 1 before. So it happened that, even in Egypt, the -occasion was treated as a novelty, and the _Nitocris_ once more -blossomed out with lanterns, and looked as well that night as her more -graceful rivals, the sailing-dahabiyehs, that were anchored above and -below us. - -January 4 was our last day at Luxor. We had ridden up the limestone -valley at Thebes to the tombs of the kings, had spent several days and a -moonlight night at Karnak. We had said good-by to our donkey-boys. Mine -had held an umbrella over me with one hand and had fought natives at the -same time with the other, and I hope that some day he will be a -dragoman. Before daylight on the 5th we had once more started north, -with only five more days on the river left to us. At night we tied to -the bank and walked through moon-lighted villages, and did our best to -imagine that our journey had only just begun. - -On the evening of the 7th an extraordinary thing happened. It rained -hard enough to make a noise on the awning over us, and in the excitement -we almost forgot that there were only three more days between us and -Cairo. We had begun to count the hours and to dread that fatal bend in -the river that would show us the pyramids at Sakkara, where we were to -spend our last night. We passed dahabiyehs with American and English -flags flying over them, and we were filled with - -[Illustration: An Artist in the Mouskie.] - -envy. Handkerchiefs and parasols were sympathetically waved at us, and -at a distance we may have looked cheerful; but it was a forlorn, -childish feeling to be taken home because our time was up and our -dahabiyeh had another engagement. We felt that all the other boats knew -our secret, and we even suspected the crew of having become tired of us -and only remaining civil in order to collect the present that they were -expecting. - -Ghesiri’s suggestion that we spend the night of the 10th at Cairo seemed -to prove that they were anxious to have done with us; but we had no -inclination to be tied to the bank at Cairo overnight, waiting to be -sent away in the morning before a crowd of natives, and among them, -possibly, those other people who had chartered our boat. We would wait -at Sakkara, and not get to Cairo one minute before our time was up. - -On the 8th we visited a sugar-factory at - -[Illustration: Our Bisharin Friends, Assuan.] - -Tel-el-Amarna, and later on the same day passed our first landing-place, -Beni-Hassan. - -By noon on the 9th we reached the fatal bend in the river and saw that -we were once more in the land of pyramids, and we were soon tied to the -bank beneath which once stood the city of Memphis. We rode to Marietta’s -House, past the pyramids and the colossal Rameses lying on his back -among tall palms, surrounded, for some reason, by a mud house, as if the -great granite figure had not already proved that it could continue its -battle with time unassisted by a few mud bricks and some tin roofing -that is very much in the way. - -We lighted candles and walked through the hot, suffocating galleries of -the mausoleum, and peered into the huge granite sarcophagi that once -held the mummied sacred bulls. Then we rode to the tomb of Ti, and -Ghesiri’s last lecture was about that gentleman. - -[Illustration: Beni-Hassan.] - -In the distance was Cairo; and even a view of the pyramids at Gizeh and -the citadel failed to console us, and we still mourned our late month on -the Nile. We took our last donkey-ride through the palms that now grow -where Memphis once stood, and reached the _Nitocris_ by sundown. - -By midday on the 10th, we shook hands with the crew and left the -_Nitocris_ tied to the bank where we had first found her, just as though -nothing had happened; and, after all, what had happened was this: six -more tourists had gone to the first cataract and back, and a few more -Egyptian sketches had been made. For us the performance of the Nile was -at an end, and we were once more in the streets on our way to the -Ghezireh Hotel, with a determination to console ourselves with Cairo, -which now looked to us, after our stay in the country, like a full-grown -European capital. - -By January 10 the season had commenced - -[Illustration: At Philæ.] - -and the prices of rooms had doubled. Since we left, several steamers -from the west had brought an army of tourists, who were turning Africa -into New York, London, and Paris. And at the Casino, in the Ghezireh -Gardens, was as good an imitation of Monte Carlo as the law allows, but -such a poor one that even the Frenchmen who worked it seemed ashamed of -themselves, and the New-Yorker who owned it was very seldom seen there. - -[Illustration: “As good an imitation of Monte Carlo as the law -allows.”] - -At Shepheard’s there is always the man who has “been there before,” and -like the same man at the play, he sits beside you and interprets the -picture. You finally promise that you will not go to the _monskie_ -without him, and that you will not see the Sphinx by moonlight unless he -is there; for if you do, not having been there before, you will be sure -to go too early or too late. He says the moon should be at just such an -angle and no other. The peddlers in the monskie know him, and while they -entertain him with little cups of sweet tea they complain that they have -had no luck since they last saw him, and they ask eagerly after that -gentleman he brought to them the year before--the gentleman who had such -exquisite taste and backed it up so generously with his money. And you -drink their tea, and feel, as you leave the shops, after having only -looked at their things, that they will never ask affectionately after -you. The man who has been there before generally walks in front of you, -as if he were not as anxious to have you see the place as he is to have -you see that he knows his way about; and, after all, it is no small -thing to be proud of. If I ever go to the mouskie again, I shall pity -the greenhorn who happens to be with me. - -The bazaars are dirty, and so many pasty-faced Turks squatting about in -the filth grow tiresome. At first they are described in letters home as -fascinating and picturesque, and whole days are spent with them, buying -hundreds of things that are destined to be left in hotel bureau drawers -and gradually lost. The souvenirs we buy in the mouskie seem to melt -away. The precious stones we bought there turn to glass, the slippers -become pasteboard, the gilt things tarnish, and the brass-work bends -itself into old junk, and the mouskie is only a confused dream; so no -wonder the old traveler is proud that he can actually find his - -[Illustration: “The man who has ‘been there before.’”] - -[Illustration: In a Coffee-house, Cairo.] - -way about in it. He had probably begun to think that there never had -been such a place. - -But Egypt is full of real things, and probably the most genuine thing of -them all is the English occupation. Egypt herself is the best proof of -how necessary to her well-being this is. It is hard to tell just how -unhappy the fellaheen were before the English came. The Egyptian is not -the sort of man that complains. After centuries of oppression, he now -accepts whatever form of government is offered in a browbeaten way, and -shuffles along after his donkey, and pays his tax for bringing a few -bundles of clover across the bridge into Cairo without a murmur; and, -judging by his looks, I doubt if he would make much disturbance if he -found, some morning, that the tax on his clover had been doubled. He -evidently feels like a very small depositor in a broken bank. England is -the largest creditor, and is straightening things out for them both, and -he is satisfied. - -There never were so many cooks trying to spoil a broth. Before a -consul-general is received by the Khedive, the Sultan of Turkey must -first approve of him, and it is said that the Sultan allows months to go -by before he gives his consent, which is his Oriental way of showing his -authority. But Egypt is geographically so important that, in spite of -herself, she will be saved, and with England’s help she will some day -pay her debts, and in centuries to come the fellah may learn to hold his -head up like the Nubian. - -There is no fear of Egypt becoming dull and commonplace, for if the East -and the West should ever fight, it must be for the possession of her -canal; and many an unborn soldier’s reputation will be made before the -railroad that has started up the Nile’s valley reaches Cape Town. The -same land that offers death and reputation to the strong gives life to -the weak, and the tired rich man on his dahabiyeh and the soldier on the -transport go up the Nile side by side, and in most cases they both find -what they are in search of. - -Shepheard’s, in all probability, will forever remain a composite -portrait of Europe and Asia, with Cairo as its frame. Time has made, and -probably will continue to make, some slight alteration in Upper Egypt’s -appearance; but the locomotive’s whistle will have difficulty in -breaking the silence and calm of Karnak and Thebes. And the present -indications are that Egypt will remain true to the Pharaohs of old, and -until the judgment-day she will, in all probability (assisted by the -Nile, who made her), continue to quietly resist the attentions of modern -nations, and patiently wait for that last day. - -[Illustration: At Komombos.] - - - -*** END OF THE PROJECT GUTENBERG EBOOK SKETCHES IN EGYPT *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/68568-0.zip b/old/68568-0.zip Binary files differdeleted file mode 100644 index 35a5eab..0000000 --- a/old/68568-0.zip +++ /dev/null diff --git a/old/68568-h.zip b/old/68568-h.zip Binary files differdeleted file mode 100644 index c6a9a35..0000000 --- a/old/68568-h.zip +++ /dev/null diff --git a/old/68568-h/68568-h.htm b/old/68568-h/68568-h.htm deleted file mode 100644 index ecef49c..0000000 --- a/old/68568-h/68568-h.htm +++ /dev/null @@ -1,1848 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> - <head> <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> -<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> -<title> - The Project Gutenberg eBook of Sketches in Egypt, by Charles Dana Gibson. -</title> -<style> - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -.big {font-size: 200%;} - -.blk {page-break-before:always;page-break-after:always; -margin-bottom:3em;} - - -body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -.c {text-align:center;text-indent:0%;} - -.caption {font-weight:normal;} -.caption p{font-size:75%;text-align:center;text-indent:0%;} - -.figcenter {margin:3% auto 3% auto;clear:both; -text-align:center;text-indent:0%;} - -.figleft {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;} - -.figright {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;} - - h1 {margin-top:5%;text-align:center;clear:both; -font-weight:normal;font-size:350%;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:130%;font-weight:normal;} - - hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - img {border:none;} - -.lftspc {margin-left:.25em;} - -.letra {font-size:250%;float:left;margin-top:-1%;} - -.nind {text-indent:0%;} - - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} - -.pdd {padding-left:1em;text-indent:-1em;} - -.rt {text-align:right;} - -.rtb {text-align:right;vertical-align:bottom;} - -small {font-size: 70%;} - -table {margin:2% auto;border:none;} - -td {padding-top:.15em;} - -th {padding-top:.5em;padding-bottom:.25em;} - -.tbl {border:2px solid gray;page-break-before:always; -page-break-after:always;text-align:center; -padding:.5em;margin:1em auto;max-width:25em; -text-indent:0%;} -</style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Sketches in Egypt, by Charles Dana Gibson</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Sketches in Egypt</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Charles Dana Gibson</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 19, 2022 [eBook #68568]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Chuck Greif (This file was produced from images available at Google Books)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK SKETCHES IN EGYPT ***</div> -<hr class="full" /> - -<p class="tbl"> -<a href="#ILLUSTRATIONS">Illustrations</a><br /> -<a href="#CHAPTER_FIRST">Chapter First</a><br /> -<a href="#CHAPTER_SECOND">Chapter Second</a><br /> -<a href="#CHAPTER_THREE">Chapter Three</a> -</p> - -<p class="c">SKETCHES IN EGYPT</p> - -<div class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" height="500" alt="[The -image of the book's cover is unavailable.]" /></a> -</div> - -<div class="figcenter" style="width: 149px;"> -<a href="images/front-1.jpg"> -<img src="images/front-1.jpg" width="149" height="280" alt="[Image unavailable.]" /></a> -</div> - -<div class="figcenter" id="front" style="width: 264px;"> -<a href="images/front-2.jpg"> -<img src="images/front-2.jpg" width="264" height="496" alt="[Image unavailable.]" /></a> -</div> - -<div class="blk"> -<h1>Sketches in Egypt</h1> - -<p class="c">Written and illustrated by<br /><br /> -<span class="big">Charles Dana Gibson</span></p> - -<div class="figcenter"> -<img src="images/colophon.png" height="165" alt="[Image unavailable.]" /> -</div> - -<p class="c">New York<br /> - -Doubleday & McClure Co.<br /> - -1899<br /> -</p> -</div> - -<p class="c">Copyright, 1899, by<br /> -S. S. McCLURE Co.<br /> -<br /> -Copyright, 1899, by<br /> -DOUBLEDAY & McCLURE Co. -</p> - -<div class="figcenter" id="indif" style="width: 252px;"> -<a href="images/front-3.jpg"> -<img src="images/front-3.jpg" width="252" height="317" alt="[Image unavailable.]" /></a> -</div> - -<p><span class="pagenum"><a id="page_xiii">{xiii}</a></span></p> - -<h2><a id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2> - -<table> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td class="pdd">British Influence</td><td class="rtb"><a href="#front">Frontispiece</a></td></tr> -<tr><td class="pdd">Indifference</td><td class="rtb"><a href="#indif">xi</a></td></tr> -<tr><td class="pdd">A Son of the Desert</td><td class="rtb"><a href="#page_3">3</a></td></tr> -<tr><td class="pdd">A Peddler</td><td class="rtb"><a href="#page_5">5</a></td></tr> -<tr><td class="pdd">The Slipper Bazaar, Cairo, January 22, 1898</td><td class="rtb"><a href="#page_7">7</a></td></tr> -<tr><td class="pdd">Egyptian High Life</td><td class="rtb"><a href="#page_9">9</a></td></tr> -<tr><td class="pdd">The Present Situation</td><td class="rtb"><a href="#page_12">12</a></td></tr> -<tr><td class="pdd">A Dealer in Antiquities</td><td class="rtb"><a href="#page_13">13</a></td></tr> -<tr><td class="pdd">The Bridge</td><td class="rtb"><a href="#page_14">14</a></td></tr> -<tr><td class="pdd">A Village on the Road to the Pyramids</td><td class="rtb"><a href="#page_14">14</a></td></tr> -<tr><td class="pdd">In the Fish-Market</td><td class="rtb"><a href="#page_15">15</a></td></tr> -<tr><td class="pdd">Rameses the Great</td><td class="rtb"><a href="#page_17">17</a></td></tr> -<tr><td class="pdd">At Lady Grenfell’s Masquerade Ball—on the eve of Kitchener’s departure for the Soudan</td><td class="rtb"><a href="#page_20">20</a></td></tr> -<tr><td class="pdd">A Descendant of the Prophet—El Saied Ahmad Abdel Khalek Affandi, Sheik el Sadat</td><td class="rtb"><a href="#page_22">22</a></td></tr> -<tr><td class="pdd">A Bargain in the Ghezireh Gardens</td><td class="rtb"><a href="#page_23">23</a></td></tr> -<tr><td class="pdd">A Dancing-Girl</td><td class="rtb"><a href="#page_25">25</a></td></tr> -<tr><td class="pdd">A Daughter of the Nile</td><td class="rtb"><a href="#page_27">27</a></td></tr> -<tr><td class="pdd">On the Road to Cairo</td><td class="rtb"><a href="#page_31">31</a> -<span class="pagenum"><a id="page_xiv">{xiv}</a></span></td></tr> - -<tr><td class="pdd">Our Christmas Dinner, Esneh, December 23</td><td class="rtb"><a href="#page_35">35</a></td></tr> -<tr><td class="pdd">Karnak, January 2, 1898</td><td class="rtb"><a href="#page_37">37</a></td></tr> -<tr><td class="pdd">Salem Ghesiri, Dragoman</td><td class="rtb"><a href="#page_39">39</a></td></tr> -<tr><td class="pdd">A Karnak Beggar</td><td class="rtb"><a href="#page_40">40</a></td></tr> -<tr><td class="pdd">Ali, the Pilot</td><td class="rtb"><a href="#page_42">42</a></td></tr> -<tr><td class="pdd">Statue of Thothmes, Karnak</td><td class="rtb"><a href="#page_43">43</a></td></tr> -<tr><td class="pdd">Lunching in Karnak</td><td class="rtb"><a href="#page_45">45</a></td></tr> -<tr><td class="pdd">An Assiût Donkey</td><td class="rtb"><a href="#page_47">47</a></td></tr> -<tr><td class="pdd">Temple of Ti</td><td class="rtb"><a href="#page_50">50</a></td></tr> -<tr><td class="pdd">Tombs of the Kings, Thebes</td><td class="rtb"><a href="#page_51">51</a></td></tr> -<tr><td class="pdd">A Guardian of the Temple</td><td class="rtb"><a href="#page_53">53</a></td></tr> -<tr><td class="pdd">“Most of the day was spent with Baedeker”</td><td class="rtb"><a href="#page_55">55</a></td></tr> -<tr><td class="pdd">Christmas, 1897</td><td class="rtb"><a href="#page_59">59</a></td></tr> -<tr><td class="pdd">Guardians of the Temple</td><td class="rtb"><a href="#page_61">61</a></td></tr> -<tr><td class="pdd">Christmas Night-“Auld Lang Syne”</td><td class="rtb"><a href="#page_63">63</a></td></tr> -<tr><td class="pdd">Thebes, January 2, 1898</td><td class="rtb"><a href="#page_67">67</a></td></tr> -<tr><td class="pdd">Some Visitors</td><td class="rtb"><a href="#page_71">71</a></td></tr> -<tr><td class="pdd">Vignette</td><td class="rtb"><a href="#page_74">74</a></td></tr> -<tr><td class="pdd">His Highness Prince Mahomet Ali, Cairo, February 14, 1898</td><td class="rtb"><a href="#page_76">76</a></td></tr> -<tr><td class="pdd">On the Bank</td><td class="rtb"><a href="#page_77">77</a></td></tr> -<tr><td class="pdd">Shopping</td><td class="rtb"><a href="#page_79">79</a></td></tr> -<tr><td class="pdd">Shepheard’s Hotel, Cairo</td><td class="rtb"><a href="#page_81">81</a></td></tr> -<tr><td class="pdd">A Luxor Dancing-Girl</td><td class="rtb"><a href="#page_83">83</a></td></tr> -<tr><td class="pdd">Camel-Back</td><td class="rtb"><a href="#page_85">85</a> -<span class="pagenum"><a id="page_xv">{xv}</a></span></td></tr> - -<tr><td class="pdd">The Sheik of the Pyramids</td><td class="rtb"><a href="#page_88">88</a></td></tr> -<tr><td class="pdd">On Grenfell Hill The Keeper of the Tomb, Assuan, December 29, 1897</td><td class="rtb"><a href="#page_89">89</a></td></tr> -<tr><td class="pdd">At the Races, Khedival Sporting Club</td><td class="rtb"><a href="#page_94">94</a></td></tr> -<tr><td class="pdd">An Assuan Beggar</td><td class="rtb"><a href="#page_95">95</a></td></tr> -<tr><td class="pdd">An Artist in the Mouskie</td><td class="rtb"><a href="#page_97">97</a></td></tr> -<tr><td class="pdd">Our Bisharin Friends, Assuan</td><td class="rtb"><a href="#page_100">100</a></td></tr> -<tr><td class="pdd">Beni-Hassan</td><td class="rtb"><a href="#page_101">101</a></td></tr> -<tr><td class="pdd">At Philæ</td><td class="rtb"><a href="#page_104">104</a></td></tr> -<tr><td class="pdd">“As good an imitation of Monte Carlo as the law allows”</td><td class="rtb"><a href="#page_105">105</a></td></tr> -<tr><td class="pdd">“The man who has ‘been there before’<span class="lftspc">”</span></td><td class="rtb"><a href="#page_110">110</a></td></tr> -<tr><td class="pdd">In a Coffee-House, Cairo</td><td class="rtb"><a href="#page_111">111</a></td></tr> -<tr><td class="pdd">At Komombos</td><td class="rtb"><a href="#page_115">115</a></td></tr> -</table> - -<p><span class="pagenum"><a id="page_xvi">{xvi}</a></span>  </p> - -<p><span class="pagenum"><a id="page_1">{1}</a></span>  </p> - -<div class="figcenter" style="width: 434px;"> -<a href="images/ill_pg_001.jpg"> -<img src="images/ill_pg_001.jpg" width="434" height="600" alt="[Image unavailable.]" /></a> -</div> - -<p><span class="pagenum"><a id="page_2">{2}</a></span>  </p> - -<p><span class="pagenum"><a id="page_3">{3}</a></span>  </p> - -<h2><a id="CHAPTER_FIRST"></a>CHAPTER FIRST</h2> - -<div class="figleft" style="width: 138px;"> -<a href="images/ill_pg_003.jpg"> -<img src="images/ill_pg_003.jpg" width="138" height="293" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Son of the Desert.</p></div> -</div> - -<p class="nind"><span class="letra">E</span>GYPT has sat for her likeness longer than any other country. Nothing -disturbs her composure. Financial ruin may stare her in the face, armies -may come and go, but each year the Nile rises and spreads out over her, -and all traces of disturbances are gone.</p> - -<p>Newspapers may be busy telling of her troubles, but very few of those -troubles seem to affect her expression. The stockholders in London -worry, and send out more Englishmen to look after their interests.<span class="pagenum"><a id="page_4">{4}</a></span> -Sugar-factories are inspected, and the barrage is doctored. But it is -all very quietly done.</p> - -<p>The French cabinet may resign on account of her, and the English army -may be increased for her sake, but few signs of these compliments does -she show. All is tranquil. The only disturbance seems to be made by the -dragomans who meet you at the station.</p> - -<p>Important events follow each other so closely in Egypt that a year-old -guide-book is several chapters too short. Last year it was Kitchener’s -campaign against the dervishes, and now the French are threatening to -interfere with England’s march to the Cape. The dragoman is sometimes as -satisfactory as the guide-book, and it is often pleasant to find how -soon he is through with his recitation and you are allowed to go alone -among the great temples. Earthquakes have shaken some in orderly ruin, -as if the unseen hands of the men who built them were quietly and slowly -building them up again.<span class="pagenum"><a id="page_5">{5}</a></span></p> - -<div class="figright" style="width: 211px;"> -<a href="images/ill_pg_005.jpg"> -<img src="images/ill_pg_005.jpg" width="211" height="268" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Peddler.</p></div> -</div> - -<p>But there is a temptation to grow sentimental over Egypt. It is far more -cheerful than it sounds. It is happy and a place for a holiday—a -country to make sketches in. These were made between December, 1897, and -March, 1898, and I have been asked to help them tell their story of that -part of Egypt the tourist is most likely to see, where the old and the -new world meet most often.</p> - -<p>The ancient Egyptian artist must have been very happy. Temples were -built with great smooth walls for him to cover with pictures that -required very little writing to go with them, seldom more than Pharaoh’s -cartouches, and even these he made more like a picture than a name. That -must have been very<span class="pagenum"><a id="page_6">{6}</a></span> pleasant, and it should have compensated him for -all the restrictions imposed upon him by the high priest of those days, -who often limited his choice of subject to a king. The choice of subject -is now unlimited. There never were so many different kinds of people in -Egypt before. But it would be difficult to draw the king now, for there -is much difference of opinion as to who he is.</p> - -<p>I left New York with a small library of Egyptian guide-books, and in -nearly every one of them was a good description of a traveler’s feelings -upon arriving at Alexandria or Port Saïd. I have been in both places, -and about the same sensations will fit either port; and traveling is too -personal a matter to describe at length, unless it is done with skill. -To give advice is much more simple; and mine is that if you are on a -steamer that is going through the Canal, don’t stay on her until she -gets to Ismailia, but disembark at Port Saïd and get to Cairo that night -all the way by<span class="pagenum"><a id="page_7">{7}</a></span></p> - -<div class="figcenter" style="width: 432px;"> -<a href="images/ill_pg_007.jpg"> -<img src="images/ill_pg_007.jpg" width="432" height="520" alt="[Image unavailable.]" /></a> -<div class="caption"><p>The Slipper Bazaar, Cairo, January 22, 1898.</p></div> -</div> - -<p><span class="pagenum"><a id="page_9">{9}</a></span><span class="pagenum"><a id="page_8">{8}</a></span></p> - -<div class="figcenter" style="width: 291px;"> -<a href="images/ill_pg_009.jpg"> -<img src="images/ill_pg_009.jpg" width="291" height="201" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Egyptian High Life.</p></div> -</div> - -<p class="nind">rail. You will see as much of the Canal as you want to, and you will not -run the chance of being delayed a day, as the <i>Königin Luise</i> was last -year by a little tramp steamer that had run foul of a coal-barge.</p> - -<p>More advice is to look out of the right-hand window of the car for a -first glimpse of the pyramids, the first sure proof that you are in -Napoleon’s Egypt. After they are once found, it is easy for your eye to -follow them through palm-trees and over mud villages until darkness -interferes. Then you come to the station in Cairo, a hotbed of porters -and dragomans,<span class="pagenum"><a id="page_10">{10}</a></span> and through the confusion you finally reach Shepheard’s, -on the street like a great show-window—all but the plate glass—full of -odds and ends from all the world. New arrivals are handed in by the -dragomans and porters. It is as if you climbed over the footlights to -assist in the performance. You finally stand before the good-looking Mr. -Bailer, at the back of the stage. If he thinks you will stand a room -overlooking the stable-yard, you will get it. The next morning I moved -to the sunny side, overlooking the garden, where a tame pelican walked -among tall palm-trees.</p> - -<p>The dragoman who first lays hands on you claims you for his own. You -will find him waiting for you in the morning. He will sell you antiques, -will take you snipe-shooting. He knows when the dervishes will howl or -whirl, or where there is a native wedding, to which he will take you. It -may be the fame of Shepheard’s, or the magic name of Egypt, but it all -has a wonderful charm.<span class="pagenum"><a id="page_12">{12}</a></span><span class="pagenum"><a id="page_11">{11}</a></span></p> - -<div class="figcenter" style="width: 420px;"> -<a href="images/ill_pg_012.jpg"> -<img src="images/ill_pg_012.jpg" width="420" height="349" alt="[Image unavailable.]" /></a> -<div class="caption"><p>The Present Situation.</p></div> -</div> - -<p><span class="pagenum"><a id="page_13">{13}</a></span></p> - -<div class="figright" style="width: 174px;"> -<a href="images/ill_pg_013.jpg"> -<img src="images/ill_pg_013.jpg" width="174" height="364" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Dealer in Antiquities.</p></div> -</div> - -<p>The remains of Rameses and Seti are lying on their backs out in the -Gizeh Museum, and there is a strong desire to hurry to them, in spite of -the fact that they will keep. But the panorama in front of Shepheard’s -is absorbing, and your first morning will most likely be spent in -watching it.</p> - -<p>My first afternoon was spent with an evil-eyed dragoman whose pockets -were filled with dirty cards and letters, all testimonials from former -customers proving that he was, as he continually told me, the best -dragoman in the business. He could recite some of<span class="pagenum"><a id="page_14">{14}</a></span></p> - -<div class="figcenter" style="width: 328px;"> -<a href="images/ill_pg_014-a.jpg"> -<img src="images/ill_pg_014-a.jpg" width="328" height="175" alt="[Image unavailable.]" /></a> -<div class="caption"><p>The Bridge.</p></div> -</div> - -<p>“Mother Goose,” but knew very little English besides. With him I drove -through streets that might have been in Paris, and by barracks and -sentries that might have been in London, to a river that could only be</p> - -<div class="figcenter" style="width: 334px;"> -<a href="images/ill_pg_014-b.jpg"> -<img src="images/ill_pg_014-b.jpg" width="334" height="153" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Village on the Road to the Pyramids.</p></div> -</div> - -<p><span class="pagenum"><a id="page_15">{15}</a></span></p> - -<div class="figcenter" style="width: 432px;"> -<a href="images/ill_pg_015.jpg"> -<img src="images/ill_pg_015.jpg" width="432" height="420" alt="[Image unavailable.]" /></a> -<div class="caption"><p>In the Fish-Market.</p></div> -</div> - -<p><span class="pagenum"><a id="page_17">{17}</a></span><span class="pagenum"><a id="page_16">{16}</a></span></p> - -<p class="nind">in Egypt. My carriage went between the two bronze lions and joined in -the procession of camels across the bridge over the famous river to the -Gizeh side, where tall trees meet overhead; then to a smaller bridge, -more trees, quaint shipping, and a stucco palace, once a harem where -some of Ismail’s wives lived, and now a museum, the temporary -resting-place of those uneasy mummied heads that once wore Egypt’s -crown; small mouse-colored</p> - -<div class="figcenter" style="width: 384px;"> -<a href="images/ill_pg_017.jpg"> -<img src="images/ill_pg_017.jpg" width="384" height="267" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Rameses the Great.</p></div> -</div> - -<p><span class="pagenum"><a id="page_18">{18}</a></span></p> - -<p class="nind">donkeys on all sides, and, streaking in among them, tall camels; then -seven more miles of trees and a good causeway to the pyramids. Since -then I have gone over the road many times, and I am of the opinion that -the Nile’s valley would make an ideal “happy hunting-ground,” to which -all good tourists might go when cruel waves have ceased to toss them and -their hotel lives are over.</p> - -<p>All too soon you must go hack to Cairo, where the Bedouin ceases to be -the proud son of the desert and becomes a peddler, where sheep become -mutton and clover is only fodder. But Cairo is about what the tourist -expects of it and what the hotel proprietor thinks you want. He fills -the halls of his hotel with gaily painted columns, and on each side of -the staircase are gaudy figures; and for those tourists who take their -Egypt between the slipper bazaar and the fish-market it may do.<span class="pagenum"><a id="page_19">{19}</a></span></p> - -<div class="figcenter" style="width: 410px;"> -<a href="images/ill_pg_019.jpg"> -<img src="images/ill_pg_019.jpg" width="410" height="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>At Lady Grenfell’s Masquerade Ball—on the eve of -Kitchener’s departure for the Soudan.</p></div> -</div> - -<p><span class="pagenum"><a id="page_21">{21}</a></span><span class="pagenum"><a id="page_20">{20}</a></span></p> - -<p>The Gizeh side of the river is more restful, with its ferry to Bulak, -its gardens, and its khedival sporting club, which is Egypt as England -would have it—polo twice a week, croquet and rackets, a grand stand, -and a steeplechase course; and the same men who play polo spend their -mornings on the desert, teaching their troops to form hollow squares -against the day they will have to meet the dervishes.</p> - -<p>You should choose your own Cairo. If you leave it to a dragoman you will -get mostly howling dervishes and mosques; and if you leave it to a -donkey-boy, there is no telling where he will take you—most likely to -the fish-market. But with a guide-book and a bicycle you will miss very -little that lies between the citadel and the pyramids. Cairo is not all -hotel life, and bazaars lining narrow streets like open fireplaces, -filled with putty-faced Turks as watchful as the brown buzzards that fly -overhead; there are streets<span class="pagenum"><a id="page_22">{22}</a></span></p> - -<div class="figcenter" style="width: 241px;"> -<a href="images/ill_pg_022.jpg"> -<img src="images/ill_pg_022.jpg" width="241" height="366" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Descendant of the Prophet—El Saied Ahmad Abdel Khalek -Affandi, Sheik el Sadat.</p></div> -</div> - -<p class="nind">that are difficult to find, leading to forgotten courtyards with great -trees standing in the middle of them, latticed windows bulging out over -uneven pavements below, where black and gray crows waddle about. In such -a<span class="pagenum"><a id="page_23">{23}</a></span></p> - -<div class="figcenter" style="width: 448px;"> -<a href="images/ill_pg_023.jpg"> -<img src="images/ill_pg_023.jpg" width="448" height="286" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Bargain in the Ghezireh Gardens.</p></div> -</div> - -<p><span class="pagenum"><a id="page_25">{25}</a></span><span class="pagenum"><a id="page_24">{24}</a></span></p> - -<div class="figleft" style="width: 168px;"> -<a href="images/ill_pg_025.jpg"> -<img src="images/ill_pg_025.jpg" width="168" height="324" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Dancing-Girl.</p></div> -</div> - -<p class="nind">place sits the neglected Sheik el Sadat, a lineal descendant of the -prophet. Through a doorway, in one corner of a tiled room, stands the -gold-mounted saddle on which his ancestors once proudly rode. That was -long before the days of the Suez Canal, boulevards, stucco palaces, and -the opera-house. At court the sheik is no longer the fashion, but there -is still a little band of Mohammedans who believe in him. To them the -sheik and his old house are sacred. Through the thirty days of Ramadan -they sat and howled in his courtyard, and respectfully kissed his hand; -and, like the sheik, there must be many other distinguished<span class="pagenum"><a id="page_26">{26}</a></span> Oriental -relics of the days gone by, left behind by the former tenants, and of no -use to the present occupants.</p> - -<p>In Egypt the English hold the reins, and one of these days the Egyptian -donkey may turn to the left when you meet him, as his distant relative -in Whitechapel does. At present he keeps to the right, and staggers -along under a load that is much too big for him. To-day he is not the -fashion in Cairo. He is only ridden by tourists after dark, through -streets that are too narrow and crooked for a carriage. But up the river -it is very different. There you learn to like him. From his back you -first see Karnak, and the statues of Memnon, and he is forever -associated in your memory with the tombs of the kings. Tourists quarrel -over him, and in most cases his name is “Rameses, the Great.” His chief -complaint must be that an Englishman weighs more than an Egyptian; but -he should consider<span class="pagenum"><a id="page_27">{27}</a></span></p> - -<div class="figright" style="width: 226px;"> -<a href="images/ill_pg_027.jpg"> -<img src="images/ill_pg_027.jpg" width="226" height="387" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Daughter of the Nile.</p></div> -</div> - -<p class="nind">how much better off the Egyptian is since the English have held the -reins. He will only know of this from his own observation, and from what -he hears the English say. He will never get it from a Frenchman; and the -Egyptian, who could tell him, is sulky, and stupidly wishes that he had -been rescued by some one else. The half-breed Jew and Turk in the -“Mooskee” is too busy; and all the rest of Egypt don’t know why they are -better off, or who to thank for law and order or the improved irrigation -that gives them a<span class="pagenum"><a id="page_28">{28}</a></span> fair chance with the rest of civilized mankind. But -whether the donkey knows it or not, he is much hotter off, for an -Englishman never rides him when he is old and weak, and that is more -than he can expect from his Egyptian friends, who often get on him two -at a time.</p> - -<p>At Shepheard’s people put aside their guide-books for a while. It is a -play that requires no libretto. On the crowded piazza overlooking the -street, London shopkeepers and foreign noblemen elbow each other, and -all celebrities look very much alike.</p> - -<p>Cairo is the foyer of Egypt. To go to Egypt and not go up the Nile is -very much like standing outside of a theater and watching the audience -go in, and then waiting until they come out, to glean from their -conversation some idea of the play. But the tourists who go up the river -see the drama of Egypt with all its wonderful scenery, and they feel far -superior to those who waited for them at<span class="pagenum"><a id="page_29">{29}</a></span> Shepheard’s. After one month -on the river, it is with a very different feeling they come back to the -museum at Gizeh and look on the face of Seti and his distinguished son, -whom they have tracked from Sakkara to Philæ and back to their tombs in -the sun-baked valley at Thebes, where they had hoped to rest in peace, -surrounded by all that a first-class mummy requires during its long -wait.<span class="pagenum"><a id="page_31">{31}</a></span><span class="pagenum"><a id="page_30">{30}</a></span></p> - -<div class="figcenter" style="width: 477px;"> -<a href="images/ill_pg_031.jpg"> -<img src="images/ill_pg_031.jpg" width="477" height="286" alt="[Image unavailable.]" /></a> -<div class="caption"><p>On the Road to Cairo.</p></div> -</div> - -<p><span class="pagenum"><a id="page_33">{33}</a></span><span class="pagenum"><a id="page_32">{32}</a></span></p> - -<p><span class="pagenum"><a id="page_34">{34}</a></span></p> -<h2><a id="CHAPTER_SECOND"></a>CHAPTER SECOND</h2> - -<div class="figcenter" style="width: 231px;"> -<a href="images/ill_pg_034.jpg"> -<img src="images/ill_pg_034.jpg" width="231" height="375" alt="[Image unavailable.]" /></a> -<div class="caption"><p>On the Bank at Komombos.</p></div> -</div> - -<p><span class="pagenum"><a id="page_35">{35}</a></span></p> - -<h2><a id="CHAPTER_SECOND2"></a>CHAPTER SECOND</h2> - -<div class="figleft" style="width: 258px;"> -<a href="images/ill_pg_035.jpg"> -<img src="images/ill_pg_035.jpg" width="258" height="370" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Our Christmas Dinner, Esneh, December 23.</p></div> -</div> - -<p class="nind"><span class="letra">S</span>OME Egypt-bound tourists decide to go up the Nile before they buy their -tickets at the company’s office in Bowling Green. Others, if they are -good sailors, make up their minds before they reach Naples. Some are ill -all the way to Port Saïd, and don’t cave. But most travelers are pretty -sure to decide one way or the other soon after Mount Etna<span class="pagenum"><a id="page_36">{36}</a></span> has been left -behind, for the East begins for most people from that moment. If the -guide-books fail to persuade you, there is pretty sure to be a -fellow-passenger who will. The man who has once seen Upper Egypt does -his best to make you dissatisfied with Lower Egypt. He can easily show -you that your journey’s end is not Cairo, but, at the very least, the -first cataract. This is the shortest distance he will listen to. And -after he has your promise to go that far, he tells you of the wonders -that can only be seen by going on to the second cataract.</p> - -<p>My fellow-passenger was an old traveler. Others besides myself fell -under the spell of his eloquence; so, before we had been at Shepheard’s -a week, we were a party of six, with the steam-dahabiyeh <i>Nitocris</i> -chartered for a month, beginning December 12. There were growing plants, -rugs, and a piano on her deck, and six state-rooms below. Salem Ghesiri -was our dragoman. He spoke<span class="pagenum"><a id="page_37">{37}</a></span></p> - -<div class="figcenter" style="width: 475px;"> -<a href="images/ill_pg_037.jpg"> -<img src="images/ill_pg_037.jpg" width="475" height="340" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Karnak, January 2, 1898.</p></div> -</div> - -<p><span class="pagenum"><a id="page_39">{39}</a></span><span class="pagenum"><a id="page_38">{38}</a></span></p> - -<p class="nind">good English, and knew the river by heart. Before we left, a few days -were spent in buying cork hats and sun umbrellas, and by ten o’clock on -the morning of the 12th the crew had unloaded the trucks that had -brought our belongings down from Shepheard’s, and we had started, with -the wind and the current so strong against us that it was all we could -do to make six miles an hour against them.</p> - -<p>On our left were the mud houses of Old Cairo, with ancient quarries in -the distance, and on the right, far beyond a forest of slanting masts -that belonged to the picturesque ships which lined the bank, were the -tops of the pyramids that we were leaving for a month. As evening -approached, the</p> - -<div class="figright" style="width: 155px;"> -<a href="images/ill_pg_039.jpg"> -<img src="images/ill_pg_039.jpg" width="155" height="255" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Salem Ghesiri Dragoman.</p></div> -</div> - -<p><span class="pagenum"><a id="page_40">{40}</a></span></p> - -<p class="nind">right bank seemed peopled with silhouettes of camels, donkeys, and men, -while the figures on the opposite bank were rose-color. To us the day -was cool, but to the crew it must have been cold, for their heads were -wrapped in shawls and they huddled together in groups about the deck. -The awning over us had been removed, and Ali, the pilot, looked like a -partly unwrapped mummy as he sat at the wheel.</p> - -<p>Those who go up the river in a dahabiyeh like to feel that they are in -the same boat with the travelers whose books they read from New York to -Port Saïd. This would be a very pleasant feeling, if it did not suggest -the responsibility of keeping a record of days that, from all accounts, -are sure to be of so much importance. There is a</p> - -<div class="figleft" style="width: 263px;"> -<a href="images/ill_pg_040.jpg"> -<img src="images/ill_pg_040.jpg" width="263" height="228" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Karnak Beggar.</p></div> -</div> - -<p><span class="pagenum"><a id="page_42">{42}</a></span><span class="pagenum"><a id="page_41">{41}</a></span></p> - -<div class="figcenter" style="width: 264px;"> -<a href="images/ill_pg_042.jpg"> -<img src="images/ill_pg_042.jpg" width="264" height="394" alt="[Image unavailable.]" /></a> -<div class="caption"><p>All, the Pilot.</p></div> -</div> - -<p><span class="pagenum"><a id="page_43">{43}</a></span></p> - -<p class="nind">sentimental belief that each day on the river is to be of the greatest -importance, just as if thousands of tourists on Cook’s steamers were not -taking the same journey each year. So overpowering becomes this delusion -that even letters home seem to take the form of historic biographies, -and sound like messages that are sometimes found floating in bottles -thrown overboard by shipwrecked people. The Nile itself seems to insist -that all mention of it should be made in the form of a diary, for, with -very few exceptions, all accounts adopt that mode of expression when -they come to it. Cairo and</p> - -<div class="figright" style="width: 241px;"> -<a href="images/ill_pg_043.jpg"> -<img src="images/ill_pg_043.jpg" width="241" height="317" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Statue of Thothmes, Karnak.</p></div> -</div> - -<p><span class="pagenum"><a id="page_44">{44}</a></span></p> - -<p>Upper Egypt may be treated in the form of essays, but the endless -parallel banks of the river immediately suggest that all days will be -very much alike and lose their identity, unless they are numbered and -described. It seems to be of the greatest importance to find the best -way to spell the name of the mud village where you tie up for the night -(which name most of the guide-books spell differently)—as if it made -any difference to the people at home.</p> - -<p>But the diaries on the <i>Nitocris</i> during that month were very -conscientious and particular about these small things, and I think they -will all agree in their spelling, for each one of us waited until all -the others had agreed upon the most popular way to spell the names of -these various landmarks before we wrote them down.</p> - -<p>We soon made friends with our crew. There were sixteen of them. They -were<span class="pagenum"><a id="page_45">{45}</a></span></p> - -<div class="figcenter" style="width: 331px;"> -<a href="images/ill_pg_045.jpg"> -<img src="images/ill_pg_045.jpg" width="331" height="483" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Lunching in Karnak.</p></div> -</div> - -<p><span class="pagenum"><a id="page_47">{47}</a></span><span class="pagenum"><a id="page_46">{46}</a></span></p> - -<div class="figcenter" style="width: 324px;"> -<a href="images/ill_pg_047.jpg"> -<img src="images/ill_pg_047.jpg" width="324" height="229" alt="[Image unavailable.]" /></a> -<div class="caption"><p>An Assiût Donkey.</p></div> -</div> - -<p class="nind">from every part of Egypt, and of all colors, shading from the engineer, -who was a cream-colored Turk,—when his face was washed,—to Ali, who -must have been a Sudanese. Our head steward was almost as black, and the -second steward was another of the cream-colored variety. We seldom saw -the cook. Sometimes he would put his head and shoulders out of the -hatchway, with his arms on the deck, and then we could see that he was a -little, white-faced Turk with a large black mustache.<span class="pagenum"><a id="page_48">{48}</a></span></p> - -<p>Salem was a Syrian Christian, and he had lost all his earnings in an -unprofitable exhibit at the World’s Fair in Chicago. His costumes were -always elaborate, and he was very ornamental, with his silk sashes and -fancy turbans. He superintended our meals, and always suggested the next -day’s program during dinner; so with our coffee we would read aloud -Charles Dudley Warner’s and Miss Edwards’s opinions of our next -stopping-place.</p> - -<p>After our first dinner we tied to the bank, by a little village, Salem -said, just big enough to have a name. It was-dark, and we could hear and -see nothing; so we took his word for it.</p> - -<p>We were off early the next morning, and all that day the river’s banks -were fringed with sugar-cane and sakiehs. The many boats we passed were -loaded with natives, sometimes perched upon loads of grain, or mixed in -with turkeys and cattle.<span class="pagenum"><a id="page_50">{50}</a></span><span class="pagenum"><a id="page_49">{49}</a></span></p> - -<div class="figcenter" style="width: 330px;"> -<a href="images/ill_pg_050.jpg"> -<img src="images/ill_pg_050.jpg" width="330" height="466" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Temple of Ti.</p></div> -</div> - -<p><span class="pagenum"><a id="page_51">{51}</a></span></p> - -<div class="figcenter" style="width: 393px;"> -<a href="images/ill_pg_051.jpg"> -<img src="images/ill_pg_051.jpg" width="393" height="429" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Tombs of the Kings, Thebes.</p></div> -</div> - -<p><span class="pagenum"><a id="page_53">{53}</a></span><span class="pagenum"><a id="page_52">{52}</a></span></p> - -<p>On December 14 we made our first landing, and had our first donkey ride, -at Beni-Hassan, one hundred and seventy-one miles from Cairo. The -Egyptian policemen who accompanied us to the tombs were out of keeping -with the peaceful look of the place, and only succeeded in keeping at a -distance the children, who were very pretty.</p> - -<p>From the cliffs back of the village we had our first view of the valley -of the Nile, with its delicate green fields, beginning immediately at -the foot of the sun-baked hills on which we stood. I rode back before -the rest to make a sketch; but the arrival of the post-boat put an end -to that, and its passengers soon had our donkeys, beggars, naked -children, policemen, and all, and were taking them back to</p> - -<div class="figright" style="width: 130px;"> -<a href="images/ill_pg_053.jpg"> -<img src="images/ill_pg_053.jpg" width="130" height="251" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Guardian of the Temple.</p></div> -</div> - -<p><span class="pagenum"><a id="page_54">{54}</a></span></p> - -<p class="nind">the tombs we had just left. The post-boat was to us what the foot-prints -in the sand must have been to Robinson Crusoe. Our frame of mind -underwent a change. We finally became reconciled to the fact that we -were not doing anything uncommon, and from that moment our diaries -suffered. Then the most contagious of all Nile ambitions seized us, and -our one desire was to find a mummy.</p> - -<p>Most of the 15th was spent with Baedeker, preparing for Assiût, where we -were to tie up for the night.</p> - -<p>After an early breakfast, we climbed the bank, and found that it was -chiefly inhabited by beggars. We visited the tombs, and came back to the -dahabiyeh by way of the bazaars, where the natives were dyeing the -dark-blue cloth which they all dress in. That afternoon we came upon an -army of pelicans on a mud flat in the middle of the river. At the sound -of our whistle they got up, and we<span class="pagenum"><a id="page_55">{55}</a></span></p> - -<div class="figcenter" style="width: 453px;"> -<a href="images/ill_pg_055.jpg"> -<img src="images/ill_pg_055.jpg" width="453" height="313" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“Most of the day was spent with Baedeker.<span class="pagenum"><a id="page_57">{57}</a></span><span class="pagenum"><a id="page_56">{56}</a></span>”</p></div> -</div> - -<p class="nind">lost them far ahead in the twilight, and we thought of that tame pelican -that waddles about in Shepheard’s stable-yard.</p> - -<p>The next day we went by mud villages at the foot of high mountains of -white limestone, until we stopped at Farshut for coal, and tried to -awaken some sign of friendliness in the natives, who were as dull as the -mud banks on which they sat.</p> - -<p>On the afternoon of the 18th we reached Keneh, and in fifteen minutes we -were on donkeys, going by villages filled with children and barking -dogs, on our way to the temple of Dendera. This was to be our first big -temple, and Salem had made it his chief excuse for hurrying us away from -Beni-Hassan, Assiût, and the rest. Our donkeys raced along the edge of -an empty canal, through herds of goats and buffalo, until we saw a low -pile of stones in the distance, and then we reached the half-buried -temple, and lighted candles, and went down into it and looked up at<span class="pagenum"><a id="page_58">{58}</a></span> the -mighty columns. Salem repeated all that the guide-books knew, and then -took us around to the back wall and showed us the famous likeness of -Cleopatra and her son Cæsarion.</p> - -<p>Salem was pleased with the way we took our first temple, and rewarded us -by saying it was only the beginning of what was to come. We complimented -him on his choice of subjects, blew out our candles, picked the -candle-grease from our fingers, and reached the dahabiyeh by sundown.</p> - -<p>By one o’clock, on December 19, we were abreast of the promised Karnak, -and could see the top of its pylons and obelisk. We had saved most of -our enthusiasm for this place, and we were anxious to get ashore and -expend it; reluctantly we went by it a few miles to Luxor for a better -landing, where we were watched by a bank-load of natives until four -o’clock. Then we walked through them to the village and temple of Luxor, -which<span class="pagenum"><a id="page_59">{59}</a></span></p> - -<div class="figcenter" style="width: 481px;"> -<a href="images/ill_pg_059.jpg"> -<img src="images/ill_pg_059.jpg" width="481" height="340" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Christmas, 1897.</p></div> -</div> - -<p><span class="pagenum"><a id="page_61">{61}</a></span><span class="pagenum"><a id="page_60">{60}</a></span></p> - -<div class="figcenter" style="width: 333px;"> -<a href="images/ill_pg_061.jpg"> -<img src="images/ill_pg_061.jpg" width="333" height="331" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Guardians of the Temple.</p></div> -</div> - -<p class="nind">served as a curtain-raiser to the next day’s visit to the greatest of -all temples.</p> - -<p>That evening a Cook’s steamer arrived, and we were deserted by the crowd -on the bank. After dinner Ghesiri entertained the sheiks of the -donkey-boys and made arrangements for our mounts for the next day. Two -of us volunteered to go to the village and locate the<span class="pagenum"><a id="page_62">{62}</a></span> dancing that the -guide-books said could be found here, but we learned there was to be -none until the following Saturday.</p> - -<p>The next day was spent at Karnak, where Ghesiri led us over its famous -stones, until lunch was brought from the <i>Nitocris</i>, and served in a -colonnade surrounded by columns resembling huge granite lozenges, piled -at all angles, one on top of the other, like ancient friends, those who -had fought successfully with time supporting those who had been less -fortunate; and apart from the rest, requiring no support, and with no -friends to be helped, stood the greatest column of them all, the lonely -survivor of the great peristyle court, with its lotus capital, looking -down on all but its lonely rival, an obelisk. It looks as though it had -been polished and placed there the day before, in striking contrast to -its unfortunate mate, which centuries ago gave up battling with -earthquakes and wars, and now lies, a hopeless ruin, at its feet.<span class="pagenum"><a id="page_63">{63}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_pg_063.jpg"> -<img src="images/ill_pg_063.jpg" width="466" height="333" alt="[Image unavailable.]" /></a> -<div class="caption">Christmas Night—“Auld Lang Syne.”</div> -</div> - -<p><span class="pagenum"><a id="page_64">{64}</a></span>  </p> - -<p><span class="pagenum"><a id="page_65">{65}</a></span>  </p> - -<p>We spent the next three days at Karnak and Thebes, saving the tombs of -the kings until we should stop again on our way down from Assuan.</p> - -<p>And now the important question was, Where should we spend Christinas? -The better we knew Karnak and Thebes, the more forbidding they had -grown. They were too stiff and formal, and their great rigid Rameses too -depressing for a Christmas. We wanted a cheerful temple, and we found it -at Komombos.</p> - -<p>We left Karnak on the morning of December 24, and spent Christmas eve at -Edfu. That night the deck was entirely housed in by canvas. The crew sat -in a circle back of the smoke-stack, and while they divided the -cigarettes we had bought for them at Luxor, they listened to our “Down -upon the Suwanee River.”</p> - -<p>Christmas morning we came on deck, and found that Ghesiri had -transformed it into<span class="pagenum"><a id="page_66">{66}</a></span> a bower of palm-branches, sugar-cane, and oranges. -The crew were all smiles, and when we presented them with the price of a -sheep, they gave us three cheers and a merry Christmas. More cigarettes -were distributed, and shortly after breakfast we started for Komombos.</p> - -<p>There was little in the day to remind a New-Englander of Christmas. In -the lightest clothes, we sat about the deck and watched the villages go -by. It was good to see our old friends the water-wheels and cheerful -sakiehs again. They looked better to us after our somber stay at Karnak. -Early in the afternoon we came to Komombos, the temple we were looking -for, and tied to the river’s bank just below it; and if you must be -traveling on Christmas, there can be no better place to stop.</p> - -<p>At Komombos the never-resting Nile has worked its way to the foot of the -little hill on which the temple is making its last stand<span class="pagenum"><a id="page_67">{67}</a></span></p> - -<div class="figcenter" style="width: 483px;"> -<a href="images/ill_pg_067.jpg"> -<img src="images/ill_pg_067.jpg" width="483" height="340" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Thebes, January 2, 1898.</p></div> -</div> - -<p><span class="pagenum"><a id="page_69">{69}</a></span><span class="pagenum"><a id="page_68">{68}</a></span></p> - -<p class="nind">against time. Some kind friends have covered the bank with stones, but -the river is slowly wearing them away, and sooner or later it will claim -its own; and it will be a pity, for Komombos’s temple is dainty in -comparison with Karnak, where great stiff Rameses stand with their arms -folded across their breasts in very much the same manner in which the -real arms are held in the glass case at the Gizeh Museum.</p> - -<p>At Karnak there were miles of half-buried walls, and cut deep in them -gigantic figures of Rameses, with one hand raised about to strike off -the heads of enemies done up in bundles like asparagus and held by the -hair of their heads, while armies are shown flying in confusion. The -bas-reliefs at Komombos are more cheerful and cut with greater skill. -They represent the ancient gods of Egypt in their more playful moods, -floating down the Nile, spearing miniature hippopotamuses and -crocodiles, with here and there a triumphant<span class="pagenum"><a id="page_70">{70}</a></span> procession. The debris of -the forgotten city that once covered Komombos has been removed, and the -great hall, with its holy of holies now exposed to the light of day, is -swept by the wind as clean as a Dutch kitchen; and yet the carvings are -as fresh as the day they were made. From the <i>Nitocris</i> to the temple -is only a few steps through some sugar-cane. It was a novel experience -to find no donkey-boys with their patient and sleepy donkeys.</p> - -<p>But the natives were different from any we had heretofore seen, and -proved that we were getting into real Africa. They were mostly Nubians, -and very black, and our preconceived idea of what an African should be.</p> - -<p>Komombos and Philæ are the only temples we climbed up to, and it seems -to me that they, above all others, lend themselves more readily to the -sentimental tourist. It is easier for the imagination to people them; -they are more like dwellings.<span class="pagenum"><a id="page_71">{71}</a></span></p> - -<div class="figcenter" style="width: 485px;"> -<a href="images/ill_pg_071.jpg"> -<img src="images/ill_pg_071.jpg" width="485" height="334" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Home Visitors.</p></div> -</div> - -<p><span class="pagenum"><a id="page_73">{73}</a></span><span class="pagenum"><a id="page_72">{72}</a></span></p> - -<p>After tea had been brought from the <i>Nitocris</i> and served in its -portals, we all decided that Komombos would be the temple to own. That -evening the crew hung lanterns around the deck among the sugar-canes and -palms, and after dinner they gave an exhibition, which started well -enough with a dance by the first mate.</p> - -<p>Since then I have found that all travelers on the Nile are likely to -have this same experience. We were proof against the “Dhabir Devil” that -the guide-books had warned us against, but Baedeker had made no mention -of the possibility of this entertainment happening to us; still, the -crew went at it as though it was an old story with them, and as I write -this there may be some unsuspecting tourist about to go through with it. -It sounds very good-natured on the part of the crew; and if the -entertainment had stopped when the mate had finished the dance, it would -have been well enough; but<span class="pagenum"><a id="page_74">{74}</a></span> the dance was only to hold our attention -while the others were getting ready, and then the dreary horse-play -began. There was a barber-shop scene, in which flour paste was used and -a door-mat acted as a towel. A crew that mutinies is tame compared with -an Egyptian crew that acts. We stopped them as soon as we could without -hurting their feelings, and they subsided and formed a circle back of -the smoke-stack. The rest of the evening was spent in entertainment of -our own choice, and by midnight all was still but the river, which never -rests.</p> - -<div class="figcenter" style="width: 339px;"> -<a href="images/ill_pg_074.jpg"> -<img src="images/ill_pg_074.jpg" width="339" height="186" alt="[Image unavailable.]" /></a> -</div> - -<p><span class="pagenum"><a id="page_75">{75}</a></span></p> - -<p><span class="pagenum"><a id="page_76">{76}</a></span></p> -<h2><a id="CHAPTER_THREE"></a>CHAPTER THREE</h2> - -<div class="figcenter" style="width: 600px;"> -<a href="images/ill_pg_076.jpg"> -<img src="images/ill_pg_076.jpg" width="600" height="570" alt="[Image unavailable.]" /></a> -<div class="caption"><p>His Highness Prince Mahomet Ali, Cairo, February 14, -1898.</p></div> -</div> - -<p><span class="pagenum"><a id="page_77">{77}</a></span></p> - -<div class="figcenter" style="width: 235px;"> -<a href="images/ill_pg_077.jpg"> -<img src="images/ill_pg_077.jpg" width="235" height="208" alt="[Image unavailable.]" /></a> -<div class="caption"><p>On the Bank.</p></div> -</div> - -<h2>CHAPTER THIRD</h2> - -<p class="nind"><span class="letra">T</span>HE starting of the engines had us up fairly early the next morning, and -we found the country very much changed. The desert now came to the -river’s edge, and granite had taken the place of limestone; it seemed as -though we had come to the end of fertile Egypt. Two white vultures were -the only living things in sight. Then we<span class="pagenum"><a id="page_78">{78}</a></span> came to some wonderful bends -in the river, and the sakiehs once more began to dip up the muddy water; -but the skins of the men who worked them had changed: they glistened -like coal in the sunlight.</p> - -<p>By two o’clock we reached Assuan, and moored to the island of -Elephantine, just opposite the town, from which any number of little -bright-painted ferry-boats rowed toward us; and in a few minutes some -thin-legged Egyptian policemen and a few natives were on the bank, and a -small boy with a stick had been selected to mind the turkeys that we had -brought from Esneh. Some of the poor birds were very weak on their legs, -and where they ought to have been red they were only a pale -salmon-color; but the little cook promised that they would be all right -in a day or two. Some of the crew had homes on the island, and they all -put on their best clothes and were met by friends. They immediately -established a laundry on shore, and<span class="pagenum"><a id="page_79">{79}</a></span> the building of an oven proved that -we were to be there for some time.</p> - -<p>We began the 27th with a visit to the tombs on Grenfell Hill, high on -the river’s bank, below Elephantine. There was a strong wind, full of -sand, from the south, and the light natives had trouble in getting the -heavy boat to the foot of the hill. The wind helped us back to the -<i>Nitocris</i>, and after lunch we crossed the river to Assuan, where the -inhabitants seemed especially prepared for tourists. The natives were -more theatrical in Assuan, and the bazaars were filled with musical -instruments, made as primitive as possible to please the traveler.</p> - -<div class="figleft" style="width: 329px;"> -<a href="images/ill_pg_079.jpg"> -<img src="images/ill_pg_079.jpg" width="329" height="727" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Shopping.</p></div> -</div> - -<p>There is a railroad at Assuan. It is only a small, disconnected link; -but some day<span class="pagenum"><a id="page_80">{80}</a></span> it will be part of a road to the Cape, and vestibule -trains will run over it, and passengers may get only flying glimpses of -Philæ from car windows. Think of being on a train that went by Pharaoh’s -Bed in the night! But it is impossible to believe that the world could -become used to such a wonderful place, and it is to be hoped that all -trains will go slow when they come to Philæ; for without it Egypt would -be like “Romeo and Juliet” without a balcony. It is the most romantic -ruin in Egypt, and it marks the end of the first-cataract tourist’s -journey.</p> - -<p>If the <i>Nitocris</i> had been a sailing-dahabiyeh, and had belonged to us, -and if the season had been younger and the river higher, we would have -had her pulled up one cataract after another until we had made some -important discoveries; but we were one-month tourists on a hired boat, -and that night, while the <i>Nitocris</i> was tied fast to some large wooden -pegs driven deep into the<span class="pagenum"><a id="page_81">{81}</a></span></p> - -<div class="figcenter" style="width: 481px;"> -<a href="images/ill_pg_081.jpg"> -<img src="images/ill_pg_081.jpg" width="481" height="477" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Shepheard’s Hotel, Cairo.</p></div> -</div> - -<p><span class="pagenum"><a id="page_83">{83}</a></span><span class="pagenum"><a id="page_82">{82}</a></span></p> - -<div class="figcenter" style="width: 217px;"> -<a href="images/ill_pg_083.jpg"> -<img src="images/ill_pg_083.jpg" width="217" height="257" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A Luxor Dancing-girl.</p></div> -</div> - -<p class="nind">beach, we read how the <i>Rip Van Winkle</i> and other dahabiyehs had gone to -Abu-Simbel.</p> - -<p>The next morning we chose the nine-o’clock train, in preference to -camels and donkeys; and after some minutes of rocking and twisting in -the little box-car, we were ferried from the mainland to the famous -island, where we were to forget Komombos and all the others amid new -beauties, which no guide-book can exaggerate.<span class="pagenum"><a id="page_84">{84}</a></span></p> - -<p>After lunch we walked to the northern end of the island, hoarded a big, -clumsy, eight-oared boat with a great deal of rigging lashed overhead, -and our homeward journey began. There was a crew of ten, and we soon had -the greatest respect for their skill, especially one little man with -crooked teeth, who sat in the stern and shouted over our heads at the -men in the boat.</p> - -<p>The rapids were tame enough at first. The wind was strong against us, -and we found some shelter behind the high granite islands we drifted -among. The river had worn them into fantastic shapes so closely -resembling temples that hieroglyphics had been cut on the polished -stones by the Pharaohs, who never tired of seeing their names in print.</p> - -<p>At one place we stopped and watched ten or fifteen boys swim and float -down a part of the rapids. They would come shivering up to us, and the -next instant they would be in<span class="pagenum"><a id="page_85">{85}</a></span></p> - -<div class="figcenter" style="width: 490px;"> -<a href="images/ill_pg_085.jpg"> -<img src="images/ill_pg_085.jpg" width="490" height="333" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Camel-back.</p></div> -</div> - -<p><span class="pagenum"><a id="page_87">{87}</a></span><span class="pagenum"><a id="page_86">{86}</a></span></p> - -<p class="nind">the water shooting by us on a log, screaming to attract our attention, -and then back again to us, with their teeth chattering for bakshish.</p> - -<p>But after that it was very different. The man at the tiller half stood -up, and I could see, by the little patches of sand on his forehead that -the wrinkles there had formed in two parallel lines, that he had been -praying while we had been watching the boys swim, and by the same sign I -could see that most of the crew had been doing the same thing; and -Mohammed must have been with us, for fifty times within half that number -of minutes we needed help. With the little man in the stern continually -wetting his lips and jamming the tiller from side to side, apparently -steering in just the wrong place, and always proving that he was right, -we “shot” over the uneven surface of the river, dodging half-buried -rocks, first near one bank and then the other, until we reached the -natural bed of the<span class="pagenum"><a id="page_88">{88}</a></span></p> - -<div class="figleft" style="width: 202px;"> -<a href="images/ill_pg_088.jpg"> -<img src="images/ill_pg_088.jpg" width="202" height="335" alt="[Image unavailable.]" /></a> -<div class="caption"><p>The Sheik of the Pyramids.</p></div> -</div> - -<p class="nind">river. Here the crew began their battle with the wind, and by evening, -after much chanting and hard rowing on their part, we reached the -<i>Nitocris</i>, feeling very much as if our faces had been sandpapered. -During our stay at Elephantine we made friends with four little Bisharin -girls. They were graceful and pretty, and had the power to make the most -dismal tomb cheerful. They followed us to the quarries back of Assuan, -and turned the top of the half-finished obelisk into a stage and danced -in the sunlight, while the blackest man in Africa played an instrument -of his own invention. And the last I remember of Assuan is their<span class="pagenum"><a id="page_89">{89}</a></span></p> - -<div class="figcenter" style="width: 293px;"> -<a href="images/ill_pg_089.jpg"> -<img src="images/ill_pg_089.jpg" width="293" height="435" alt="[Image unavailable.]" /></a> -<div class="caption"><p>On Grenfell Hill. The Keeper of the Tomb, Assuan, -December 29, 1897.</p></div> -</div> - -<p><span class="pagenum"><a id="page_91">{91}</a></span><span class="pagenum"><a id="page_90">{90}</a></span></p> - -<p class="nind">four little figures wrapped in the brightest-colored shawls that could -be bought in Lower Egypt, and they waving their hands until a bend in -the river hid them.</p> - -<p>It was a novelty to find ourselves going with the current, which had -been until now against us, and we could count on much bigger runs; but -there was double the danger of running on a sand-bar, and from that time -on there was always a man with a pole in the bow.</p> - -<p>On the 30th we stopped beneath our old friend Komombos, and visited Edfu -the next day; and from the top of its pylons we looked into the -mud-walled yards of the town, where little fly-covered children stopped -playing with goats and called to us, even at that height, for bakshish.</p> - -<p>On the 31st we were once more in Luxor, where the donkey-boys and -beggars gave us a hearty welcome. Again we visited Thebes, and were -followed from tomb to tomb by<span class="pagenum"><a id="page_92">{92}</a></span> the usual venders of imitation antiques -and shriveled mummy-hands.</p> - -<p>Our trips back from Thebes were always enlivened by donkey-races across -the great fields of young wheat, in the middle of which the great -Memnons sit. Those races generally proved that “Columbus” was a faster -donkey than “New York.”</p> - -<p>Pharaoh must have continually thought of the future. His tombs at Thebes -show how anxious he was to outlast time. And it seems hard that his -carefully prepared plans should have been interfered with. How -impressive it would be to find, at the end of the long subterranean -passage, the king whose one wish had been to lie there. He must have -visited it often before his death. He might have superintended its -building and criticized the drawings that decorate its walls. But the -sarcophagus is now empty, and its lid is broken, and the king’s new -friends have put him in a cheap wooden house; and written<span class="pagenum"><a id="page_94">{94}</a></span><span class="pagenum"><a id="page_93">{93}</a></span></p> - -<div class="figcenter" style="width: 359px;"> -<a href="images/ill_pg_094.jpg"> -<img src="images/ill_pg_094.jpg" width="359" height="403" alt="[Image unavailable.]" /></a> -<div class="caption"><p>At the Races, Khedival Sporting Club.</p></div> -</div> - -<p><span class="pagenum"><a id="page_95">{95}</a></span></p> - -<div class="figright" style="width: 118px;"> -<a href="images/ill_pg_095.jpg"> -<img src="images/ill_pg_095.jpg" width="118" height="264" alt="[Image unavailable.]" /></a> -<div class="caption"><p>An Assuan Beggar.</p></div> -</div> - -<p class="nind">on a piece of cardboard, and tacked on the glass case in which he now -lies, is the name he was so fond of cutting in granite.</p> - -<p>One year more or less makes very little difference to Egypt, but the New -Year was properly welcomed aboard the <i>Nitocris</i>, for one of us had -never seen a January 1 before. So it happened that, even in Egypt, the -occasion was treated as a novelty, and the <i>Nitocris</i> once more -blossomed out with lanterns, and looked as well that night as her more -graceful rivals, the sailing-dahabiyehs, that were anchored above and -below us.</p> - -<p>January 4 was our last day at Luxor. We had ridden up the limestone -valley at Thebes to the tombs of the kings, had spent several days and a -moonlight night at<span class="pagenum"><a id="page_96">{96}</a></span> Karnak. We had said good-by to our donkey-boys. Mine -had held an umbrella over me with one hand and had fought natives at the -same time with the other, and I hope that some day he will be a -dragoman. Before daylight on the 5th we had once more started north, -with only five more days on the river left to us. At night we tied to -the bank and walked through moon-lighted villages, and did our best to -imagine that our journey had only just begun.</p> - -<p>On the evening of the 7th an extraordinary thing happened. It rained -hard enough to make a noise on the awning over us, and in the excitement -we almost forgot that there were only three more days between us and -Cairo. We had begun to count the hours and to dread that fatal bend in -the river that would show us the pyramids at Sakkara, where we were to -spend our last night. We passed dahabiyehs with American and English -flags flying over them, and we were filled with<span class="pagenum"><a id="page_97">{97}</a></span></p> - -<div class="figcenter" style="width: 424px;"> -<a href="images/ill_pg_097.jpg"> -<img src="images/ill_pg_097.jpg" width="424" height="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>An Artist in the Mouskie.</p></div> -</div> - -<p><span class="pagenum"><a id="page_99">{99}</a></span><span class="pagenum"><a id="page_98">{98}</a></span></p> - -<p class="nind">envy. Handkerchiefs and parasols were sympathetically waved at us, and -at a distance we may have looked cheerful; but it was a forlorn, -childish feeling to be taken home because our time was up and our -dahabiyeh had another engagement. We felt that all the other boats knew -our secret, and we even suspected the crew of having become tired of us -and only remaining civil in order to collect the present that they were -expecting.</p> - -<p>Ghesiri’s suggestion that we spend the night of the 10th at Cairo seemed -to prove that they were anxious to have done with us; but we had no -inclination to be tied to the bank at Cairo overnight, waiting to be -sent away in the morning before a crowd of natives, and among them, -possibly, those other people who had chartered our boat. We would wait -at Sakkara, and not get to Cairo one minute before our time was up.</p> - -<p>On the 8th we visited a sugar-factory at<span class="pagenum"><a id="page_100">{100}</a></span></p> - -<div class="figleft" style="width: 193px;"> -<a href="images/ill_pg_100.jpg"> -<img src="images/ill_pg_100.jpg" width="193" height="289" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Our Bisharin Friends, Assuan.</p></div> -</div> - -<p>Tel-el-Amarna, and later on the same day passed our first landing-place, -Beni-Hassan.</p> - -<p>By noon on the 9th we reached the fatal bend in the river and saw that -we were once more in the land of pyramids, and we were soon tied to the -bank beneath which once stood the city of Memphis. We rode to Marietta’s -House, past the pyramids and the colossal Rameses lying on his back -among tall palms, surrounded, for some reason, by a mud house, as if the -great granite figure had not already proved that it could continue its -battle with time unassisted by a few mud bricks and some tin roofing -that is very much in the way.</p> - -<p>We lighted candles and walked through the hot, suffocating galleries of -the mausoleum, and peered into the huge granite sarcophagi that once -held the mummied sacred bulls. Then we rode to the tomb of Ti, and -Ghesiri’s last lecture was about that gentleman.<span class="pagenum"><a id="page_101">{101}</a></span></p> - -<div class="figcenter" style="width: 405px;"> -<a href="images/ill_pg_101.jpg"> -<img src="images/ill_pg_101.jpg" width="405" height="292" alt="[Image unavailable.]" /></a> -<div class="caption"><p>Beni-Hassan.</p></div> -</div> - -<p><span class="pagenum"><a id="page_103">{103}</a></span><span class="pagenum"><a id="page_102">{102}</a></span></p> - -<p>In the distance was Cairo; and even a view of the pyramids at Gizeh and -the citadel failed to console us, and we still mourned our late month on -the Nile. We took our last donkey-ride through the palms that now grow -where Memphis once stood, and reached the <i>Nitocris</i> by sundown.</p> - -<p>By midday on the 10th, we shook hands with the crew and left the -<i>Nitocris</i> tied to the bank where we had first found her, just as though -nothing had happened; and, after all, what had happened was this: six -more tourists had gone to the first cataract and back, and a few more -Egyptian sketches had been made. For us the performance of the Nile was -at an end, and we were once more in the streets on our way to the -Ghezireh Hotel, with a determination to console ourselves with Cairo, -which now looked to us, after our stay in the country, like a full-grown -European capital.</p> - -<p>By January 10 the season had commenced<span class="pagenum"><a id="page_104">{104}</a></span></p> - -<div class="figcenter" style="width: 313px;"> -<a href="images/ill_pg_104.jpg"> -<img src="images/ill_pg_104.jpg" width="313" height="221" alt="[Image unavailable.]" /></a> -<div class="caption"><p>At Philæ.</p></div> -</div> - -<p class="nind">and the prices of rooms had doubled. Since we left, several steamers -from the west had brought an army of tourists, who were turning Africa -into New York, London, and Paris. And at the Casino, in the Ghezireh -Gardens, was as good an imitation of Monte Carlo as the law allows, but -such a poor one that even the Frenchmen who worked it seemed ashamed of -themselves, and the New-Yorker who owned it was very seldom seen there.<span class="pagenum"><a id="page_105">{105}</a></span></p> - -<div class="figcenter" style="width: 483px;"> -<a href="images/ill_pg_105.jpg"> -<img src="images/ill_pg_105.jpg" width="483" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“As good an imitation of Monte Carlo as the law -allows.<span class="pagenum"><a id="page_107">{107}</a></span><span class="pagenum"><a id="page_106">{106}</a></span>”</p></div> -</div> - -<p>At Shepheard’s there is always the man who has “been there before,” and -like the same man at the play, he sits beside you and interprets the -picture. You finally promise that you will not go to the <i>monskie</i> -without him, and that you will not see the Sphinx by moonlight unless he -is there; for if you do, not having been there before, you will be sure -to go too early or too late. He says the moon should be at just such an -angle and no other. The peddlers in the monskie know him, and while they -entertain him with little cups of sweet tea they complain that they have -had no luck since they last saw him, and they ask eagerly after that -gentleman he brought to them the year before—the gentleman who had such -exquisite taste and backed it up so generously with his money. And you -drink their tea, and feel, as you leave the shops, after having only -looked at their things, that they will never ask affectionately after -you. The man who has been<span class="pagenum"><a id="page_108">{108}</a></span> there before generally walks in front of you, -as if he were not as anxious to have you see the place as he is to have -you see that he knows his way about; and, after all, it is no small -thing to be proud of. If I ever go to the mouskie again, I shall pity -the greenhorn who happens to be with me.</p> - -<p>The bazaars are dirty, and so many pasty-faced Turks squatting about in -the filth grow tiresome. At first they are described in letters home as -fascinating and picturesque, and whole days are spent with them, buying -hundreds of things that are destined to be left in hotel bureau drawers -and gradually lost. The souvenirs we buy in the mouskie seem to melt -away. The precious stones we bought there turn to glass, the slippers -become pasteboard, the gilt things tarnish, and the brass-work bends -itself into old junk, and the mouskie is only a confused dream; so no -wonder the old traveler is proud that he can actually find his<span class="pagenum"><a id="page_110">{110}</a></span><span class="pagenum"><a id="page_109">{109}</a></span></p> - -<div class="figcenter" style="width: 406px;"> -<a href="images/ill_pg_110.jpg"> -<img src="images/ill_pg_110.jpg" width="406" height="409" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“The man who has ‘been there before.’<span class="lftspc">”</span></p> -</div> -</div> - -<p><span class="pagenum"><a id="page_111">{111}</a></span></p> - -<div class="figcenter" style="width: 318px;"> -<a href="images/ill_pg_111.jpg"> -<img src="images/ill_pg_111.jpg" width="318" height="287" alt="[Image unavailable.]" /></a> -<div class="caption"><p>In a Coffee-house, Cairo.</p></div> -</div> - -<p class="nind">way about in it. He had probably begun to think that there never had -been such a place.</p> - -<p>But Egypt is full of real things, and probably the most genuine thing of -them all is the English occupation. Egypt herself is the best proof of -how necessary to her well-being this is. It is hard to tell just how -unhappy the fellaheen were before the English<span class="pagenum"><a id="page_112">{112}</a></span> came. The Egyptian is not -the sort of man that complains. After centuries of oppression, he now -accepts whatever form of government is offered in a browbeaten way, and -shuffles along after his donkey, and pays his tax for bringing a few -bundles of clover across the bridge into Cairo without a murmur; and, -judging by his looks, I doubt if he would make much disturbance if he -found, some morning, that the tax on his clover had been doubled. He -evidently feels like a very small depositor in a broken bank. England is -the largest creditor, and is straightening things out for them both, and -he is satisfied.</p> - -<p>There never were so many cooks trying to spoil a broth. Before a -consul-general is received by the Khedive, the Sultan of Turkey must -first approve of him, and it is said that the Sultan allows months to go -by before he gives his consent, which is his Oriental way of showing his -authority. But Egypt is<span class="pagenum"><a id="page_113">{113}</a></span> geographically so important that, in spite of -herself, she will be saved, and with England’s help she will some day -pay her debts, and in centuries to come the fellah may learn to hold his -head up like the Nubian.</p> - -<p>There is no fear of Egypt becoming dull and commonplace, for if the East -and the West should ever fight, it must be for the possession of her -canal; and many an unborn soldier’s reputation will be made before the -railroad that has started up the Nile’s valley reaches Cape Town. The -same land that offers death and reputation to the strong gives life to -the weak, and the tired rich man on his dahabiyeh and the soldier on the -transport go up the Nile side by side, and in most cases they both find -what they are in search of.</p> - -<p>Shepheard’s, in all probability, will forever remain a composite -portrait of Europe and Asia, with Cairo as its frame. Time has made, and -probably will continue to make,<span class="pagenum"><a id="page_114">{114}</a></span> some slight alteration in Upper Egypt’s -appearance; but the locomotive’s whistle will have difficulty in -breaking the silence and calm of Karnak and Thebes. And the present -indications are that Egypt will remain true to the Pharaohs of old, and -until the judgment-day she will, in all probability (assisted by the -Nile, who made her), continue to quietly resist the attentions of modern -nations, and patiently wait for that last day.<span class="pagenum"><a id="page_115">{115}</a></span></p> - -<div class="figcenter" style="width: 468px;"> -<a href="images/ill_pg_115.jpg"> -<img src="images/ill_pg_115.jpg" width="468" height="331" alt="[Image unavailable.]" /></a> -<div class="caption"><p>At Komombos.</p></div> -</div> - -<div class="figcenter"> -<a href="images/back.jpg"> -<img src="images/back.jpg" height="500" alt="[The -image of the book's back cover is unavailable.]" /></a> -</div> - -<hr class="full" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK SKETCHES IN EGYPT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away—you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> -</body> -</html> diff --git a/old/68568-h/images/back.jpg b/old/68568-h/images/back.jpg Binary files differdeleted file mode 100644 index 0ec631a..0000000 --- a/old/68568-h/images/back.jpg +++ /dev/null diff --git a/old/68568-h/images/colophon.png b/old/68568-h/images/colophon.png Binary files differdeleted file mode 100644 index 484ed32..0000000 --- a/old/68568-h/images/colophon.png +++ /dev/null diff --git a/old/68568-h/images/cover.jpg b/old/68568-h/images/cover.jpg Binary files differdeleted file mode 100644 index 1144d22..0000000 --- a/old/68568-h/images/cover.jpg +++ /dev/null diff --git a/old/68568-h/images/front-1.jpg b/old/68568-h/images/front-1.jpg Binary files differdeleted file mode 100644 index 095a7e1..0000000 --- a/old/68568-h/images/front-1.jpg +++ /dev/null diff --git a/old/68568-h/images/front-2.jpg b/old/68568-h/images/front-2.jpg Binary files differdeleted file mode 100644 index f50db03..0000000 --- a/old/68568-h/images/front-2.jpg +++ /dev/null diff --git a/old/68568-h/images/front-3.jpg b/old/68568-h/images/front-3.jpg Binary files differdeleted file mode 100644 index bbd04cb..0000000 --- a/old/68568-h/images/front-3.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_001.jpg b/old/68568-h/images/ill_pg_001.jpg Binary files differdeleted file mode 100644 index 6220287..0000000 --- a/old/68568-h/images/ill_pg_001.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_003.jpg b/old/68568-h/images/ill_pg_003.jpg Binary files differdeleted file mode 100644 index 362684b..0000000 --- a/old/68568-h/images/ill_pg_003.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_005.jpg b/old/68568-h/images/ill_pg_005.jpg Binary files differdeleted file mode 100644 index 2f29996..0000000 --- a/old/68568-h/images/ill_pg_005.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_007.jpg b/old/68568-h/images/ill_pg_007.jpg Binary files differdeleted file mode 100644 index edd859c..0000000 --- a/old/68568-h/images/ill_pg_007.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_009.jpg b/old/68568-h/images/ill_pg_009.jpg Binary files differdeleted file mode 100644 index 4c06894..0000000 --- a/old/68568-h/images/ill_pg_009.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_012.jpg b/old/68568-h/images/ill_pg_012.jpg Binary files differdeleted file mode 100644 index 4243254..0000000 --- a/old/68568-h/images/ill_pg_012.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_013.jpg b/old/68568-h/images/ill_pg_013.jpg Binary files differdeleted file mode 100644 index fb28bd9..0000000 --- a/old/68568-h/images/ill_pg_013.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_014-a.jpg b/old/68568-h/images/ill_pg_014-a.jpg Binary files differdeleted file mode 100644 index 9e1ad72..0000000 --- a/old/68568-h/images/ill_pg_014-a.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_014-b.jpg b/old/68568-h/images/ill_pg_014-b.jpg Binary files differdeleted file mode 100644 index 53b0e64..0000000 --- a/old/68568-h/images/ill_pg_014-b.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_015.jpg b/old/68568-h/images/ill_pg_015.jpg Binary files differdeleted file mode 100644 index bf46627..0000000 --- a/old/68568-h/images/ill_pg_015.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_017.jpg b/old/68568-h/images/ill_pg_017.jpg Binary files differdeleted file mode 100644 index 40ab4c4..0000000 --- a/old/68568-h/images/ill_pg_017.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_019.jpg b/old/68568-h/images/ill_pg_019.jpg Binary files differdeleted file mode 100644 index 8af56f8..0000000 --- a/old/68568-h/images/ill_pg_019.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_022.jpg b/old/68568-h/images/ill_pg_022.jpg Binary files differdeleted file mode 100644 index 0a46e3e..0000000 --- a/old/68568-h/images/ill_pg_022.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_023.jpg b/old/68568-h/images/ill_pg_023.jpg Binary files differdeleted file mode 100644 index 3819e44..0000000 --- a/old/68568-h/images/ill_pg_023.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_025.jpg b/old/68568-h/images/ill_pg_025.jpg Binary files differdeleted file mode 100644 index 1f3b99d..0000000 --- a/old/68568-h/images/ill_pg_025.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_027.jpg b/old/68568-h/images/ill_pg_027.jpg Binary files differdeleted file mode 100644 index fc93aaf..0000000 --- a/old/68568-h/images/ill_pg_027.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_031.jpg b/old/68568-h/images/ill_pg_031.jpg Binary files differdeleted file mode 100644 index b98c4a8..0000000 --- a/old/68568-h/images/ill_pg_031.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_034.jpg b/old/68568-h/images/ill_pg_034.jpg Binary files differdeleted file mode 100644 index ab31db1..0000000 --- a/old/68568-h/images/ill_pg_034.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_035.jpg b/old/68568-h/images/ill_pg_035.jpg Binary files differdeleted file mode 100644 index 7c09fe7..0000000 --- a/old/68568-h/images/ill_pg_035.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_037.jpg b/old/68568-h/images/ill_pg_037.jpg Binary files differdeleted file mode 100644 index 64a5fd8..0000000 --- a/old/68568-h/images/ill_pg_037.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_039.jpg b/old/68568-h/images/ill_pg_039.jpg Binary files differdeleted file mode 100644 index 42252a7..0000000 --- a/old/68568-h/images/ill_pg_039.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_040.jpg b/old/68568-h/images/ill_pg_040.jpg Binary files differdeleted file mode 100644 index 0f21a05..0000000 --- a/old/68568-h/images/ill_pg_040.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_042.jpg b/old/68568-h/images/ill_pg_042.jpg Binary files differdeleted file mode 100644 index f63311f..0000000 --- a/old/68568-h/images/ill_pg_042.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_043.jpg b/old/68568-h/images/ill_pg_043.jpg Binary files differdeleted file mode 100644 index 6100b06..0000000 --- a/old/68568-h/images/ill_pg_043.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_045.jpg b/old/68568-h/images/ill_pg_045.jpg Binary files differdeleted file mode 100644 index eedd824..0000000 --- a/old/68568-h/images/ill_pg_045.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_047.jpg b/old/68568-h/images/ill_pg_047.jpg Binary files differdeleted file mode 100644 index c84d9ec..0000000 --- a/old/68568-h/images/ill_pg_047.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_050.jpg b/old/68568-h/images/ill_pg_050.jpg Binary files differdeleted file mode 100644 index b5033e6..0000000 --- a/old/68568-h/images/ill_pg_050.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_051.jpg b/old/68568-h/images/ill_pg_051.jpg Binary files differdeleted file mode 100644 index 8178f77..0000000 --- a/old/68568-h/images/ill_pg_051.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_053.jpg b/old/68568-h/images/ill_pg_053.jpg Binary files differdeleted file mode 100644 index b306c69..0000000 --- a/old/68568-h/images/ill_pg_053.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_055.jpg b/old/68568-h/images/ill_pg_055.jpg Binary files differdeleted file mode 100644 index 598299a..0000000 --- a/old/68568-h/images/ill_pg_055.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_059.jpg b/old/68568-h/images/ill_pg_059.jpg Binary files differdeleted file mode 100644 index e323abd..0000000 --- a/old/68568-h/images/ill_pg_059.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_061.jpg b/old/68568-h/images/ill_pg_061.jpg Binary files differdeleted file mode 100644 index ae0e44d..0000000 --- a/old/68568-h/images/ill_pg_061.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_063.jpg b/old/68568-h/images/ill_pg_063.jpg Binary files differdeleted file mode 100644 index c866a4c..0000000 --- a/old/68568-h/images/ill_pg_063.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_067.jpg b/old/68568-h/images/ill_pg_067.jpg Binary files differdeleted file mode 100644 index a589d49..0000000 --- a/old/68568-h/images/ill_pg_067.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_071.jpg b/old/68568-h/images/ill_pg_071.jpg Binary files differdeleted file mode 100644 index 0cc60e4..0000000 --- a/old/68568-h/images/ill_pg_071.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_074.jpg b/old/68568-h/images/ill_pg_074.jpg Binary files differdeleted file mode 100644 index aae828a..0000000 --- a/old/68568-h/images/ill_pg_074.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_076.jpg b/old/68568-h/images/ill_pg_076.jpg Binary files differdeleted file mode 100644 index 6639228..0000000 --- a/old/68568-h/images/ill_pg_076.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_077.jpg b/old/68568-h/images/ill_pg_077.jpg Binary files differdeleted file mode 100644 index 8950ced..0000000 --- a/old/68568-h/images/ill_pg_077.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_079.jpg b/old/68568-h/images/ill_pg_079.jpg Binary files differdeleted file mode 100644 index 4537894..0000000 --- a/old/68568-h/images/ill_pg_079.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_081.jpg b/old/68568-h/images/ill_pg_081.jpg Binary files differdeleted file mode 100644 index 6dd6d3f..0000000 --- a/old/68568-h/images/ill_pg_081.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_083.jpg b/old/68568-h/images/ill_pg_083.jpg Binary files differdeleted file mode 100644 index fb62cf3..0000000 --- a/old/68568-h/images/ill_pg_083.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_085.jpg b/old/68568-h/images/ill_pg_085.jpg Binary files differdeleted file mode 100644 index af14ee0..0000000 --- a/old/68568-h/images/ill_pg_085.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_088.jpg b/old/68568-h/images/ill_pg_088.jpg Binary files differdeleted file mode 100644 index 98f2016..0000000 --- a/old/68568-h/images/ill_pg_088.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_089.jpg b/old/68568-h/images/ill_pg_089.jpg Binary files differdeleted file mode 100644 index d59947c..0000000 --- a/old/68568-h/images/ill_pg_089.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_094.jpg b/old/68568-h/images/ill_pg_094.jpg Binary files differdeleted file mode 100644 index c1881f9..0000000 --- a/old/68568-h/images/ill_pg_094.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_095.jpg b/old/68568-h/images/ill_pg_095.jpg Binary files differdeleted file mode 100644 index 6ff2946..0000000 --- a/old/68568-h/images/ill_pg_095.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_097.jpg b/old/68568-h/images/ill_pg_097.jpg Binary files differdeleted file mode 100644 index 735c8f2..0000000 --- a/old/68568-h/images/ill_pg_097.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_100.jpg b/old/68568-h/images/ill_pg_100.jpg Binary files differdeleted file mode 100644 index 5d6c757..0000000 --- a/old/68568-h/images/ill_pg_100.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_101.jpg b/old/68568-h/images/ill_pg_101.jpg Binary files differdeleted file mode 100644 index ce98878..0000000 --- a/old/68568-h/images/ill_pg_101.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_104.jpg b/old/68568-h/images/ill_pg_104.jpg Binary files differdeleted file mode 100644 index 378a7a6..0000000 --- a/old/68568-h/images/ill_pg_104.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_105.jpg b/old/68568-h/images/ill_pg_105.jpg Binary files differdeleted file mode 100644 index 58bb8e5..0000000 --- a/old/68568-h/images/ill_pg_105.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_110.jpg b/old/68568-h/images/ill_pg_110.jpg Binary files differdeleted file mode 100644 index 464437c..0000000 --- a/old/68568-h/images/ill_pg_110.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_111.jpg b/old/68568-h/images/ill_pg_111.jpg Binary files differdeleted file mode 100644 index f87f6f2..0000000 --- a/old/68568-h/images/ill_pg_111.jpg +++ /dev/null diff --git a/old/68568-h/images/ill_pg_115.jpg b/old/68568-h/images/ill_pg_115.jpg Binary files differdeleted file mode 100644 index 4b6e8e1..0000000 --- a/old/68568-h/images/ill_pg_115.jpg +++ /dev/null |
