ous
monuments which have descended to us from the time of the Rameses,
in fact enable the enquirer to understand much of the aspect and
arrangement of Egyptian life, and to follow it step try step through
the details of religious, public, and private life, even of particular
individuals. The same remark cannot be made in regard to their mental
life, and here many an anachronism will slip in, many things will appear
modern, and show the coloring of the Christian mode of thought.

Every part of this book is intelligible without the aid of notes; but,
for the reader who seeks for further enlightenment, I have added some
foot-notes, and have not neglected to mention such works as afford more
detailed information on the subjects mentioned in the narrative.

The reader who wishes to follow the mind of the author in this work
should not trouble himself with the notes as he reads, but merely at
the beginning of each chapter read over the notes which belong to the
foregoing one. Every glance at the foot-notes must necessarily disturb
and injure the development of the tale as a work of art. The story
stands here as it flowed from one fount, and was supplied with notes
only after its completion.

A narrative of Herodotus combined with the Epos of Pentaur, of which
so many copies have been handed down to us, forms the foundation of the
story.

The treason of the Regent related by the Father of history is referable
perhaps to the reign of the third and not of the second Rameses. But it
is by no means certain that the Halicarnassian writer was in this case
misinformed; and in this fiction no history will be inculcated, only
as a background shall I offer a sketch of the time of Sesostris, from
a picturesque point of view, but with the nearest possible approach to
truth. It is true that to this end nothing has been neglected that could
be learnt from the monuments or the papyri; still the book is only a
romance, a poetic fiction, in which I wish all the facts derived from
history and all the costume drawn from the monuments to be regarded as
incidental, and the emotions of the actors in the story as what I attach
importance to.

But I must be allowed to make one observation. From studying the
conventional mode of execution of ancient Egyptian art--which was
strictly subject to the hieratic laws of type and proportion--we have
accustomed ourselves to imagine the inhabitants of the Nile-valley in
the time of the Pharaohs as tall an