understand where is the bourne to which the finite flows with all its greatness, as the great Nile flows from beyond Victoria Nyanza to the sea.

And as the wonder of the Sphinx takes possession of you gradually, so gradually do you learn to feel the majesty of the Pyramids of Ghizeh. Unlike the Step Pyramid of Sakkara, which, even when one is near it, looks like a small mountain, part of the land on which it rests, the Pyramids of Ghizeh look what they are—artificial excrescences, invented and carried out by man, expressions of man's greatness. Exquisite as they are as features of the drowsy golden landscape at the setting of the sun, I think they look most wonderful at night, when they are black beneath the stars. On many nights I have sat in the sand at a distance and looked at them, and always, and increasingly, they have stirred my imagination. Their profound calm, their classical simplicity, are greatly emphasized when no detail can be seen, when they are but black shapes towering to the stars. They seem to aspire then like prayers prayed by one who has said, "God does not need any prayers, but I need them." In their simplicity they suggest a crowd of thoughts and of desires. Guy de Maupassant has said that of all the arts architecture is perhaps the most aesthetic, the most mysterious, and the most nourished by ideas. How true this is you feel as you look at the Great Pyramid by night. It seems to breathe out mystery. The immense base recalls to you the labyrinth within; the long descent from the tiny slit that gives you entrance, your uncertain steps in its hot, eternal night, your falls on the ice-like surfaces of its polished blocks of stone, the crushing weight that seemed to lie on your heart as you stole uncertainly on, summoned almost as by the desert; your sensation of being for ever imprisoned, taken and hidden by a monster from Egypt's wonderful light, as you stood in the central chamber, and realized the stone ocean into whose depths, like some intrepid diver, you had dared deliberately to come. And then your eyes travel up the slowly shrinking walls till they reach the dark point which is the top. There you stood with Abou, who spends half his life on the highest stone, hostages of the sun, bathed in light and air that perhaps came to you from the Gold Coast. And you saw men and camels like flies, and Cairo like a grey blur, and the Mokattam hills almost as a higher ridge of the sands. The mosque of Mohammed Ali was like a cup turned over. Far below slept the dead in that graveyard of the Sphinx, with its pale stones, its sand, its palm, its "Sycamores of the South," once worshipped and regarded as Hathor's living body. And beyond them on one side were the sleeping waters, with islands small, surely, as delicate Egyptian hands, and on the other the great desert that stretches, so the Bedouins say, on and on "for a march of a thousand days."

That base and that summit—what suggestion and what mystery in their contrast! What sober, eternal beauty in the dark line which unites them, now sharply, yet softly, defined against the night, which is purple as the one garment of the fellah! That line leads the soul irresistibly from earth to the stars.

III

SAKKARA

It was the "Little Christmas" of the Egyptians as I rode to Sakkara, after seeing a wonderful feat, the ascent and descent of the second Pyramid in nineteen minutes by a young Bedouin called Mohammed Ali who very seriously informed me that the only Roumi who had ever reached the top was an "American gentlemens" called Mark Twain, on his first visit to Egypt. On his second visit, Ali said, Mr. Twain had a bad foot, and declared he could not be bothered with the second Pyramid. He had been up and down without a guide; he had disturbed the jackal which lives near its summit, and which I saw running in the sunshine as Ali drew near its lair, and he was satisfied to rest on his immortal laurels. To the Bedouins of the Pyramids Mark Twain's world-wide celebrity is owing to one fact alone: he is the only Roumi who has climbed the second Pyramid. That is why his name is known to every one.

It was the "Little Christmas," and from the villages in the plain the Egyptians came pouring out to visit their dead in the desert cemeteries as I passed by to visit the dead in the tombs far off on the horizon. Women, swathed in black, gathered in groups and jumped monotonously up and down, to the accompaniment of stained hands clapping, and strange and weary songs. Tiny children blew furiously into tin trumpets, emitting sounds that were terribly European. Men strode seriously by, or stood in knots among the graves, talking vivaciously of the things of this life. As the sun rose higher in the heavens, this visit to the dead became a carnival of the living. Laughter and shrill cries of merriment betokened the resignation of the mourners. The sand-dunes were black with running figures, racing, leaping, chasing one another, rolling over and over in the warm and golden grains. Some sat among the graves and ate. Some sang. Some danced. I saw no one praying, after the sun was up. The Great Pyramid of Ghizeh was transformed in this morning hour, and gleamed like a marble mountain, or like the hill covered with salt at El-Outaya, in Algeria. As we went on it sank down into the sands, until at last I could see only a small section with its top, which looked almost as pointed as a gigantic needle. Abou was there on the hot stones in the golden eye of the sun—Abou who lives to respect his Pyramid, and to serve Turkish coffee to those who are determined enough to climb it. Before me the Step Pyramid rose, brown almost as bronze, out of the sands here desolate and pallid. Soon I was in the house of Marriette, between the little sphinxes.

Near Cairo, although the desert is real desert, it does not give, to me, at any rate, the immense impression of naked sterility, of almost brassy, sun-baked fierceness, which often strikes one in the Sahara to the south of Algeria, where at midday one sometimes has a feeling of being lost upon a waste of metal, gleaming, angry, tigerish in color. Here, in Egypt, both the people and the desert seem gentler, safer, more amiable. Yet these tombs of Sakkara are hidden in a desolation of the sands, peculiarly blanched and mournful; and as you wander from tomb to tomb, descending and ascending, stealing through great galleries beneath the sands, creeping through tubes of stone, crouching almost on hands and knees in the sultry chambers of the dead, the awfulness of the passing away of dynasties and of race comes, like a cloud, upon your spirit. But this cloud lifts and floats from you in the cheerful tomb of Thi, that royal councillor, that scribe and confidant, whose life must have been passed in a round of serene activities, amid a sneering, though doubtless admiring, population.

Into this tomb of white, vivacious figures, gay almost, though never wholly frivolous—for these men were full of purpose, full of an ardor that seduces even where it seems grotesque—I took with me a child of ten called Ali, from the village of Kafiah; and as I looked from him to the walls around us, rather than the passing away of the races, I realized the persistence of type. For everywhere I saw the face of little Ali, with every feature exactly reproduced. Here he was bending over a sacrifice, leading a sacred bull, feeding geese from a cup, roasting a chicken, pulling a boat, carpentering, polishing, conducting a monkey for a walk, or merely sitting bolt upright and sneering. There were lines of little Alis with their hands held to their breasts, their faces in profile, their knees rigid, in the happy tomb of Thi; but he glanced at them unheeding, did not recognize his ancestors. And he did not care to penetrate into the tombs of Mera and Meri-Ra-ankh, into the Serapeum and the Mestaba of Ptah-hotep. Perhaps he was right. The Serapeum is grand in its vastness, with its long and high galleries