An Egyptian Princess — Volume 06 — Text and Context
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For An Egyptian Princess — Volume 06 — Text and Context, the stored edition analysis reports 24,067 words, 1 hr 45 min estimated reading time, and 3 detected text sections.
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Project Gutenberg metadata also associates the work with “Egypt -- History -- To 332 B.C. -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
The principal steward of the banquet went forward to meet the guests as they entered, and, assisted by other noble staff-bearers (chamberlains and masters of the ceremonies), led them to their appointed places.
When they were all seated, a flourish of trumpets announced that the king was near. As he entered the hall every one rose, and the multitude received him with a thundering shout of "Victory to the king!" again and again repeated.
The way to his seat was marked by a purple Sardian carpet, only to be trodden by himself and Kassandane. His blind mother, led by Croesus, went first and took her seat at the head of the table, on a throne somewhat higher than the golden chair for Cambyses, which stood by it. The king's lawful wives sat on his left hand; Nitetis next to him, then Atossa, and by her side the pale, plainly-dressed Phaedime; next to this last wife of Cambyses sat Boges, the eunuch. Then came the high-priest Oropastes, some of the principal Magi, the satraps of various provinces (among them the Jew Belteshazzar), and a number of Persians, Medes and eunuchs, all holding high offices under the crown.
Bartja sat at the king's right hand, and after him Croesus, Hystaspes, Gobryas, Araspes, and others of the Achaemenidae, according to their rank and age. Of the concubines, the greater number sat at the foot of the table; some stood opposite to Cambyses, and enlivened the banquet by songs and music. A number of eunuchs stood behind them, whose duty it was to see that they did not raise their eyes towards the men.
Cambyses' first glance was bestowed on Nitetis; she sat by him in all the splendor and dignity of a queen, but looking very, very pale in her new purple robes.
Their eyes met, and Cambyses felt that such a look could only come from one who loved him very dearly. But his own love told him that something had troubled her. There was a sad seriousness about her mouth, and a slight cloud, which only he could see, seemed to veil the usually calm, clear and cheerful expression of her eyes. "I will ask her afterwards what has happened," thought he, "but it will not do to let my subjects see how much I love this girl."
He kissed his mother, sister, brother and his nearest relations on the forehead--said a short prayer thanking the gods for their mercies and entreating a happy new year for himself and the Persians--named the immense sum he intended to present to his countrymen on this day, and then called on the staff bearers to bring the petitioners before his face, who hoped to obtain some reasonable request from the king on this day of grace.
As every petitioner had been obliged to lay his request before the principal staff bearer the day before, in order to ascertain whether it was admissible, they all received satisfactory answers. The petitions of the women had been enquired into by the eunuchs in the same manner, and they too were now conducted before their lord and master by Boges, Kassandane alone remaining seated.
The long procession was opened by Nitetis and Atossa, and the two princesses were immediately followed by Phaedime and another beauty. The latter was magnificently dressed and had been paired with Phaedime by Boges, in order to make the almost poverty-stricken simplicity of the fallen favorite more apparent.
Intaphernes and Otanes looked as annoyed as Boges had expected, on seeing their grandchild and daughter so pale, and in such miserable array, in the midst of all this splendor and magnificence.
Cambyses had had experience of Phaedime's former extravagance in matters of dress, and, when he saw her standing before him so plainly dressed and so pale, looked both angry and astonished. His brow darkened, and as she bent low before him, he asked her in an angry and tyrannical tone: "What is the meaning of this beggarly dress at my table, on the day set apart in my honor? Have you forgotten, that in our country it is the custom never to appear unadorned before the king? Verily, if it were not my birthday, and if I did not owe you some consideration as the daughter of our dearest kinsman, I should order the eunuchs to take you back to the harem, that you might have time to think over your conduct in solitude."
These words rendered the mortified woman's task much easier.... She began to weep loud and bitterly, raising her hands and eyes to her angry lord in such a beseeching manner that his anger was changed into compassion, and he raised her from the ground with the question: "Have you a petition to ask of me?"
The sixth volume of Georg Ebers' historical novel opens with a meticulously described royal banquet, where every seat and gesture reinforces the rigid hierarchy of the Persian court. The king's blind mother, Kassandane, is led to a throne higher than Cambyses' own, while wives, concubines, and eunuchs are arranged by rank. This ceremonial order is immediately disrupted by a whispered accusation: Prince Bartja is charged with sneaking into the Egyptian princess's chamber at night. The narrative shifts from pageantry to a tense interrogation, as the king demands testimony from witnesses whose accounts contradict one another.
Conflicting Testimonies and the Weight of Evidence
The central conflict in this volume is not a battle but a clash of testimonies. The eunuch Boges claims to have seen Bartja fleeing the princess's window, supported by Hystaspes. Yet Croesus, who was present, immediately casts doubt: "I believe we must have been deceived by some remarkable likeness." This single sentence introduces a pattern of uncertainty that pervades the entire excerpt. The king, Cambyses, is caught between his trust in his brother and the seemingly solid evidence. When he asks, "Whom am I to believe then, if the eyes of my best warriors fail them?" he voices the reader's own dilemma. The narrative deliberately withholds a clear resolution, forcing both characters and readers to weigh the reliability of each witness.
The King's Emotional Turmoil and Public Restraint
Cambyses' reaction to the accusation reveals a king torn between personal affection and royal duty. Earlier, he noticed Nitetis's pale face and "sad seriousness about her mouth," resolving to ask her privately what troubled her. But he also reminds himself that "it will not do to let my subjects see how much I love this girl." This internal conflict erupts when Boges delivers his accusation: Cambyses grinds his teeth, speaks in a voice of "great emotion," and later springs up, stamping his foot. Yet he checks himself when he catches Croesus' warning eye. The scene shows a ruler struggling to maintain composure while his personal world unravels, a tension that drives the drama forward.
Alibis and the Structure of Suspense
The defense of Bartja hinges on a carefully constructed alibi. Four noblemen—Araspes, Darius, Gyges, and Zopyrus—step forward to swear that they have not left Bartja's side since returning from hunting. Darius offers a particularly precise detail: he watched the rising of the Tistar-star with Bartja, the very star that Boges claimed shone on the flight. This alibi creates a symmetrical opposition: one set of witnesses places Bartja at the scene, another keeps him elsewhere. The narrative does not resolve the contradiction; instead, it leaves the reader suspended between two equally plausible accounts. The structure mirrors a courtroom drama, where the truth remains elusive and the final verdict is deferred.
Readers should pay close attention to the way Ebers uses physical details—a purple carpet, a fig tree, the moonlight—to anchor the conflicting narratives. The volume offers no easy answers, but rewards careful observation of who speaks, when, and with what degree of certainty. The tension between public ceremony and private suspicion is the engine of this installment.
That banquet scene in An Egyptian Princess stuck with me—the way a single accusation can twist a whole room’s trust, leaving everyone circling their own version of the truth. It reminded me of Evan Harrington — Volume 4 — A Closer Reading, where small social missteps feel just as heavy, and quiet loyalties surface in the margins. Both left me thinking about how rarely we truly see what others do.
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