An Egyptian Princess — Volume 10 — Key Ideas to Explore

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Ebers, Georg, 1837-1898, Grove, Eleanor [Translator] Project Gutenberg 2004 Not confirmed
Egypt -- History -- To 332 B.C. -- Fiction; German fiction -- Translations into English Readers of public-domain and historical texts
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Words 26,493
Reading time 116 min
Text sections 3

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This volume follows the Nile festival journey of Bartja, Sappho, and companions, then shifts to Cambyses' fever, madness, and disastrous Ethiopian campaign, using river imagery and structural contrast between calm and chaos.
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The waters of the Nile had begun to rise again. Two months had passed away since Phanes' disappearance, and much had happened.

The very day on which he left Egypt, Sappho had given birth to a girl, and had so far regained strength since then under the care of her grandmother, as to be able to join in an excursion up the Nile, which Croesus had suggested should take place on the festival of the goddess Neith. Since the departure of Phanes, Cambyses' behavior had become so intolerable, that Bartja, with the permission of his brother, had taken Sappho to live in the royal palace at Memphis, in order to escape any painful collision. Rhodopis, at whose house Croesus and his son, Bartja, Darius and Zopyrus were constant guests, had agreed to join the party.

On the morning of the festival-day they started in a gorgeously decorated boat, from a point between thirty and forty miles below Memphis, favored by a good north-wind and urged rapidly forward by a large number of rowers.

A wooden roof or canopy, gilded and brightly painted, sheltered them from the sun. Croesus sat by Rhodopis, Theopompus the Milesian lay at her feet. Sappho was leaning against Bartja. Syloson, the brother of Polykrates, had made himself a comfortable resting-place next to Darius, who was looking thought fully into the water. Gyges and Zopyrus busied themselves in making wreaths for the women, from the flowers handed them by an Egyptian slave.

"It seems hardly possible," said Bartja, "that we can be rowing against the stream. The boat flies like a swallow."

"This fresh north-wind brings us forward," answered Theopompus. "And then the Egyptian boatmen understand their work splendidly."

"And row all the better just because we are sailing against the stream," added Croesus. "Resistance always brings out a man's best powers."

"Yes," said Rhodopis, "sometimes we even make difficulties, if the river of life seems too smooth."

"True," answered Darius. "A noble mind can never swim with the stream. In quiet inactivity all men are equal. We must be seen fighting, to be rightly estimated."

"Such noble-minded champions must be very cautious, though," said Rhodopis, "lest they become contentious, and quarrelsome. Do you see those melons lying on the black soil yonder, like golden balls? Not one would have come to perfection if the sower had been too lavish with his seed. The fruit would have been choked by too luxuriant tendrils and leaves. Man is born to struggle and to work, but in this, as in everything else, he must know how to be moderate if his efforts are to succeed. The art of true wisdom is to keep within limits."

"Oh, if Cambyses could only hear you!" exclaimed Croesus. "Instead of being contented with his immense conquests, and now thinking for the welfare of his subjects, he has all sorts of distant plans in his head. He wishes to conquer the entire world, and yet, since Phanes left, scarcely a day has passed in which he has not been conquered himself by the Div of drunkenness."

"Has his mother no influence over him?" asked Rhodopis. "She is a noble woman."

"She could not even move his resolution to marry Atossa, and was forced to be present at the marriage feast."

"Poor Atossa!" murmured Sappho.

"She does not pass a very happy life as Queen of Persia," answered Croesus; "and her own naturally impetuous disposition makes it all the more difficult or her to live contentedly with this husband and mother; I am sorry to hear it said that Cambyses neglects her sadly, and treats her like a child. But the marriage does not seem to have astonished the Egyptians, as brothers and sisters often marry here."

"In Persia too," said Darius, putting on an appearance of the most perfect composure, "marriages with very near relations are thought to be the best."

"But to return to the king," said Croesus, turning the conversation for Darius' sake. "I can assure you, Rhodopis, that he may really be called a noble man. His violent and hasty deeds are repented of almost as soon as committed, and the resolution to be a just and merciful ruler has never forsaken him. At supper, for instance, lately, before his mind was clouded by the influence of wine, he asked us what the Persians thought of him in comparison with his father."

The tenth volume of An Egyptian Princess opens with a carefully composed river scene: a party of characters including Bartja, Sappho, Croesus, and Darius glides up the Nile on a festival day. The boat moves swiftly against the current, a detail that sparks a philosophical exchange about resistance and moderation. Rhodopis warns against contentiousness, using the image of melons choked by excessive tendrils. This leisurely, reflective passage stands in sharp contrast to the violent psychological collapse that follows.

Movement and Stillness on the Nile

The excursion sequence is built around motion—the boat flies “like a swallow,” rowers strain against the north wind—yet the conversation is static, almost philosophical. Characters discuss struggle, limits, and the art of wisdom while the landscape slides past: melons on black soil, a gilded canopy. The river journey becomes a framing device for moral reflection. This structural choice sets up a rhythm of calm before the narrative shifts abruptly to Cambyses’ sickroom, where movement ceases entirely. The king lies motionless for weeks, and the only progression is inward, into delirium.

The King’s Disordered Mind

Cambyses’ illness is described in clinical stages: fever, loss of consciousness, a shriek of rage upon learning of Bartja’s death, then raving delirium. His recovery is physical but not mental. The text specifies that his mind “remained disordered and weak up to his last hour.” A fixed delusion takes hold—that Bartja has become the bow of the King of Ethiopia, and that Cyrus’s soul commands him to restore his brother by conquering the black nation. This idea is confided as a “great secret” and drives the disastrous Ethiopian campaign. The narrative traces the king’s deterioration through concrete symptoms rather than abstract commentary.

The Ethiopian Campaign and Its Horrors

The campaign is recounted in a compressed, almost reportorial style. The army suffers heat and scarcity; soldiers resort to drawing lots and cannibalism, a detail attributed to a near-contemporary historian. Cambyses is compelled to return by his subjects, yet they obey him “all the more blindly” once back in inhabited regions. The episode ends with the king’s return to Memphis, where he misinterprets a festival for the new Apis as a celebration of his misfortunes. This sequence shows how the narrative shifts from intimate psychological observation to broad historical catastrophe, using the same spare, factual tone for both.

Recurring Images of Water and Waste

Water imagery runs through the volume: the Nile’s rise, the boat’s swift passage, the “unfruitful waves of the Red Sea” where Bartja’s body is buried. In the Ethiopian desert, water vanishes entirely; the army perishes from heat and scarcity. The contrast between the life-giving river of the opening and the barren sands of the campaign is stark. Even the king’s fever is described as a “shivering-fit,” linking bodily water loss to mental dissolution. These recurring elements tie the volume’s two halves together, suggesting a deliberate structural parallel between natural cycles and human ruin.

Readers should note that this volume relies heavily on the contrast between two modes: the dialogic, scenic opening and the compressed, almost chronicle-like account of Cambyses’ madness. The excerpts do not reveal how the narrative resolves these threads, but the shift in pace and perspective is itself a meaningful structural feature. Pay attention to how the river journey’s measured rhythm gives way to the king’s fragmented consciousness.

That Nile festival felt like a held breath before the fever took Cambyses, and I kept thinking how calm water can hide such darkness underneath. It reminded me of another quiet book, The Untilled Field — A Reader’s Guide, where stillness also carries an ache just beneath the surface. Some stories stay with you like that.

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