by itself." "And who is this man in the basket?" "Himself." "Who's Himself?" "Socrates!" The visitor at length addresses the master by a diminutive, as though he had said, "Socrates, dear little Socrates." The philosopher speaks: "Why callest thou me, thou creature of a day?" "Tell me, first, I beg, what you are doing up there." "I am walking in the air, and speculating about the sun; for I should never have rightly learned celestial things if I had not suspended the intellect, and subtly mingled Thought with its kindred Air." All this is in the very spirit of caricature. Half of Aristophanes is caricature. In characterizing the light literature of Greece we are reminded of Juvenal's remark upon the Greek people, "All Greece is a comedian."
CHAPTER III.
AMONG THE ANCIENT EGYPTIANS.
Egyptian art was old when Grecian art was young, and it remained crude when the art of Greece had reached its highest development. But not the less did it delight in caricature and burlesque. In the Egyptian collection belonging to the New York Historical Society there is a specimen of the Egyptians' favorite kind of burlesque picture which dates back three thousand years, but which stands out more clearly now upon its slab of limestone than we can engrave it here.
An Egyptian Caricature.
Dr. Abbott, who brought this specimen from Thebes, interpreted it to be a representation of a lion seated upon a throne, as king, receiving from a fox, personating a high-priest, an offering of a goose and a fan. It is probably a burlesque of a well-known picture; for in one of the Egyptian papyri in the British Museum there is a drawing of a lion and unicorn playing chess, which is a manifest caricature of a picture frequently repeated upon the ancient monuments. It was from Egypt, then, that the classic nations caught this childish fancy of ridiculing the actions of men by picturing animals performing similar ones; and it is surprising to note how fond the Egyptian artists were of this simple device. On the same papyrus there are several other interesting specimens: a lion on his hind-legs engaged in laying out as a mummy the dead body of a hoofed animal; a tiger or wild cat driving a flock of geese to market; another tiger carrying a hoe on one shoulder and a bag of seed on the other; an animal playing on a double pipe, and driving before him a herd of small stags, like a shepherd; a hippopotamus washing his hands in a tall water-jar; an animal on a throne, with another behind him as a fan-bearer, and a third presenting him with a bouquet. No place was too sacred for such playful delineations. In one of the royal sepulchres at Thebes, as Kenrick relates, there is a picture of an ass and a lion singing, accompanying themselves on the phorminx and the harp. There is also an elaborate burlesque of a battle piece, in which a fortress is attacked by rats, and defended by cats, which are visible on the battlements. Some rats bring a ladder to the walls and prepare to scale them, while others, armed with spears, shields, and bows, protect the assailants. One rat of enormous size, in a chariot drawn by dogs, has pierced several cats with arrows, and is swinging round his battle-axe in exact imitation of Rameses, in a serious picture, dealing destruction on his enemies. On a papyrus at Turin there is a representation of a cat with a shepherd's crook watching a flock of geese, while a cynocephalus near by plays upon the flute. Of this class of burlesques the most interesting example, perhaps, is the one annexed, representing a Soul doomed to return to its earthly home in the form of a pig.
A Condemned Soul, Egyptian Caricature.
This picture, which is of such antiquity that it was an object of curiosity to the Romans and the Greeks, is part of the decoration of a king's tomb. In the original, Osiris, the august judge of departed spirits, is represented on his throne, near the stern of the boat, waving away the Soul, which he has just weighed in his unerring scales and found wanting; while close to the shore a man hews away the ground, to intimate that all communication is cut off between the lost spirit and the abode of the blessed. The animals that execute the stern decree are the dog-headed monkeys, sacred in the mythology of Egypt.
Egyptian Servants conveying Home their Masters from a Carouse.
That the ancient Egyptians were a jovial people who sat long at the wine, we might infer from the caricatures which have been discovered in Egypt, if we did not know it from other sources of information. Representations have been found of every part of the process of wine-making, from the planting of the vineyard to the storing-away of the wine-jars. In the valuable works of Sir Gardner Wilkinson[2] many of these curious pictures are given: the vineyard and its trellis-work; men frightening away the birds with slings; a vineyard with a water-tank for irrigation; the grape harvest; baskets full of grapes covered with leaves; kids browsing upon the vines; trained monkeys gathering grapes; the wine-press in operation; men pressing grapes by the natural process of treading; pouring the wine into jars; and rows of jars put away for future use. The same laborious author favors us with ancient Egyptian caricatures which serve to show that wine was a creature as capable of abuse thirty centuries ago as it is now.
Pictures of similar character are not unfrequent upon the ancient frescoes, and many of them are far more extravagant than this, exhibiting men dancing wildly, standing upon their heads, and riotously fighting. From Sir Gardner Wilkinson's disclosures we may reasonably infer that the arts of debauchery have received little addition during the last three thousand years. Even the seductive cocktail is not modern. The ancient Egyptians imbibed stimulants to excite an appetite for wine, and munched the biting cabbage-leaf for the same purpose. Beer in several varieties was known to them also; veritable beer, made of barley and a bitter herb; beer so excellent that the dainty Greek travelers commended it as a drink only inferior to wine. Even the Egyptian ladies did not always resist the temptation of so many modes of intoxication. Nor did they escape the caricaturist's pencil.
Too Late with the Basin.
This unfortunate lady, as Sir Gardner conjectures, after indulging in potations deep of the renowned Egyptian wine, had been suddenly overtaken by the consequences, and had called for assistance too late. Egyptian satirists did not spare the ladies, and they aimed their shafts at the same foibles that have called forth so many efforts of pencil and pen in later times. Whenever, indeed, we look closely into ancient life, we are struck with the similarity of the daily routine to that of our own time. Every detail of social existence is imperishably recorded upon the monuments of ancient Egypt, even to the tone and style and mishaps of a fashionable party. We see the givers of the entertainment, the master and mistress of the mansion, seated side by side upon a sofa; the guests coming up as they arrive to salute them; the musicians and dancers bowing low to them before beginning to perform; a pet monkey, a dog, or a gazelle tied to the leg of the sofa; the youngest child of the family sitting on the floor by its mother's side, or upon its father's knee; the ladies sitting in groups, conversing upon the deathless, inexhaustible subject of dress, and showing one another their trinkets.
Sir Gardner Wilkinson gives us also the pleasing information that it was thought a pretty compliment for one guest to offer another a flower from his bouquet, and that the guests endeavored to gratify their entertainers by pointing out to one another, with expressions of admiration, the tasteful knickknacks, the boxes of carved wood or ivory, the vases, the elegant light tables, the chairs, ottomans, cushions, carpets, and furniture with which the apartment was provided. This too transparent flattery could not escape such inveterate caricaturists as the Egyptian artists. In a tomb at Thebes may be seen a ludicrous representation of scenes at a party where several of the guests had been lost in rapturous admiration of the objects around them. A young man, either from awkwardness or from having gone too often to the wine-jar, had reclined against a wooden column placed in the centre of the room to support a temporary ornament. There is a crash! The ornamental structure falls upon some of the absorbed guests. Ladies have