is good, and very sweet, and if I get another cake, and Hekt will let me out, I will bring it to you.
“Thank you, good little Scherau,” said Uarda, kissing the child. Then she turned to Pentaur and said:
“For weeks he has had nothing but papyrus-pith, and lotus-bread, and now he brings me the cake which grandmother gave old Hekt yesterday.”
The child blushed all over, and stammered:
“It is only half—but I did not touch it. Your dog bit out this piece, and this.”
He touched the honey with the tip of his finger, and put it to his lips. “I was a long time behind the reeds there, for I did not like to come out because of the strangers there.” He pointed to Nebsecht and Pentaur. “But now I must go home,” he cried.
The child was going, but Pentaur stopped him, seized him, lifted him up in his arms and kissed him; saying, as he turned to Nebsecht:
“They were wise, who represented Horus—the symbol of the triumph of good over evil and of purity over the impure—in the form of a child. Bless you, my little friend; be good, and always give away what you have to make others happy. It will not make your house rich—but it will your heart!”
Scherau clung to the priest, and involuntarily raised his little hand to stroke Pentaur’s cheek. An unknown tenderness had filled his little heart, and he felt as if he must throw his arms round the poet’s neck and cry upon his breast.
But Pentaur set him down on the ground, and he trotted down into the valley. There he paused. The sun was high in the heavens, and he must return to the witch’s cave and his board, but he would so much like to go a little farther—only as far as to the king’s tomb, which was quite near.
Close by the door of this tomb was a thatch of palm-branches, and under this the sculptor Batau, a very aged man, was accustomed to rest. The old man was deaf, but he passed for the best artist of his time, and with justice; he had designed the beautiful pictures and hieroglyphic inscriptions in Seti’s splendid buildings at Abydos and Thebes, as well as in the tomb of that prince, and he was now working at the decoration of the walls in the grave of Rameses.
Scherau had often crept close up to him, and thoughtfully watched him at work, and then tried himself to make animal and human figures out of a bit of clay.
One day the old man had observed him.
The sculptor had silently taken his humble attempt out of his hand, and had returned it to him with a smile of encouragement.
From that time a peculiar tie had sprung up between the two. Scherau would venture to sit down by the sculptor, and try to imitate his finished images. Not a word was exchanged between them, but often the deaf old man would destroy the boy’s works, often on the contrary improve them with a touch of his own hand, and not seldom nod at him to encourage him.
When he staid away the old man missed his pupil, and Scherau’s happiest hours were those which he passed at his side.
He was not forbidden to take some clay home with him. There, when the old woman’s back was turned, he moulded a variety of images which he destroyed as soon as they were finished.
While he lay on his rack his hands were left free, and he tried to reproduce the various forms which lived in his imagination, he forgot the present in his artistic attempts, and his bitter lot acquired a flavor of the sweetest enjoyment.
But to-day it was too late; he must give up his visit to the tomb of Rameses.
Once more he looked back at the hut, and then hurried into the dark cave.
CHAPTER XIV.
Pentauer also soon quitted the but of the paraschites.
Lost in meditation, he went along the hill-path which led to the temple which Ameni had put under his direction.67
He foresaw many disturbed and anxious hours in the immediate future.
The sanctuary of which he was the superior, had been dedicated to her own memory, and to the goddess Hathor, by Hatasu,68 a great queen of the dethroned dynasty.
The priests who served it were endowed with peculiar chartered privileges, which hitherto had been strictly respected. Their dignity was hereditary, going down from father to son, and they had the right of choosing their director from among themselves.
Now their chief priest Rui was ill and dying, and Ameni, under whose jurisdiction they came, had, without consulting them, sent the young poet Pentaur to fill his place.
They had received the intruder most unwillingly, and combined strongly against him when it became evident that he was disposed to establish a severe rule and to abolish many abuses which had become established customs.
They had devolved the greeting of the rising sun on the temple-servants; Pentaur required that the younger ones at least should take part in chanting the morning hymn, and himself led the choir. They had trafficked with the offerings laid on the altar of the Goddess; the new master repressed this abuse, as well as the extortions of which they were guilty towards women in sorrow, who visited the temple of Hathor in greater number than any other sanctuary.
The poet-brought up in the temple of Seti to self-control, order, exactitude, and decent customs, deeply penetrated with a sense of the dignity of his position, and accustomed to struggle with special zeal against indolence of body and spirit—was disgusted with the slothful life and fraudulent dealings of his subordinates; and the deeper insight which yesterday’s experience had given him into the poverty and sorrow of human existence, made him resolve with increased warmth that he would awake them to a new life.
The conviction that the lazy herd whom he commanded was called upon to pour consolation into a thousand sorrowing hearts, to dry innumerable tears, and to clothe the dry sticks of despair with the fresh verdure of hope, urged him to strong measures.
Yesterday he had seen how, with calm indifference, they had listened to the deserted wife, the betrayed maiden, to the woman, who implored the withheld blessing of children, to the anxious mother, the forlorn widow—and sought only to take advantage of sorrow, to extort gifts for the Goddess, or better still for their own pockets or belly.
Now he was nearing the scene of his new labors.
There stood the reverend building, rising stately from the valley on four terraces handsomely and singularly divided, and resting on the western side against the high amphitheatre of yellow cliffs.
On the closely-joined foundation stones gigantic hawks were carved in relief, each with the emblem of life, and symbolized Horus, the son of the Goddess, who brings all that fades to fresh bloom, and all that dies to resurrection.
On each terrace stood a hall open to the east, and supported on two and twenty archaic pillars.69
On their inner walls elegant pictures and inscriptions in the finest sculptured work recorded, for the benefit of posterity, the great things that Hatasu had done with the help of the Gods of Thebes.
There were the ships which she had to send to Punt70 to enrich Egypt with the treasures of the east; there the wonders brought to Thebes from Arabia might be seen; there were delineated the houses of the inhabitants of the land of frankincense, and all the fishes of the Red Sea, in distinct and characteristic outline.
On the third and fourth terraces were the small adjoining rooms of Hatasu and her brothers Thotmes II. and III., which were built against the rock, and entered by granite doorways. In them purifications were accomplished, the images of the Goddess worshipped, and the more distinguished worshippers admitted to confess. The sacred cows of the Goddess were kept in a side-building.
As Pentaur approached the great gate of the terrace-temple, he became the witness of a scene which filled him with resentment.
A woman implored to