Boating

by Walter Bradford Woodgate

FLEET OF EGYPTIAN QUEEN.

However this may be, the lovers of our pastime, if they will consult the pages of the works above mentioned, will find rowing already well established as an employment, if not as an amusement, in the hoar antiquity of Egypt. Not only the Nile water, whether the sacred stream was within his banks or spread by inundation over the plain within his reach, was alive with boats, busy with the transport of produce of all sorts, or serving the purposes of the fowler and the fisherman, but the Red Sea and the Mediterranean coasts were witnesses of the might and power of Pharaoh, as shown by his fleets of great vessels fully manned, ready with oar and sail to perform his behests, ready to visit the land of Orient, and bring back thence the spices and perfumes that the Egyptians loved, together with apes and sandal wood, or else to do battle with the fierce Pelesta and Teucrians and Daunians who swarmed in their piratical craft upon the midland sea, entering the Nile mouths, and raiding upon the fat and peaceable plains of the Delta.

The Egyptian boats present several noticeable features. Built evidently with considerable camber, they rise high from the water both at stem and stern, the ends finished off into a point or else curved upwards and ornamented with mystic figure-heads representing one or other of the numerous gods. The steering is conducted by two or more paddles fastened to the sides of the boat in the larger class, and sometimes having the loom of the paddle lengthened and attached to an upright post to which it is loosely bound. A tiller is inserted in the handle, and to this a steering cord fastened, by which the helmsman can turn the blade of the paddle at will. The paddles vary but little in shape. They are mostly pointed, and have but a moderate breadth of blade. In some of the paintings they are being used as paddles proper, in others as oars against a curved projection from the vessel’s side serving as a thowl. But whether this is solid or whether it is a thong, like the Greek τροπωτήρ, against which the oarsman is rowing, it is not easy to say.

The larger vessels depicted with oars have in some cases as many as twenty-five shown on one side. In others the number is less. But it is quite possible that the artist did not care to portray more than would be sufficient to indicate conventionally the size of the vessel. In some of the vessels there are apertures like oar-ports, though no oars are shown in them, which raise a presumption that the invention of the bireme, the origin of which is uncertain, may with some probability be attributed to the Egyptians. The larger vessels are all fitted with sailing gear, and the rowing is evidently subsidiary to the sail as a means of locomotion. The wall paintings of Egypt give us ample details of Egyptian ships and boats extending over a period, as we are told, of twenty centuries and more. In them we have a glimpse of the maritime enterprise, in which the oar must have taken a principal part, of the races which inhabited the seaboard of the Mediterranean in which piracy had its home from very early times. Teucrians, Dardanians, Pelesta (? Pelasgians), Daunians, Tyrrhenians, Oscans, all seem to have been sea-going peoples, and at intervals to have provoked by their marauding the wrath of Pharaoh and to have felt his avenging hand.

But of all the seafaring races that made their homes and highways upon the waters of the great inland sea, the most famous of early times were the Phœnicians. According to some accounts connected with Capthor (Copts), and according to others emigrants from the coast of the Persian Gulf, their genius for maritime enterprise asserted itself very early, so that already before Homer’s time they were masters of the commerce of the Mediterranean, and had rowed their dark keels beyond the mystic pillars that guarded the opening of the ocean stream.

And yet, though the facts are certain, we know but little of these famous mariners, of their vessels and their gear. The only representation of their vessels is from the walls of the palaces of their Assyrian conquerors, an inland people, not likely to detect or appreciate any technical want of fidelity in the likeness presented. And, accordingly, the pictures are conventional, telling us but little of that which we should like to know about their build, and oars, and oar ports, &c. The date, moreover, is not in all probability earlier than 900 b.c.

Such being the case, we are driven for information to the more ample store of Greek literature, and to Greek vases for the earliest representations of the Greek vessel.

Homer abounds in sea pictures. He has a wealth of descriptive words, touches of light and colour which bring the sea and its waves and the vessel and its details with vivid and picturesque effect before us. His ships are black and have their bows painted with vermilion, or red of some other tone; they are sharp and swift, and bows and stern curve upwards like the horns of oxen. And withal they are rounded on both sides, and well timbered and hollowed out, and roomy, having by the gift of the poet a facile combination of all the opposite qualities, so desirable and so difficult in practice to unite. As yet there is no spur or ram, but round the solid stempost shrieks the wave, as the vessel is urged onward either by the mighty hands of heroes, or the god-sent breeze that follows aft. Nor is the vessel decked, except for a short space at bow and stern, where it had raised platforms. On the quarterdeck, so to speak, of the stern sat the great chiefs, whose warriors plied the oar, and there they laid their spears ready for use. There also was the standing place of the steersman who wielded the long paddle which served to guide the vessel. The thwarts which tied the vessel’s sides together (yokes or keys as they are called) served as benches for the oarsmen; those amidships had the heaviest and longest oars, so that they were places of honour reserved for the heaviest and strongest men, e.g. for Hercules and Ancæus in the Argo. Whether the ‘sevenfoot,’ to which Ajax retreats from the stern deck, when defending the Greek ships against the Trojans and hard pressed by them, be bench or stretcher, it gives us an idea of the breadth of the Homeric vessel at or near the place of the stroke oar. Long low galleys they must have been, with a middle plank running fore and aft, interrupted by the ‘tabernacle,’ in which the mast when hoisted was secured, having fore and back stays. The warriors were oarsmen, the oarsmen warriors. The smallest complement, as Thucydides observes, was fifty, the largest one hundred and twenty.

It is doubtful how far the Alexandrine poets can be relied upon as giving accurate information respecting details of ancient use. Yet we have many lifelike pictures and a great profusion of details, drawn no doubt from the ample stores of antiquarian knowledge which these laborious men of letters had at their service in the great Alexandrine library, and these go to fill up that which is lacking in the Homeric picture. And so when Apollonius the Rhodian paints for us such scenes as those of the building of the Argo, the launching, the detail of the crew, and the starting of the vessel, we cannot help feeling that they are described con amore, not of the sea, or of ships, or of rowing, but of the literary beauty of similar descriptions by earlier poets. In a word, they are at second hand. But better this than none at all.