#17 General Monotony

Egypt is a land of tranquil monotony. The eye commonly travels either over a waste of waters, or over a green plain unbroken by elevations. The hills which inclose the Nile valley have level tops, and sides that are bare of trees, or shrubs, or flowers, or even mosses. The sky is generally cloudless. No fog or mist enwraps the distance in mystery; no rainstorm sweeps across the scene; no rainbow spans the empyrean; no shadows chase each other over the landscape. There is an entire absence of picturesque scenery. A single broad river, unbroken within the limits of Egypt even by a rapid, two flat strips of green plain at its side, two low lines of straight-topped hills beyond them, and a boundless open space where the river divides itself into half a dozen sluggish branches before reaching the sea, constitute Egypt, which is by nature a southern Holland—-"weary, stale, flat and unprofitable." The monotony is relieved, however, in two ways, and by two causes. Nature herself does something to relieve it Twice a day, in the morning and in the evening, the sky and the landscape are lit up by hues so bright yet so delicate, that the homely features of the prospect are at once transformed as by magic, and wear an aspect of exquisite beauty. At dawn long streaks of rosy light stretch themselves across the eastern sky, the haze above the western horizon blushes a deep red; a ruddy light diffuses itself around, and makes walls and towers and minarets and cupolas to glow like fire; the long shadows thrown by each tree and building are purple or violet. A glamour is over the scene, which seems transfigured by an enchanter's wand; but the enchanter is Nature, and the wand she wields is composed of sun-rays. Again, at eve, nearly the same effects are produced as in the morning, only with a heightened effect; "the redness of flames" passes into "the redness of roses"—the wavy cloud that fled in the morning comes into sight once more—comes blushing, yet still comes on—comes burning with blushes, and clings to the Sun-god's side.

Night brings a fresh transfiguration. The olive after-glow gives place to a deep blue-grey. The yellow moon rises into the vast expanse. A softened light diffuses itself over earth and sky. The orb of night walks in brightness through a firmament of sapphire; or, if the moon is below the horizon, then the purple vault is lit up with many-coloured stars. Silence profound reigns around. A phase of beauty wholly different from that of the day-time smites the sense; and the monotony of feature is forgiven to the changefulness of expression, and to the experience of a new delight.

Man has also done his part to overcome the dulness and sameness that brood over the "land of Mizraim." Where nature is most tame and commonplace, man is tempted to his highest flights of audacity. As in the level Babylonia he aspired to build a tower that should "reach to heaven" (Gen. xi. 4), so in Egypt he strove to startle and surprise by gigantic works, enormous undertakings, enterprises that might have seemed wholly beyond his powers. And these have constituted in all ages, except the very earliest, the great attractiveness of Egypt. Men are drawn there, not by the mysteriousness of the Nile, or the mild beauties of orchards and palm-groves, of well-cultivated fields and gardens—no, nor by the loveliness of sunrises and sunsets, of moonlit skies and stars shining with many hues, but by the huge masses of the pyramids, by the colossal statues, the tall obelisks, the enormous temples, the deeply-excavated tombs, the mosques, the castles, and the palaces. The architecture of Egypt is its great glory. It began early, and it has continued late. But for the great works, strewn thickly over the whole valley of the Nile, the land of Egypt would have obtained but a small share of the world's attention; and it is at least doubtful whether its "story" would ever have been thought necessary to complete "the Story of the Nations."