“No nation of the earth has shown so much zeal4 and ingenuity5, so much method and regularity6 in recording7 the details of private life as the Egyptians,” says Brugsch. The kings’ tombs chiefly celebrated8 their victories, the king riding forth9 in his chariot, or with his captives by the hair, in the act of slaying10 them, or the king—sometimes accompanied by the queen—making offerings to the gods, these are the favorite subjects for the artist’s pencil, but for the details of female life we must look elsewhere.
From the tomb of Ti, of the Fifth Dynasty sometimes called the Pepys of that period, and from the sepulchres at Beni Hassen, much has been learned of the domestic life. Ti was a favorite subject of the king’s, an official of high rank, and his wife a lady of noble birth, of kin[300] to the royal house. So we have pictures of all the household arrangements, the feeding and preparing of animals for food, the tenants11, male and female, bringing of the fruits of the earth to their master, and he himself, after the Egyptian manner, painted of larger size than his inferiors, going forth to fish and to hunt. Sometimes, but rarely, the women also accompanied their husbands on these expeditions.
A statue of Ti bears the same likeness12 as the figure in the tomb. It is that of a fine young man, with regular features, and the statue of his wife Nofre-hoteps, grand-daughter of a Pharaoh, was also found.
As has been said before, the women in Egypt had no such separate and secluded14 life as those in the Eastern countries, they appear to have mingled15 freely with their male relatives, and the queens acted as regents during the absence of their husbands, or the minority of their sons, or sometimes ruled in their own right, from the earliest times.
There were the apartments of the women or the king’s harem, but not in such an exclusive sense as in many other Eastern countries, nor was the chief official in charge invariably an eunuch.
The seat of government changed from time to time under the different dynasties, so that some of the queens lived chiefly in Memphis, some in Thebes, some in Tanis, and, among the later rulers, in Sais and Napata.
The palaces were not many stories in height, and had, sometimes, pylons16 and columns in front,[301] the rooms were built round a succession of open courtyards, which were shaded by palm, orange, olive, fig13 and other trees, and they also had large and beautiful gardens with fountains, especially in the royal country villas17. On the flat roofs the people passed many hours, and disported18 themselves under awnings19, and slept there on rugs and mats. In the country the houses and grounds were usually surrounded by high walls. Large mansions20 stood detached and had doors opening on various sides, and before the columns or colossi, at the entrance, hung ribbons or banners, especially on festival occasions. Sometimes a portico21 had a double row of columns, with statues between, these were also colored, and, when not of stone, were stained to represent it. The walls and ceilings of the palaces were brilliantly painted. They were also at times inlaid or adorned22 with lapis-lazuli, which was a favorite stone, amber23 and malachite. In the royal establishments there were porticoes24 and vestibules, constructed with great splendor25, numerous columns, walls glittering with jewels, and curtains of gold tissue.
Floors were of stone or composition, roofs with rafters of date palm, and transverse beams of larger palm. Stone arches have been found both of the time of Rameses III and Psamettichus. Rare woods were imported, and also demanded as tribute from foreign nations, conquered by the Egyptians, as well as gold, silver, precious stones and slaves.
After passing through the servants’ offices one came to the store-rooms, the great dining hall,[302] the sleeping rooms, and the kitchens, and at the further end of a piece of ground two buildings, turned back to back, and separated by small gardens, were the women’s apartments, which often had shutters26 closed with valves to keep out the heat.
The lady is spoken of as “Mistress of the House,” or “Lady of the House,” and seemed to have full rule over it—there is even a story that her husband himself was bound to obey her indoors, but this is hardly likely.
They had low stools for tables, flat baskets for dinner plates, and pretty Syrian maidens27 were favorite slaves. Couches, chairs, stools and tables were of wood, bronze and silver, the feet were often of lions’ claws, and the top of the tables were upheld by figures of captives and slaves. The furniture was carved with serpents, lotus flowers and other designs, and the back of a couch or chair was sometimes a hawk29 with outspread wings, and the ends of the couch terminated in the head of a lion or other beast. Sometimes the couches were used for beds and made ornamental30 in the day time. The Egyptians had alabaster31 or wooden head rests, like the Japanese, though the manner of hair dressing32 did not seem to require it to the same extent. The ladies’ dressing tables were covered with boxes for ointment33, bottles for cosmetics34, perfumes, and oils, and they used small metal mirrors, often with the figure of the god Bes as a handle.
The costumes, adapted to the climate, were light, especially in the earlier times, and the chief part was of fine linen35. Later there seems to[303] have been more elaboration and heavier and richer materials used. Wigs36 protected the head of both male and female from the sun, as did the turbans and veils of other countries. The vulture, with outspread wings, emblem37 of the goddess Mut, formed part of the queen’s head-dress, as did the royal asp, raised in act to strike.
Thoth was the god of learning, called “the baboon38 with shining hair and amiable39 face,” the “letter writer for the gods.” Children and youth were expected to study and exhorted40, even as far back as the time of King Pepys, “Give thy heart to learning and love her like a mother.” And there is also a touch of kinship with more modern times in the statement that the boy scholar be not allowed to oversleep and that children left school “shouting for joy.” Severity was sometimes used, as we read, “The youth has a back, he attends when it is beaten.” And again, “The ears of the young are placed in the back, and he hears when he is flogged.” Copy books of 1700 B. C. have been found, and we possess the school exercises of the Nineteenth and Twentieth Dynasties. Such examples in mental arithmetic as “There were seven men, each had seven cats, each cat had eaten seven mice, each mouse had eaten seven grains of barley41. How much barley had been lost in this way?” etc., etc.
But neither were the pleasures and amusements of the little ones overlooked, and there have been preserved little wooden soldiers, in the dress of ancient times, dolls, balls and many other things that still delight the child of to-day; such as tops, boats, etc.
[304]
An olive branch was hung at the door on the birth of a boy and a strip of woolen42 cloth at that of a girl. If a new born babe cried “Ny!” it would live, but if it cried “Nibe!” it would die. Mothers nursed their children for three years, and upon daughters more than upon sons was laid the obligation of looking after their parents in old age. The royal children had also, when they were old enough, quarters of their own, where they were under the charge of a tutor who was called a nurse. Those of the higher orders, dressed like grown people, as in the present day the children of Holland are often the amusing reproductions, in miniature, of their parents. The children of the lower orders dispensed43 in great part, or entirely44, with any sort of covering.
Women were mistresses in their own house, came and went freely and so much so that we have an amusing story that among the lower classes the husbands sometimes hid their wives’ shoes to keep them at home, and this before the days of female clubs! But in spite of her privileges child bearing and work soon aged45 this class of women.
Among the moral precepts46 of the Egyptians in a papyrus47 now in the Louvre is one that says, “Ill treat not thy wife, whose strength is less than thine. Be thou her protector,” showing that it was no slavish relation that was expected to exist between man and wife. And again in another place we have a father who exhorts48 his son to have regard for his mother. “It is God Himself who gave her to thee, and now that thou art grown up and hast a wife and house in thy[305] turn, remember always thine helpless infancy49 and the care thy mother lavished50 upon thee, so that she may never have occasion to reproach thee, nor to raise her hands to heaven against thee, for God would fulfill51 her curse.”
At the door of a house where there was a bride, flowers were hung, and a vessel52 of water was placed where there was a death. Fragments of impassioned love songs have come down to us, and though we know little of their marriage customs, compared to their funerals, the freedom of intercourse53 between the sexes and the greater opportunity for personal acquaintance than was usually afforded in Eastern countries, leads to the supposition that real love matches were not infrequent. Like the Japanese, they compared the beloved object to blossoms and flowers; nor were the ladies apparently54 behind the gentlemen in the free expression of ardent55 feeling.
“Thou beautiful one my wish is to be with thee as thy wife,” says or sings the enthusiastic maiden28, and Miss Edwards and others give instances where each strophe begins with an invocation to a flower, thus curiously56 resembling the stornelli of the Tuscan peasantry, of which every verse begins and ends with a similar invocation to some familiar blossom or tree.
“O flower of henna,
My heart stands still in thy presence.
I have made mine eyes brilliant for thee with kohl,
[306]
When I behold57 thee, I fly to thee, oh, my beloved!
Oh, lord of my heart, sweet is this hour.
An hour passed with thee is worth an hour of eternity58!”
…
“Oh, flower of marjoram!
Fair would I be to thee as the garden in which I
Have planted flowers and sweet-smelling shrubs59!
The garden watered by pleasant rivulets60, and
Refreshed by the north breeze!
Here let us walk, oh, my beloved, hand in hand, our
Hearts filled with joy. Better than food, better
Than drink, is it to behold thee.
To behold thee, and to behold thee again!”
This shows clearly the freedom of intercourse permitted, and with what naivete and frankness it is written! No effort at dissimulation61 in acknowledging the artificial enhancement of her charms. Rather perhaps did she feel herself worthy62 of commendation for the pains she had taken. It reminds one of the Southern girl who remarked casually63 to a party of friends, of both sexes: “How chilly64 it is this morning! Oh, now I know why; I forgot to pencil my eyebrows65!”
In their feasts and amusements men and women met together and scenes in the tombs of the Eighteenth and Nineteenth Dynasties show ladies discussing their earrings66 and jewelry67, as they might be doing to-day. To perform toilettes together, put on necklets and exchange flowers was[307] part of the entertainment, and talking, eating and dressing all went on to the sound of music. Birthdays and many other festivals, religious and social, were celebrated, and there were lucky and unlucky days for music, as well as for many other things. It was especially to be avoided on the fourteenth Tybi. Pollard mentions “a musical at-home” among the pictures on the walls of the tombs at Beni-Hassan, where two harpists, a sistrum player and others are helping69 to entertain the visitors.
The guests sat on chairs, or on the floor, and did not recline at table, as was the custom of many other Eastern nations. Their entertainment consisted of meat, chiefly beef and kid, geese, fish, vegetables, of which leeks70 and onions formed a large part; fruit, bread, cakes, which the bakers71 made in various shapes, and wine. This was freely used and the pictures sometimes show over indulgence on the part of the women as well as that of the men. Sometimes there were separate tables for men and women, sometimes they sat together, and frequently dipped into a common dish. They had spoons for fluids with various designs for handles, but the use of fingers was general for most purposes, hence the necessity of frequent washing of the hands.
Of the use of leeks and onions Story says, speaking of an Italian: “Nor is he without authority for his devotion to those twin saints, Apollo (or is it Cipollo) and Aglio. There is an odor of sanctity about them, turn up our noses as we may. The ancient Egyptian offered them as first fruits, upon the altars of their gods, and[308] employed them also in the service of the dead, and such was their attachment72 to them that the followers73 of Moses hankered after them, despite the manna, and longed for ‘the leeks and the onions and the garlic, which they did eat in Egypt freely.’ Nay74 the fastidious Greeks not only used them as a charm against the ‘evil eye,’ but ate them with delight—there is a certain specific against them—eat them yourself—you will smell them no longer.”
The host and hostess sat together, flowers were abundant, and a special token of regard was a wreath placed around the neck of the guest. Women were attended by women slaves who offered them ointment and other toilette articles. Oil poured upon the head is an attention which would fail of appreciation75 in these modern times, but was then considered so agreeable that a ball was sometimes soaked in oil and placed on the head of the master of the feast, so that it might trickle76 down into his hair. At the close of the banquet a mummy in miniature, richly gilded77, was carried round to remind them of their latter end, or may it not have been to suggest that happy as they were, they could be happier still in another world?
We can imagine the olfactories78 of the Egyptians to have been abnormally developed, so constantly were they smelling flowers and holding them under each others noses—even the sacred nose of royalty79.
“Smell of my lotus!” “How charming, how delicious!” We can almost hear the echo. Statues often show husband and wife sitting with[309] hand on knees, or across the breast, or sometimes on the same chair with arms around each other’s waist or neck. Doubtless they offered each other what we may call the tribute of the lotus, or the lotus courtesy, murmuring, “My dearest, how lovely you are looking.” Chiefly to the lady, of course, etc., etc.
In the earliest times musical instruments seem to have been played chiefly by men, and women sang without accompaniment. But later, female, as well as male, voices combined with all sorts of instruments. There were kettle-drums, round and square, harps80, lyres, guitars, flutes82 or pipes, and lastly, specially2 Egyptian, the sistrum, not melodious83 in sound we may judge, but used chiefly, though not invariably in, the service of the gods. Wilkinson gives many illustrations of these various instruments, and the picture of a lady with a guitar is in the Berlin museum. The flute81, so easily handled, has always seemed to be reserved for male performers. Perhaps it takes too much breath from the ladies, or perhaps Minerva, having discovered that it was unbecoming, they have all resolved to shun84 it.
Pollard speaks of a harp68 inlaid with gold, silver and gems85, which had been presented by a royal personage to the temple of Amen-Ra and was kept near the sanctuary86, and of the hymns87 sung to the deity88 to the accompaniment of this precious instrument. We also have the song of a harper found on the wall of the tomb of a certain Nefer-hotep, who lived under King Horus, of the Eighteenth Dynasty. It is called “the word of the harper, who tarries in the tomb of[310] Osiris,” etc. “Celebrate the great day, O prophet. Well is to thee fragrant89 resin90 and ointments91 are laid before thee. Here are wreaths and flowers for the vases and shoulders of thy sister, who is pleasant to thy heart, as she rests beside thee. Let us then sing and strike the harp in thy presence. Leave all cares behind and think of the joys, until the day of the voyage comes when man casts anchor on the land which delights in silence.”
To rejoice and to dance were synonymous terms, and the royal ladies had dancing women to perform before them as well as gymnasts. They played draughts92 and checkers sitting on the ground, while dice93 belonged to the subsequent Roman period.
Dwarfs94 and deformed95 persons formed, occasionally, part of the king’s or queen’s household. As a rule dancing seems to have been rather for princesses to look upon than share in, unless they danced in the temples before the gods.
Female dancers wore short skirts, necklets, anklets, ribbons round their bodies and wreaths of flowers, with plain wigs that made them look like children, and they sometimes dressed their hair to look like a crown. Ball playing was considered a variety of dancing. The dances of the older period were more quiet and measured than in later times, but none appear to have been objectionable, according to modern standards, to the extent of some now practiced in the East.
The maids of honor and princesses carried fans, which they held over the queen, and bore the title of “dearest friend.” When the queen[311] and royal ladies drove forth, it was in chariots, sometimes of gold, and drawn96 by a pair of horses (after the introduction into Egypt of that valuable animal, of which there is no representation on the monuments of the very earliest times), adorned with plumes97, while an umbrella was occasionally fixed98 to the chariot to protect them from the sun.
But the queen’s highest position was as priestess, concubine, daughter, wife, of the god. Egyptian queens or princesses held the service of Amon or Jove and the queen followed in the king playing on the sistrum and making offerings. No queen held the highest priestly office, but they were called “singers of Amon,” and “wives of the god.” Occasionally the mummy of the daughter will be found among the priests, the mother among the royalties99.
The queen was “Neter-Hemt, prophetess,” “Neter-hemet, divine wife,” or “Neter-tut, divine handmaid.” The sistrum was from eight to eighteen inches in length, Hathor-headed, cow-eared, and sometimes inlaid with silver or gilt100 and the noise was supposed to frighten away Typho, the spirit of evil. The action of shaking was called “Art Ses.” A sistrum in either hand standing101 before the altar of the god, the queen had reached the highest pinnacle102 of human greatness or human ambition.
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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specially
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| adv.特定地；特殊地；明确地 | |
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prominence
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| n.突出；显著；杰出；重要 | |
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zeal
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| n.热心，热情，热忱 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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regularity
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| n.规律性，规则性；匀称，整齐 | |
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recording
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| n.录音，记录 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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forth
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| adv.向前；向外，往外 | |
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slaying
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| 杀戮。 | |
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tenants
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| n.房客( tenant的名词复数 )；佃户；占用者；占有者 | |
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likeness
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| n.相像，相似（之处） | |
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fig
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| n.无花果(树) | |
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secluded
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| adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词) | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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pylons
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| n.（架高压输电线的）电缆塔( pylon的名词复数 )；挂架 | |
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villas
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| 别墅，公馆( villa的名词复数 )； （城郊）住宅 | |
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disported
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| v.嬉戏，玩乐，自娱( disport的过去式和过去分词 ) | |
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awnings
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| 篷帐布 | |
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mansions
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| n.宅第，公馆，大厦( mansion的名词复数 ) | |
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portico
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| n.柱廊，门廊 | |
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adorned
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| [计]被修饰的 | |
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amber
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| n.琥珀；琥珀色；adj.琥珀制的 | |
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porticoes
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| n.柱廊，（有圆柱的）门廊( portico的名词复数 ) | |
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splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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shutters
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| 百叶窗( shutter的名词复数 )； （照相机的）快门 | |
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maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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hawk
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| n.鹰，骗子；鹰派成员 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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dressing
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| n.(食物)调料；包扎伤口的用品，敷料 | |
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ointment
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| n.药膏，油膏，软膏 | |
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cosmetics
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| n.化妆品 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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wigs
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| n.假发，法官帽( wig的名词复数 ) | |
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emblem
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| n.象征，标志；徽章 | |
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baboon
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| n.狒狒 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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exhorted
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| v.劝告，劝说( exhort的过去式和过去分词 ) | |
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barley
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| n.大麦，大麦粒 | |
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woolen
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| adj.羊毛(制)的；毛纺的 | |
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dispensed
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| v.分配( dispense的过去式和过去分词 )；施与；配（药） | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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aged
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| adj.年老的，陈年的 | |
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precepts
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| n.规诫，戒律，箴言( precept的名词复数 ) | |
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papyrus
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| n.古以纸草制成之纸 | |
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exhorts
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| n.劝勉者，告诫者，提倡者( exhort的名词复数 )v.劝告，劝说( exhort的第三人称单数 ) | |
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infancy
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| n.婴儿期；幼年期；初期 | |
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lavished
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| v.过分给予，滥施( lavish的过去式和过去分词 ) | |
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fulfill
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| vt.履行，实现，完成；满足，使满意 | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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intercourse
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| n.性交；交流，交往，交际 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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behold
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| v.看，注视，看到 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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shrubs
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| 灌木( shrub的名词复数 ) | |
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rivulets
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| n.小河，小溪( rivulet的名词复数 ) | |
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dissimulation
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| n.掩饰，虚伪，装糊涂 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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casually
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| adv.漠不关心地，无动于衷地，不负责任地 | |
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chilly
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| adj.凉快的，寒冷的 | |
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eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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earrings
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| n.耳环( earring的名词复数 )；耳坠子 | |
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jewelry
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| n.（jewllery）（总称）珠宝 | |
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harp
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| n.竖琴；天琴座 | |
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helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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leeks
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| 韭葱( leek的名词复数 ) | |
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71
bakers
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| n.面包师( baker的名词复数 )；面包店；面包店店主；十三 | |
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attachment
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| n.附属物，附件；依恋；依附 | |
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followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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74
nay
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| adv.不；n.反对票，投反对票者 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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trickle
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| vi.淌，滴，流出，慢慢移动，逐渐消散 | |
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gilded
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| a.镀金的，富有的 | |
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olfactories
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| n.嗅觉的( olfactory的名词复数 ) | |
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royalty
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| n.皇家，皇族 | |
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80
harps
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| abbr.harpsichord 拨弦古钢琴n.竖琴( harp的名词复数 ) | |
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81
flute
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| n.长笛；v.吹笛 | |
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82
flutes
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| 长笛( flute的名词复数 )； 细长香槟杯（形似长笛） | |
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83
melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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shun
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| vt.避开，回避，避免 | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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deity
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| n.神，神性；被奉若神明的人(或物) | |
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fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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90
resin
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| n.树脂，松香，树脂制品；vt.涂树脂 | |
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ointments
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| n.软膏( ointment的名词复数 )；扫兴的人；煞风景的事物；药膏 | |
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draughts
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| n. <英>国际跳棋 | |
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dice
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| n.骰子；vt.把（食物）切成小方块，冒险 | |
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dwarfs
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| n.侏儒，矮子（dwarf的复数形式）vt.（使）显得矮小（dwarf的第三人称单数形式） | |
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deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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96
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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99
royalties
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| 特许权使用费 | |
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100
gilt
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| adj.镀金的；n.金边证券 | |
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101
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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pinnacle
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| n.尖塔，尖顶，山峰；(喻)顶峰 | |
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