he must release the conventional forms from those fetters which were
peculiar to their art and altogether foreign to their real life. Indeed,
works of sculpture remain to us of the time of the first pyramid, which
represent men with the truth of nature, unfettered by the sacred canon.
We can recall the so-called "Village Judge" of Bulaq, the "Scribe" now in
Paris, and a few figures in bronze in different museums, as well as the
noble and characteristic busts of all epochs, which amply prove how great
the variety of individual physiognomy, and, with that, of individual
character was among the Egyptians. Alma Tadelna in London and Gustav
Richter in Berlin have, as painters, treated Egyptian subjects in a
manner which the poet recognizes and accepts with delight.

Many earlier witnesses than the late writer Flavius Vopiscus might be
referred to who show us the Egyptians as an industrious and peaceful
people, passionately devoted it is true to all that pertains to the other
world, but also enjoying the gifts of life to the fullest extent, nay
sometimes to excess.

Real men, such as we see around us in actual life, not silhouettes
constructed to the old priestly scale such as the monuments show us--real
living men dwelt by the old Nile-stream; and the poet who would represent
them must courageously seize on types out of the daily life of modern men
that surround him, without fear of deviating too far from reality, and,
placing them in their own long past time, color them only and clothe them
to correspond with it.

I have discussed the authorities for the conception of love which I have
ascribed to the ancients in the preface to the second edition of "An
Egyptian Princess."