A DINNER IN OLD EGYPT 795 M535d A SPECTACULAR TABLEAU OF ANCIENT EGYPT. By L. a. Higgins. CHICAGO: T. s. denisUn, publisher, 163 RANi)OLPH STREET. Return this book on or before the Latest Date stamped below. University of Illinois Library Lite 30 ( 3dJ MAY 3 0 993 JUM 0 1 1933 APR 22 198b L161— H41 Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/dinnerinoldegyptOOhigg A DINNER IN OLD EGYPT A SPECTACULAR TABLEAU OF ANCIENT EGYPT. By L. a. Higgins. ife. CHICAGO : T. S. DENISON, PUBLISHER, 163 RANDOLPH STREET, PERSONAGES. Egyptian Noble and Wife. Guests. Slaves. Musicians. Singing Girl, Etc. It was not possible in the brief pages of this little book to give illustrations adequate to the subject. Those | given serve only as hints of what may be done, and as ; guides to the stiff, profile character of Egyptian art. | This “Dinner” has successfully passed the ordeal of | actual representation. COPYRIGHI' 1891, BY T. S. DENISON. 7?3 i-j' b d A DINNER IN OLD EGYPT, There is no fete-day in Egypt so popular as that of the “Rising of the Nile.” From the Khedive on board his ' yellow silk-canopied yacht, showering gold pieces on the r multitude, down to the red-bronze urchins who dive with joyous abandon into the mud for the precious coins, it is a time pre-eminent for merry-making. It is a time of thanks- giving and fireworks; display of banners and feasting. For a “ good Nile” means abundant harvest. 'The custom ^ is as old as the Pyramids — as old as Isis and Osiris. It was observed before the Grecian Cleopatra ever disturbed the peace of “Old Egypt and Young Rome.” The festival of the Nile was celebrated before that sage and garrulous old chronicler Herodotus penetrated the “Mysteries” or (/i declared on the word of a savant he could not bring himself ft) i to believe the Nile encompassed the world! It was when ^ I the sacred Ibis hovered over the land, and the great gods ^ Pasht and Pthah ruled in amicable union. Then as now gay 4 A DINNER IN OLD EGYPT. crafts covered the water, decked in fluttering banners and flowers. A joyous throng on the banks danced to the music of the lute, the sistrum and the double pipes. But that which now has become an almost meaningless revelry, was then alive with sacred fervor. The scattering of rice on the water, the exchange of lotus flowers, the libations of honey, the tossing of silver rings into the river for the beggars to scramble after, all had its deep significance. Each became a propitiatory offering or a thanksgiving. Then, the chanting of the white-robed priests, as they led down to the water’s edge a beautiful girl decked in jewels and flowers, “Bride of the Nile,” had indeed a deep sig- nificance. For regardless of cries and protestations the fair victim was hurled into the great arms of Nilus, and swept out to sea, amid the louder chanting of the priests, joined by the people; the shouts and dancing redoubled; the deep booming of many drums, and wild clangor of cymbals. JVow^ the “Bride of the Nile,” a waxen image on a floating barge, is no more dead than the whole lifiSess ceremony, in contrast to the vivid past. We think of those old Egyptians having the calm non- interest in life of their own mummies. But when we find they laughed and joked, were full of life and animation, we begin to understand that it is not human nature that has changed, merely altered by environment. A drawing on a tile in a New York museum represents a cat dressed as an Egyptian lady of fashion seated elegantly in a chair, sip- ‘'ping wine from a small bowl, being fanned and offered dainties by a second dejected-looking cat, presumably one of her ladyship’s well-disciplined slaves. In a papyrus, in the British Museum, a flock of geese are being driven by a cat, and a herd of goats by two wolves, with crooks and wallet; one of the wolves playing a flute. The oldest papyrus in the world, now in the National Library in A DINNER IN OLD EGYPT. 5 Paris — written 3,350 years J3. C. — contains a number of maxims that might have been written for our century. So it is evident these strange builders of pyramids, these worshipers of Isis, had thoughts and feelings pretty much the same as animate human life to-day. The subject of our entertainment is the feast or dinner Gold Cups and Vase of Ancient Egypt, I.otus Flower and Animal Designs. that followed immediately af^er the festival of the Nile, being the usual close of that festivity. The people sat at meals^ did not recline as in the after time, when Greek voluptuousness introduced the soft, sinuous motions and languid grace that so corrupted the bold, sturdy manners of the race. The feast was observed in every house- hold where host and hostess could gather together a number of friends. These dinners were matters of great state and ceremony, the place of highest honor being given to the 6 A DINNER IN OLD EGYPT. givers of the feast; others at their right and left according to rank. Each guest was received at the hospitable portal, by a slave of the household, who removed his sandals and bathed his feet in a silver basin. He was then ready to greet his entertainers with the customary profound bow made by placing his two hands on his knees and bending gravely forward. Bowing in return, the host struck on a small metal plate, for a slave to bring the accustomed sweet- scented ointment, with which he anointed the head of the now seated guest. A lotus blossom was presented to him, and wine. As the servant received back the emptied vase he murmured in a subdued voice, “May it benefit you.” Flowers played a conspicuous part at the dinner; the guests were decked with wreaths and garlands as a compliment, fresh flowers replacing those which were withered, at inter- vals. A very important feature was, also, the presentation of . the Osiris, a small gilded mummy which was borne around the room during the repast, by a slave, who said in solemn cadence, “ upon this^ drink^ and enjoy thyself; such shalt thovt he when thou art 720 7710 re alive d' This episode was supposed to heighten the enjoyment of the feasters! The song to Maneros, with which the feast closed, was considered an essential element in “An Old Egyptian Dinner.” THE STAGE. A good effect can be produced by the use of common material, if that of a finer grade is not practicable. Harmony in color and design is necessary, while any approach to modern decoration is to be avoided. Short pillars or columns can be represented by placing in upright position — near side wall — six of the unglazed drainage tiles (three or four feet in height). On the first pair, place an antique shaped dish or ornament, to simulate the incense bowls. On the re- A DINNER IN OLD EGYPT. 7 maining columns set tall potted ferns or palms, if not real, artificial plants can be used. Failing this, large branching feathers of dark color could be used, though this is not recommended. Sketch queer-shaped geometric figures or lettering on the tiles in charcoal, or simply draw several black lines at top and base. At the rear of stage stretch a large sheet (or several sewed together), of canvas or un- bleached muslin. An amateur artist can do the work required. Use the common crayon, sold in the shops for a penny a stick, choosing dull red, yellow, gray, black and enamel blue for colors. Sketch in bold outline any familiar Egyptian scene or figures (found in profusion nowadays). Fill in the spaces with a heavy coating of another color. Use a soft dry sponge, as a blender, until the sketch is quite shadowy, taking care that it is not entirely erased. Large subjects will prove most acceptable, as the “wall painting” is to be in the back of stage. This work, however rude, is pleasing, and well worth the effort. If, however, the drawing is found difficult, curious geometric figures and hieroglyphics can be cut from wall paper, following the shades suggested, and pasted on the canvas. In this case care must be taken that the effect is not glaring. If further decoration is desired, a striped awning can be hung over the center of stage (above the central group). From each scollop and between, hang one of the colored glass balls used as ornaments on Christmas trees, with a bright light behind them; this gives a hint of “ the thousand lamps” of which we hear. This, however, may be omitted. A table stands on each side of stage, near back. At right, the one holding the “ porous water-jars” (large two-handled jars of curious shape, or plain large-sized jugs in unglazed pottery). On table at left, the wreaths and garlands, the vases, “ amphora,” used for wine and ointment. Select slender, long-necked vases of antique appearance. Near 8 A DINNER IN OLD EGYPT. front, on either side, a low stool, foot basin and embroi- dered towel. As foot basin, choose a shallow vessel or dish, which may be gilded or silvered with bronze paints. A little back of center, is the large “double chair” for host and hostess, covered with the leopard skin. The chair can be made by placing the fronts of two modern low-backed chairs together. “The leopard skin any spotted skin or robe will answer the purpose. If nothing else is convenient press into service one or two fur-lined circulars, throwing them over chairs, fur side out. Low seats for guests will be necessary, three on each side, according to plan given. Three small, low tables are needed. The low “afternoon- tea” tables can be used quite prettily without further deco- ration. If however, the “child’s tables” are used, it will be necessary to draw a width of silk or tapestry over the top, fastening it firmly beneath. The legs may be wrapped in ribbon of the same shade, or gilt paper in horizontal bands. Choose odd shapes for the finger-bowls; towels without fringe, may be of soft silk or embroidered linen. The table furniture of silver, glass, or dainty porcelain, should be selected, of antique pattern. COSTUMES. A general description of the costume to be worn may be an aid to their preparation. (See various cuts in this book.) The “tunic” a close fitting robe (in shape something like an “ alb”) is a garment of universal wear. Rounded at the neck, with or without sleeves it* falls in narrow form to the ankles. Over this the higher class wear the “calisiris” a voluminous garment, usually of some transparent stuff, with wide loose sleeves which may be short or fall to the elbow. The gar- ment (which may be simulated by adding many pleats, “surplice fashion,” to the shoulders of a loose sacque) must form graceful folds, both above and below the girdle. If A DINNER IN OLD EGYPT. 9 made of straight widths the under-arm seams may be left open, in this way disclosing the embroidered skirt of the tunic. Both sexes unite in wearing jewels and ornaments of all kinds. Large necklaces, which sometimes reach to the shoulders or fall almost to the girdle (which also is of gems or gold). Armlets, bracelets for wrists, and ankles, rings and head bands. Much liberty can be used in the choice of these jewels (?) as we find mentioned not only precious stones, but gold and ' silver beads, glass, enamel brass and ivory ornaments. A favorite design being amulets hung in abundance from chains, etc., of beetles, dragons, asps, and strange symbolic eyes. Would suggest in lieu of other decorations that the crystal pendants in common use strung with other ornaments used in “ decorative art, fancy work” can be made into quite effective necklaces, in this way, using other and more genuine pieces of jewelry for bracelets, etc. Egyptian Ladies. The eyebrows and lashes are darkened with ‘‘ antimony” (or something more modern) to increase the size of the eye, rendering it further prominent by drawing a dark streak from the eye to the temple, and in some cases, one to con- nect the eyebrows. The nails are stained with “ hennah,” and orange colored dye. Cheeks and lips tinted with rouge. The heads of the men are supposed to be shaved, leaving a crown piece of glossy curls. (A skull cap color of com- plexion, with wig of “ top curls” sewed in place). A few long curls sometimes fall at back of head. to A DINNER IN OLD EGYPJ. The head-dress for women is more becoming. After the hair is plaited in many small braids, one on each side is allowed to fall over the front of shoulders, these having strands of gold or jewels braided with the hair. Drawn closely over the head is a handkerchief, which is pinned at the back, allowing folds to fall over it. This should be of a rich brocade or striped material. While there is doubt cast on the subject of silk being used at this time it seems advisable in this case, to use the pretty soft silken handkerchiefs, if nothing better is suggested. A gi eater degree of rank can be shown by wearing a jeweled band or ^old) bound about the brow, and fastened beneath the kerchief at back of head. Depending from this, and in front of the ears, hangs an ornament of jewels or gold disks strung together. The Hostess. A robe (“ tunic”) of cream white elaborately em- broidered in gold. Overdress (“ calisiris”) of diaphanous cream-white. Headdress white v/ith gold stripes, gold tinsel sewed on fabric. A profusion of jewels, neck- lace, etc. First Lady. Blue and silver. Pearl-gray overdress. Ornaments. Blue and white headdress. Second Lady. Orange-colored robe. This is usually of a richly striped material. Authorities differ in admitting that silk was used, yet if the color desired cannot be obtained, use something resembling it. “Calisiris” of thin white, dotted with black and white stripes. Jewels. Third Woman Guest. Brick-red robe embossed, with silver and “ fire-gilt” paint or passementerie. Transparent A Royal Couple, Temple Service. A DINNER IN OLD EGYPT'. r T white overdress, with girdle of silver. Brocade handkerchief on head, of “terra-cotta.” Silver and gold ornaments. Host. Tunic of purple. “Calisiris” (some shorter than those worn by the women, and less full), of a lighter shade of purple. Huge necklace, armlets, rings, etc., of glittering ornaments. First Male Guest. Wine colored tunic covered with gold embroidery (figures cut from gilt paper pasted on). Upper garment of same color. Necklace and other jewels. Second Male Guest. Tunic of drab, with narrow stripes of alternate blue and green. Blue calisiris. Orna- ment. f Third Male Guest. Tunic of broad black and white stripes. Clear white upper garment. Ornamental neck- lace, bracelet, etc. Singer. White linen robe. Wreath of flowers. Harp. Musicians. White linen robes falling in folds from throat to foot. Shaved heads (skull cap or wig of flesh tint whether that be natural or darkened to suit character). Slaves. In place of the double garment, the slaves wear a tunic of unbleached linen, which is made loose enough to fall in folds when gathered into the girdle. With or with- out sleeves. A sash or girdle of bright striped fabric (in common goods such as percale or calico). The girls have close caps of this same material, with three ribbons or narro7u streamers, hanging from it at back. The boys should wear skull caps drawn closely over heads, to simulate shaven heads. All wear bands of gold (paper or tinsel) about arm, and wrist and ankle. 'Fhe monkey can be clothed in white linen with fancy cap. THE DINNER. Egyptian noble and wife receive their guests seated on double chair. They hold lotus blossoms in their hands. U. OF ILL UB. 12 A DINNER IN OLD EGYPT. The host holds also a six inch plate of metal, on which he raps with his knuckles when he wishes to call a servant. The hostess caresses a large cat, which is tied by a silken cord to her left armlet, sometimes lifting it to her lap, but usually stooping to stroke its fur as it lies near her. A slave (No.^i) waves a long-handled fan of ostrich feathers, standing just back of them, and moving slowly from side to side. The seats at right and left, nearest to them, are vacant. The remaining seats are occupied by the four guests who have already arrived. As curtain rises a slave (No. 2) stands near table at left, on which are garlands, etc. At right slave (3) fans the porous water jars to cool them. Slaves (4 and 5) stand near entrance, with folded arms and solemn mien. The guests admire the flowers which have been given them, and seem to admire each other's jewels, in sedate and decorous fashion. In a brief time the last male guest — an Egyptian grandee — arrives. Slave at entrance (right) with low bow, proffers low seat. Guest sits down with dignity, placing his staff upon the floor beside him. Slave brings basin, kneels, removes the sandals of guest, and proceeds in slow and ceremonious fashion to go through the act of foot washing. He may kneel in such a manner that all of his movements may not be witnessed by audience. (In this way the awkwardness can be avoided of showing that it is but a pretence). The guest after this rises and advances toward his entertainers. He bows, they bow in return, with smiles invite him to take the vacant seat near hostess. The slave brings vase of ointment, stands back of guest. Is supposed to pour a small quantity with great solemnity upon his head. Next slave brings silver tray with wine, etc. Guest receives the small glass offered, lifts it to his lips, looking at hostess and host. As he replaces the wine-glass on tray slave bows low, as if to say, “ May it benefit you.'’ The slave offers the rose-colored bowl of A DINNER IN OLD EGYPT. 13 water. Guest dips the tips of his fingers in bowl, dries them upon embroidered napkin. Slave returns with bowl of lotus blossoms, the hostess reaches forward, selects one and presents it to the guest. He receives it as if complimented. Enter last remaining visitor, a lady of rank {goes to left?) She is followed by a small girl slave, who holds a monkey in her arms. The “ grandee dame” accepts the attention of girl slave at entrance, with languid grace. After the foot washing she advances slowly toward her entertainers, fol- lowed by small ^slave with monkey. They bow greetings as do all the rest, she accepts them, as she does the seat of Egyptian Prisoners— Illustrating Dress of Lower Classes. honor near host, as if it is her due. The slaves as before bring perfume, wine and the lotus blossoms. The host selects a lotus flower, and presents it to her. Small slave ties the monkey’s chain to her mistress’ wrist and crouches down on the floor near her, rising occasionally to replace a flower that is fallen, or rearrange some article of dress. The host now strikes on a plate of metal. The slaves bring in small tables. One is placed before host and hostess who are joined by the last two visitors. The slaves move their chairs to places at the sides of the table, thus leaving the front free that ft may be seen the more readily by audience. A table is placed before the two at right, also one before two at left. On^each table are set various pieces of silver 14 A DINNER IN OLD EGYPT. and glass, tall flagons (?) for wine and the bowl of water, with napkins or embroidered towel The guests help them- selves daintily with their fingers afterward washing them in finger bowls. All is conducted with ceremony. The move- ment of slaves is deferential in the extreme, a bow precedes the proffer of every dish. As soon as the tables are placed, the musicians (who have apparently been playing outside the room) enter two on each side, march with dignity to places near front of stage, the ha^fi and sistrum at right hand, the fiute and double pipes at left. They play throughout the re- Mummy in Case. mainder of the dinner in loud or soft tones to accord with the action given. Slaves now bring the wreaths and gar- lands from side table, and place them on the heads and about the necks of guests, moving in time to slow music. When the feast is at its height the host strikes his metal plate. A slave enters, bearing high before him, the small golden image of a mummy. He pauses in front of each guest, long enough to (seem to murmur) Look upon this^ drink and enjoy thyself; such shall thou he when thou art no more alive r The persons addressed in turn, bow an acknowledg- ment. The host rises, lifts wine-glass high in one hand. A DINNER IN OLD EGYPT. 15 The guests arise at this signal, and drink to the sentiment expressed. Slave with mummy then retires. As a final feature of the feast, enter a '^singer'" robed in white with a wreath on the head. Advancing to the center of the stage, the “ singer” strikes an occasional chord upon the harp, and chants or recites the “Song to Maneros. ” (This may be as a solo or one line as a solo, allowing all of the rest to join in the remainder of each verse). SONG TO MANEROS. As the vine is glory of the trees, As grapes are of the vine, As standing corn of fertile fields, So thou, Maneros, wast glory of thy fellow man! For joy the unshorn mountains raise their voices to the stars, For joy the rocks, the very groves, resound these notes: A god, a god, is Maneros ! O be indulgent and propitious to thy 6wn! « Behold four altars: Lo! Isis, one for thee, and two for thee, Maneros. While the boar shall love the tops of mountains, While fishes love the floods, While bees on thyme shall feed, and grasshoppers on dew, Thy honor, name and praise shall yet remain! xNOTES. If it is desired to prolong the entertainment good material may be found in variety that would prove enlivening if rendered by a good reader. Certainly there is crisp information in the writings of Miss Edwards, con- cerning the cats of Bubastis. Mrs. Susan E. Wallace tells in dreamy, poetic fiction the story of “ Rhodopis,” the Egyptian Cinderella. Extracts from Wilkinson’s “Manners and Customs,” or any of George Ebers’ copious studies of Egyptian life would be found interesting; while a capsheaf could be added by reading Mark Twain’s experience in climbing the pyramids. i6 A DINNER IN OLD EGYPT. A “sistrum” is a rattling metal instrument, curved on top in horseshoe fashion, with wires strung loosely across its surface; it has a long handle, not unlike a tennis racquet. The “ double-pipes ” can be imitated by taking two slender pipes of tin, united at the top, for a mouthpiece. The musicians on the stage appear to play on their strange instruments, while in reality the music should be furnished by an orchestra in front or off the stage. (Stringed instruments, such as mandolins or harps, to be pre- ferred, with flute accompaniment.) It is also suggested that no water, wine or food be actually placed before guests, as the presentation is but a “ tableau vivant” of the past. In this way also the risk of spilling and other accidents liable on the amateur stage can be avoided. Directions for making cat and monkey may be found in almost any fashion jonrnal of patterns, viz: Butterick’s, Demorest’s, etc. A long staff carried in the hand denotes the high rank of the bearer. A bow is made by placing the hands upon the knees, and bending far forward. Three Forms of Osiris. app whi i«g; neg; Mac and t 8 t, 2 u,'. c symi funr desc 1 2 Tim V whic tend ■ A, the ’ 2 1 " t' Ser\ takf 1 h A 20 n: nigg >' off. actei man Mn A Liv “ ol brir I suit scht was he ’ con 3 m. mui schc a bt