There is no country on earth which more curiously substantiates the saying of the wisest of kings, that "there, is nothing new under the sun," than Egypt. Every art of European life, and even of European luxury, finds its delineation among the tombs; every incident of society, whether serious or trifling, has its record on those subterranean walls; we find every occupation, every enjoyment, every national festivity, and every sport, from the nursery up to the assemblage of the wrestler, the runner, and the dancer, in short, the whole course of public and private existence, three thousand years ago, is revealed and revived for the intelligence and admiration of the nineteenth century of the Christian era. Why those miscellanies of life should be in tombs, where they must have been shut up from the living eye—why such labour of delineation, why such incongruity of subject to the place, why such cost lavished on designs in the grave, are all problems, which must remain beyond human answer, but which render Egypt the most interesting of all dead nations to the living world. Are those wonders, those intimations of greater wonders, those achievements of the arts, fully explored? Certainly not. We quite agree with Miss Martineau, that the most fortunate boon for Europe would be some mighty van or ventilator, which will blow away all the sands of Egypt. What a scene would then be opened!
"One statue and sarcophagus, brought from Memphis, was buried 130 feet below the surface. Who knows but that the greater part of old Memphis, and of other glorious cities, lies almost unharmed beneath the sand? Who can say what armies of sphinxes might start up on the banks of the river, or come forth from the hill-sides of the interior, when the cloud of sand had been wafted away? The ruins which we now go to study might then occupy only eminences, while below might be miles of colonnade, temples intact, and gods and goddesses safe in their sanctuaries!"
If this is the language of enthusiasm, there can be no question that barbarism and time have covered a large portion of the old glories of Egypt from the eye of man; and that, while what remains for the view of the traveller is mutilated and worn away, the much finer portion may be reserved for the triumph of the investigator spade in hand.
One of the best features of the book is the dexterity with which those tomb-pictures are interpreted by Miss Martineau's narrative. Every one knows, that the majority of those pictures, though often brilliantly coloured, exhibit nothing but isolated or ill-placed figures, of the rudest outline, and the most ungainly attitudes. They have a meaning; yet to ascertain that meaning, and combine their action, demands considerable imaginative skill. We have a clever instance of this art in the description of one of the tombs.
The writer sees, in one compartment, the master of a family. He is evidently opulent—a man of large possessions—a landlord; he has his people round him—ploughing, sowing, harrowing, reaping, thrashing, winnowing.
But the landlord is also a sportsman; he has round him game, geese, and fish. He is also a man of luxury; he has a barge on the river, and a pavilion built upon it. He is also a man of hospitality; there is a banquet, with the master and his wife in a great chair; every lady has a flower in her hand; a monkey is tied to the host's chair; and there are musicians with a harp and the double pipe. But there is also a final scene; the host dies, the banquets are no more, his mummy is in the consecrated boat, which is to carry him over the river of death, and which deposits him in the land unknown.
All this is ingenious and probable, and if Miss Martineau had confined herself to the picturesque, had sported her fancies in Egypt alone, and never ventured beyond the Red Sea, we might close the book, giving it all the praise due to an original and lively narrative. But when she plays the theologian, we must stop, as we wish that she had done.
On leaving Egypt, her party turn their faces towards the Wilderness; and here the pen of the rash writer rambles away into lucubrations, neither consistent with the facts of history, nor suitable to the feelings of the scene. She begins by manufacturing a romance for Moses. She first tells us that he was "of the priestly caste," a matter rendered utterly improbable by the declaration of Scripture, that "by faith, when he was come to years, he refused to be called the son of Pharaoh's daughter, choosing rather to suffer affliction with the people of God." She then proceeds to tell us a great many things, of which Moses has told us nothing: for example, that in the desert, which she regards as a place peculiarly "fruitful of meditation," (we doubt whether it produces much of this fruit among the Bedouins,) Moses and "Mahomet after him" (valuable companionship!) learned from the Past how to prophesy of the future.
"There," says Miss Martineau, "as Moses sat under the shrubby palm, and its moist rock, did the Past come at the call of his instructed memory, and tell him how those mighty Egyptians had been slaves, as his Hebrew brethren now were," &c., and came to the conclusion (by no means an unnatural one in any case of slavery,) "that the Hebrews must be removed and educated, before they could be established." We then arrive at the confidential part of the story.
"In following up this course of speculation, he was led to perceive a mighty truth, which appears to have been known to no man before him,—the truth that all ideas are the common heritage of all men. (!)... As the images crossed him in his solitude, of the religious feasts of the Egyptians, the gross brute-worship into which they had sunk, &c., he conceived the brave purpose, the noblest enterprise, I believe, on record, of admitting every one of Jehovah's people to the fullest possible knowledge of them."