A Thousand Miles Up the Nile

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A Thousand Miles Up the Nile

A Thousand Miles Up the Nile

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Amelia Edwards formed emotional attachments almost exclusively with women. From the early 1860s onwards, she lived with Ellen Drew Braysher (1804–1892, see below), a widow 27 years her senior who had lost her husband and daughter not long after Edwards' parents had died and was to become her companion until both women died in early 1892. Another significant person in Edwards' life was Ellen Byrne, the wife of a pastor and school inspector, with whom Edwards apparently entered a love relationship during the second half of the 1860s. The relationship ended when the husband, John Rice Byrne, was assigned a different school district and the couple moved away, which left Edwards deeply distraught. The wall-sculptures at Gournah are extremely beautiful, especially those erected by Seti I. Where it has been accidentally preserved, the surface is as smooth, the execution as brilliant, as the finest mediæval ivory carving. Behind a broken column, for instance, that leans against the south west wall of the sanctuary, 26 one may see, by peeping this way and that, the ram's-head prow of a sacred boat, quite unharmed, and of surpassing delicacy. The modelling of the ram's head is simply faultless. It would indeed be scarcely too much to say that this one fragment, if all the rest had perished, would alone place the decorative sculpture of ancient Egypt in a rank second only to that of Greece. Most travellers moor for a day or two at Karnak, and thence make their excursion to Bab-el-Molûk. By so doing they lose one of the most interesting rides in the neighbourhood of Thebes. L. and the Writer started from Luxor one morning about an hour after daybreak, crossing the river at the usual Rees, Joan (1998). Amelia Edwards: Traveller, Novelist and Egyptologist. London: Rubicon Press. p.69. ISBN 0-948695-61-7.

Alongside a second edition of the work from the Society’s own Special Collections, visitors to the exhibition will also find other tomes that inspired Amelia’s fascination with Egypt and travel including John Gardner Wilkinson’s Manners and Customs of the Ancient Egyptians and a copy of Arabian Nights. I’ve always been suspicious when I read a book on the history of Archaeology or attend a lecture that starts with the “Fathers of Archaeology” and never mentions women, at all, ever. I know Archaeology isn’t the only scientific field to suffer from this “man-washing” of its history. I don’t really think it’s a malicious thing. I think women have just been marginalized for so long, even other women in the different fields accept that women had no hand in forming or growing science.

Coming out for a moment into blinding daylight, we drink a long draught of pure air, cross a few yards of uneven ground, arrive at the mouth of another excavation, and plunge again into underground darkness. A third and a fourth time we repeat this strange experience. It is like a feverish sleep troubled by gruesome dreams, and broken by momentary wakings. Herbert, Kari (2016). Explorers' Sketchbooks. London: Thames and Hudson. p.100. ISBN 978-0500252192. Bringing together archives at the EES as well as original artwork by Amelia kept at the Griffith Institute and Somerville College, both University of Oxford, and the Peggy Joy Egyptology Library, this is the first colour version of A Thousand Miles Up the Nile ever produced. After more than 140 years, readers are now able to truly experience Amelia’s famous journey. A new introduction by Dr Carl Graves (EES) and Dr Anna Garnett (UCL) provides context and commentary on Amelia’s original narrative and her legacy for Egyptology today – the essential companion to the book. The inner walls of this great courtyard, and the outer face of the north-east wall, are covered with sculptures outlined, so to say, in intaglio, and relieved in the hollow, so that the forms, though rounded, remain level with the general surface. In these tableaux the old world lives again. Rameses III, his sons and nobles, his armies, his foes, play once more the brief drama of life and death. Great battles are fought; great victories are won; the slain are counted; the captured drag their chains behind the victor's chariot; the king triumphs, is

of dark granite, overturned and but little injured; the second, shattered by early treasure-seekers. Edwards' short story "Was It an Illusion?" (1881), about a Schools Inspector who has an unsettling encounter on his visit to the north of England, features in Audible's 2017 Ghostly Tales anthology, narrated by Simon Callow. Moored for two weeks at Abu Simbel,she discovered a small square chamber (Lesko). In her excitement of the initial discovery she reportedly fell to her knees beside the small opening and began digging with her bare hands while still in her skirts. Later, she hired another 50 local men from the local village to help “excavate”. Soon they were inside the small square room. She and her crew began recording the vividly painting on the walls, and they even found a human skull. Hopes were high that the room would reveal a burial chamber. Instead it seems she found a library or small chapel (Lesko) of sorts with beautifully painted walls (Adams 2010:32). Because it is a travelogue without characters (we don't even know most of their names and no one seems to grow or change during the trip), it was hard for me to care about any of the people, including the writer herself. She occasionally sees through her (expected) racism, Islamophobia, classism, and Eurocentrism to show us the dignity and humanity of these people in this place.Outlines of English history: from the Roman conquest to the present time: with observations on the progress of art, science and civilization and questions adapted to each paragraph: for the use of schools, c. 1857 In addition, Edwards became an artist. She would illustrate some of her own writings and also paint scenes from other books she had read. [7] She was talented enough at the age of 12 to catch the eye of George Cruikshank, who went so far as to offer to teach her, but this talent of hers was not supported by Edwards's parents, who saw art as a lesser profession and the artist's way of life as scandalous. [8] Their negative decision haunted Edwards through her early life. She would wonder frequently whether art would not have been her true calling. [9] Behold!" says the Pharaoh, "Behold, I have taken their frontiers for my frontiers! I have devastated their towns, burned their crops, trampled their people under foot. Rejoice, O Egypt! Exalt thy voice to the heavens; for behold! I reign over all the lands of the barbarians! I, King of Upper and Lower Egypt, Rameses III!" 20 Matthew, H. C. G.; Harrison, Brian, eds. (2004). Oxford Dictionary of National Biography. New York: Oxford University Press. pp.908–909. ISBN 0-19-861367-9.

I know it's a travelogue, but god, this was slow. There are moments that are quite fun, but on the whole, I wish Edwards had done a lot of editing, or had a better sense of who exactly she was writing this for - an audience that was planning an Egypt trip of their own? An audience that never would get a chance to see it for themselves? Her friends? Herself? As it was, it was a little bit of everything, and it dragged along for too long.

Edwards further maintained important, close friendships with painter Marianne North (1830–1890), her travelling companion Lucy Renshaw (1833–1919) and her closest confidante during her later years, Kate Bradbury (later Griffith), who also became executrix of Edwards' will. Su travesía por el río Nilo a bordo de la dahabiya Philae y las ciudades, lugares y centros de interés de carácter egiptológico por los que pasa. Edwards is ontzaglijk belezen en bereisd, en ze maakt prachtige tekeningen bij haar minutieuze en sfeervolle verslagen. Smakelijk vertelt ze over de reisavonturen, gedegen doet ze verslag van alle bezienswaardigheden.

It was a real thrill for me to read this book. It's a must-read if you have any interest in Egyptian history. If you don't, this isn't the book for you. If you have a passing interest, this is a good book to skim, and maybe skip over the parts where the author gets pretty detailed. Forgotten the title or the author of a book? Our BookSleuth is specially designed for you. Visit BookSleuth accidentally discovered under the mounds of Tel-el-Yahoodeh, 23 about twelve miles to the N.E. of Cairo. In April of 1892Edwards succumbtocomplicationsdue toexhaustionand a suppressed immunity due to her battle with breast cancer. A chance visit to Egypt in 1873 by Amelia Edwards changed the future of British Egyptology forever. Her travelogue, A Thousand Miles Up the Nile , would inspire generations after her to take up her message to support and promote Egyptian cultural heritage. While the way we do this has changed a lot since Amelia’s time, that message remains strong and continues to inspire us, the Egypt Exploration Society, to continue her mission.Lastly, there are the minor inconveniences of sun, sand, wind, and flies. The whole place radiates heat, and seems almost to radiate light. The glare from above and the glare from below are alike intolerable. Dazzled, blinded, unable to even look at his subject without the aid of smoke-coloured glasses, the sketcher whose tent is pitched upon the sand slope over against the great temple enjoys a foretaste of cremation. One of Amelia’s first excursions, and her last on returning to Cairo, was to the Giza Plateau, to see the Pyramids and the Sphinx. Her first impression was of awe and wonder, and on the return visit, she climbed the Great Pyramid, atop which she marvelled at the theories that abounded about them even then.“Recognising how clearly the place is a great cemetery, once marvels at the ingenious theories which turn the pyramids into astronomical observatories, and abstruse standards of measurement. They are the grandest graves in all the world – and they are nothing more.” Rameses III, though not nearly so beautiful as the tomb of Seti I, is perhaps the most curious of all. The paintings here are for the most part designed on an unsculptured surface coated with white stucco. The drawing is often indifferent, and the colouring is uniformly coarse and gaudy. Yellow abounds; and crude reds and blues remind us of the coloured picture-books of our childhood. It is difficult to understand, indeed, how the builder of Medinet Habu, with the best Egyptian art of the day at his command, should have been content with such wall-paintings as these.



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