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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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JB £ E 5 = 5 Sfi / £ 5 fi £ s 3 SE 5 £ TM ? C » h 3 d « t whSi ought to be noticed , because ic illustrates the Sn ^ UShS& *<> pursue his invesiigation-a spirit of Srv and no of JSe tion , a desire ^ struggle , through doubts contradictionTwTobs ^ ur ? tie ^ to the true historical light , instead of sl . roud . ng himself in ^ Ssm ^ and declaring that a mistake must be no mistake because he had ^ Ne ^ iieless , as we regard it , he believes in much that js disputable ; and his ^ main theorV , that Eratosthenes , is the only exact chronological authority , SoiSres a little more discussion . That Matietho i * confused and unmtelh-Sble we readily admit . He repeated many names , inserted many that were not strictly reaal , did not discriminate between sole-regnant and co-regnant kincs , and calculated the order of time upon a basis which it is impossible fortis with any certainty to Understand . His lists are at variance with those of the Turin papyrus , which itself contains several discrepancies In Tact , ambn < ra people whose priests adopted dynastic instead of chronological arraneements , whowere anxious to multiply the names of monarchs , and whose itte&od was onlv interpreted long afterwards by the historical arithmeticians
of Greece , what records could we hope to find that were not vitiated by inaccuracy or injured by confusion ? Eusebius interrupts the Chevalier Bunsen ' s reasoning ; but he deals with himlike a true Egyptologer , and stigmatises him as an unscrupulous , unsettled , dishonest chronicler , whose reckless levity disturbed the harmonious dynasties of Egypt for the sake of upholding certain pretensions of the Jews . Eusebius , no doubt , was an impudent synchronist , but why denounce him when his statements are unacceptable , and prefer him when they are pleasing ? It is to Eratosthenes , however , that our antiquarian looks for positive information . That explorer of historical and traditionary archives created a chronology out of a chaos of datesand there was light over the lost lineage of Egypt .
, Toe difficulties o £ Egyptian historical genealogy are increased by the elaborate system of royal names , in which one appellation was often borne by many monarchs of the same dynasty . Again , the register of kings , without a clue to their import , and a corroboration of their testimony , might remain in abundance , and yet be valueless . There were also continual opportunities for error in the practice of copying . In settling the lines of proof , too , we usually find some matter cleared away , some newly arranged , some introduced from arbitrary sources . In every effort of Egyptian research it has , in addition , to be borne in mind , that we are dealing with imperfect and scattered remnants of the monumental edifices on which , if hieroglyphics mean anything , the story of the empire is inscribed . Let us add other of the obstacles
in the way of historical discovery . Whatever may be said , Menes—Menu- — Minos—Minyas—Mannus—Mens—Man—has something mythical about his character and name , as the Adam of Egyptian kings , whose life began in a mystery and ended in a miracle , and whose achievements must be explained by translating the symbolism of legends into the plain language of mortal history . As to the reading-of the Jackal-sceptre , supposed to mean the name and style of Sesertesen , is there nothing problematical in that ? As the Chevalier warns us , the difference between the probable and the known should
always be kept in mind , for assuredly the phrases which continually disturb our faith—the " must have contained , " the " certainty belong , " the "justified in considering , " the " offer another conjecture "—which occur , ** not once or twice in this neroic story , " ate not those which are found in the repertory of a sure-footed archaeologist or an assured historian . Poor " King Goose , " who figures in the Book of the Dead , has no place assigned to him in the Chevalier Bunsen ' s regal arrangements , and is , therefore , flung through a gulf of centuries , and lost in sublime obscurity as a being who * ' may as well have been one of the unchronological kings before Menes . "
On the old but unsettled question of the purpose for which the Pyramids were built , the Chevalier Bunsen has been convinced ; they were constructed , he says , to serve as tombs , and as tombs only- We wish to know why ? Of their builders , Herodotus knew next to nothing ; the Alexandrian Greeks collected far more fable than truth concerning them ; and Pliny confessed his total ignorance on the subject . Champollion , Uosellini , Belzoni , Vyse , and Bunsen himself , have principally engaged themselves in investigations as to the dynasty . which erected these wonderful and immortal works ; but there is enough difficulty connected with that task to teach any modest student not to be sure on a point which profound scholars still hold to be mysterious . We might , however , quote the Chevalier ' s notice of the middle pyramid , and of its dead occupant , ; during hundreds of ages—a king of ancient Egypt , whose bones : are now preserved in the centre of London , — to eiiow that when his quotations fail , he takes refuge in the picturesque .
But the next sentence exhibits the airy nature of all speculations on a subject so remote frdm the range of certain knowledge . " Mencheres , then , built himself a pyramid , or one was built for him by a grateful nation under his successor ; probably the germ of the pyramid under which his corse was found , " in which , therefore , a third , perhaps a fourth , generation was concerned . Yet there is , in this , an aspect of perfect assurance , compared with the latitude of conjuncture allowed for tis in the following , though it bears on so important a matter as the reality of a royal line , the representatives of Egypt during a particular period . From a certain epoch the name of Memphi te never occurs in the regal lists . " We must , therefore , either suppose 1
the Imperial series to be carried onin the Theban , or that none existed at nil . We are , however , bound to adopt tlie former assumption . " And this " assumption" we find "is as fully substantiated as we can expect it to be . " Indeed , if we pretend to read Egyptian history at alj , ye must be satisfied with rather a , frequent use of conjecture and assumption . For , let us repeat , it is not to tlie Chevalier Bunsen ' s theory that we especially object ; we object to the credulity of the Egyptologers in general . They confute each other , and believe in themselves . Mr . Osburne , though he bows all round the arena , runs full tilt at every knight who appears ; and the Chevalier , though he flatters and praises abundantly , critisises his friends all to pieces , and even , on certain topics , quarrels with Dr . Lepsius . The truth if ; that , with the exception of his favourite Eratosthenes * whom he only
depreciates accidentally , lie sails stem on among the whole concourse of antiquarians , and demolishes at least , whatever stands in the way of his own ideas . In the work of . demolition we can attest his success ; but , us we have said , we considered the reconstruction of Egyptian history , to the extent in which philologists believe , to be impossible ; and we are only surprised , after the manner in which the Chevalier Bunsen treats those / who have affected to read ethenography and geography , as well as politick and religion on the monuments of the Nile , that he should attach so timed value to modern decipherings , transpositions , aud corrections of the hieroglyphic texts . For our part we appreciate the depth of his learning , and the quality of his criticism ; we are willing to allow that , as far as the study of the Nilotic
remains can be carried , he has carried it ; but we would dissuade our readers from believing that the cloud is yet lifted from old Egypt . Egypt has a place , and an important place , in universal history , but lias her language given up its dead ? Are the mystic writings of her kings and priesthoods intelligible to our generation ? We doubt whether they are to such a degree that from them a page of the nation's annals could be restored . Also , may we remark , that the antiquarians are like the builders of a pyramid ; their industry and skill are beyond dispute ; but—Out Bono ? Patience and conscience like this , applied to modern political and social history , might undo the work of the corrupt and servile chroniclers whose judgments are now the current coin of opinion .
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MADEMOISELLE RACHEL . The appearance of Mademoiselle Rachel at that bijou of a theatre , the St . James ' s , is always an event . This week it has 6 tirred the expiring embers of an exhausted season into a flame of enthusiasm . The house has been crowded with delighted audiences , and garnished in nooks and corners with critics , all too happy in the foretaste of a sensation . Let us say at once , that the troupe of " most popular artistes" who have accompanied the tragedienne are at least highly respectable elocutionists : very different from the troupe we remember in 1853 ; and the sisters Felix have the attraction , at least , of resembling their sister .
Mademoiselle Rachel has seldom , we believe , if ever , acted more finely than on this occasion . She has acted as if her great reputation were at stake in Europe , as indeed it is . Two years ago , wheu she visited England , it was impossible not to perceive a deterioration of power . She had ceased to act evenly and conscientiously , she almost gabbled at times , in her hurry to reach her " points . " When we heard her at Paris , in the winter , there was the same decay of power , the same disrespect for her art , the same indifference to reputation , lit up every now and then by flashes of her old power . The advent of Ristori , we suppose , has taught her to look to her laurels . to
Mademoiselle Rachel acts now as she did when she had a reputation make , and made it . In the fierce Camille , in the passion-wasted Fhidre , in the romantic Adrienne f ^ ecouvreur , she has not only excited the many but satisfied the few . She is looking singularly well and strong , almost a little rounded in outline , and not only the marvellous instinct of her conception , and the electrical fascination of her panther-like grace , have spell-bound lier audiences , but the finely-shaded expression of her utterance , and the subtle elaboration of her by-play , have recalled her best days to her oldest and most constant admirers . It is true that two-thirds of the stalls never take their eyes off their books of the play , owing , we suppose , to what Fuseli called " de d—d ignorance of do language . " Still there arc plenty in the theatre who can see , hear , and appreciate at once Rachel and Racine , feel the strange terror of those flashing eyes , and taste the perfect beauty of the poet's verse .
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It was a tour de force worthy of the Royal Italian Opera to produce one of Mbyebbeer ' s most elaborate operas without a single rehearsal . Nevertheless , the Prophete went smoothly on Tuesday night : there was some slight unsteadiness in the chorus onco or twice , but on the whole the opera went brilliantly and effectively . There is not a finer performance to be seeu on any stage than the" Fides of the admirable Madame Viardot , and on Tuesday she appeared to bo in possession of all her magnificent powers . She sang with consummate skill and force , and her acting , in the cathedral scene especially , remains an example to all who'aspire to the rank of dramatic artists , of a perfect conception worked out with equal energy and simplicity . Madame Viabuot wrung the highest testimonj' of admiration from the audiencethe testimony of tears . Tambkblik seemed to bo a little out of voice , but he never gave the " Ro del Cielo" with more astonishing- vigour , piercing the audience through and through with his famous C in alt , and his acting was finished and impressive throughout . Mademoiselle Mahai is the best Bertha wo liave heard . This young lady , by study and perseverance , is taking a high rank in hor art ; nature has bestowed upon her a sweet face and a delightful voice .
Otello , we observe , is announced for next week , the last week of the season . Madame Viardot ' b JDeademona and Tamuerlik ' s Otello aro among the gloriea of the lyric stage . How is it that Otello always comes in at tho death of the season ?
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" English Opera" flourishes at DhijuyLane . A Miss Dybr made hor debut last Saturday in the character of Anne , in Uer Frcyscnutz , with success , and repeated tho character on Tuesday .
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We have to apologise for tho sad havoc made of the authorship of Wife or No Wife in our last week ' s impression . "We had written— "by Mr . Hkraud , with Miss Edith Hehauij »_ iu tho part of tho heroine . " Our printers made " Miss Eimtu Uhjlavu" tho author of the piny , and a u Mrs . Eorru IIj £ kaui > , " of whoae existence wo wore not aware , the heroine . It is true that another paragraph sot matters right , but wo fcol bound to apologiso for a blunder not our own , remembering what Auistotlk says on tho subject of misspelling and mispronouncing names .
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Mademoiselle Rachel in announced to appear in Madame do GiitAnmN'u Lady Tartttfe , on Monday , and for the very last time in Adrienne Lecouvreur , on Wednesday next .
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Citation
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Leader (1850-1860), Aug. 4, 1855, page 752, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2101/page/20/
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