The papyrus rolls on which most of the literary remains of Egypt are inscribed are true books. The book of folded leaves is a comparatively modern invention. Throughout antiquity, including the classical times, the roll constituted the only form of book in use, unless, indeed, we include waxen tablets, which are hardly to be considered books in the proper sense of the word; at least it is not known that they were ever used for the transcription of lengthy works to be placed on sale, though it is probable that authors used them, at least for the rough drafts of their compositions. It is well known that in later classical times the parchment roll came to be substituted for the roll of papyrus, though the latter held its own for a long time, and was still employed exceptionally in the Middle Ages; but the old Egyptian parchment was unknown, and though inscriptions were sometimes made on pieces of linen, the regular material for book-making was papyrus.
The papyrus sheet was made by gluing together pieces of the outer rind or bark of the stem of the papyrus plant, these pieces being placed in two layers and dried under pressure. The sheets of papyrus were from six or eight to about fourteen inches in width, and were often many feet in length. The inscription, made with a reed pen, not altogether unlike a modern quill, was written in columns at right angles to the length of the papyrus sheet, these columns being of varying width, but usually of a size convenient for the scribe in writing and for the reader. If we may judge from a statue that has been preserved, the scribe at work sat with his feet crossed like a modern tailor. Papyrus is, of course, a very fragile and perishable substance; therefore it is only in the dry climate of Egypt that documents of this nature are likely to be preserved. Thanks to the unusual atmosphere of Egypt, however, large numbers of these documents have come down to us, some of them dating from the third millennium B.C. These documents represent various classes of literature. Of historical writings, the most important is the Turin papyrus, already referred to. A still more ancient document is known as the Prisse papyrus, being named after its discoverer, Prisse d’Avenne. Is is virtually a series of essays containing moral precepts and dissertations on the art of right living. Aside from its contents, this particular papyrus roll has unusual interest because it shows us the hieratic writing of the Egyptians in its oldest known form, the hieratic character being a much modified cursive form of hieroglyphic simplified in the interest of rapid writing. It was believed by the French philologist, De Rougé, that this hieratic character formed the basis of the Phœnician alphabet, and a large number of scholars have accepted this conclusion, which, however, is now seemingly about to be abandoned. Other essays of the Egyptians, on medical and mathematical subjects, have been preserved in considerable numbers.
Statue of a Scribe (Fifth Dynasty)
(Now in the Louvre)
There is yet another form of literary production that is abundantly represented among the papyrus documents. This is the religious work known as the Book of the Dead, a book that was substantially the Bible of the Egyptians, numerous copies of which in whole or in part are still in existence. An additional interest attaches to many copies of the Book of the Dead in the fact that pictures are introduced to illustrate the narrative. One is prone to think of book illustration as a relatively modern art; but in point of fact, as these documents prove, it is an art that was practised by the ancient Egyptians more than two thousand years before the Christian era.
From a purely literary standpoint, the most important remains preserved on papyrus are the various more or less perfect copies of romances and of poems. The romances are somewhat of the character of what we should call fairy tales, though elements of realism are not lacking in some of them; and the poems include love songs and other lyrics. It is extremely difficult to judge the artistic merits of productions in so alien a tongue, and it has been noted by Egyptologists that certain recitals were apparently very popular in Egypt, the merits of which are lost upon the modern interpreter, because even the greatest of modern students can hardly claim a degree of proficiency in the language that suffices for the appreciation of the niceties of usage. There are certain of the tales and poems, however, which in point of conception, thought, and construction must be admitted to have conspicuous merit, even when judged by modern standards.
As soon as the tales of ancient Egypt had been recovered in sufficient number to allow some idea of its popular literature, it was seen that stories of travel and adventure formed a considerable portion. But for a long time no tale of the sea came to light. In fact, it seemed doubtful that such a one existed. The Greek and Latin writings constantly reiterate the statement that the Egyptians regarded the sea as impure, and that none would venture on it of his own will, and upon this authority modern investigators had a well-formed theory that Egypt never had a navy or native sailors.
To them Queen Hatshepsu’s voyages of exploration and the naval victories of Ramses III were the deeds of hired Phœnicians. But the discovery of a tale at St. Petersburg—a tale which takes us far back to the XIIth Dynasty, before any Phœnicians had yet appeared on the shores of the Mediterranean, or Egypt had any thought of Syrian conquest—tends to upset these old ideas, and lead us to the belief that the sailors whom Pharaoh sent for the perfumes and goods of Arabia were native born Egyptians.
The tale of The Castaway was discovered in the Imperial Hermitage Museum at St. Petersburg by M. Golenischeff in 1880. No one knows where the papyrus was found, or how it got in Russia, or even came to be in the Hermitage Museum. It has taken its place as a classic of the XIIth Dynasty, as that of the Two Brothers is of the XIXth.