The Project Gutenberg EBook of The Mentor: Egypt, The Land of Mystery,
Serial No. 42, by Dwight L. Elmendorf

This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever.  You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at
www.gutenberg.org.  If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.

Title: The Mentor: Egypt, The Land of Mystery, Serial No. 42

Author: Dwight L. Elmendorf

Release Date: November 4, 2015 [EBook #50384]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: EGYPT, SERIAL NO 42 ***




Produced by Juliet Sutherland, Tom Cosmas and the Online
Distributed Proofreading Team at http://www.pgdp.net






NOTE: Click on the images below to view a larger version of it.

The Pyramids

EGYPT, THE LAND OF MYSTERY

By DWIGHT L. ELMENDORF

THE MENTOR · SERIAL NUMBER 42
DEPARTMENT OF TRAVEL

MENTOR GRAVURES

CAIRO THE SPHINX KARNAK
THE PYRAMIDS LUXOR THE DAM AT ASSOUAN
I

t is no wonder that the Egyptians through all their history have worshiped the Nile; for that marvelous river is the spine, the marrow, and the life of Egypt. Indeed, it is Egypt; for living Egypt is only a narrow strip twelve or fifteen miles wide,—simply the banks of the Nile. Herodotus called Egypt "the gift of the Nile." The river nourishes and controls the land. All along that waterway are to be found wonders and mysteries of the past. The mind balks in contemplation of the monuments of Egypt. They whisper messages from so far distant a time that we stagger in trying to grasp their meaning.

A visit through Egypt usually begins with Cairo. And it is just as well that it is so; for in Cairo there is much that is modern and much that is familiar to the English traveler. It is, therefore, a good way for the visitor to break into ancient Egypt. In Cairo modern people mingle with the sons of ancient Egyptians. The English soldier is to be seen almost everywhere, and in front of Shepheard's Hotel you may at times almost forget that you are in Egypt.

That is because you are bound down in Cairo, mingling with your own fellow visitors and too close to hotel life. Get up early in the morning, and go to the top of the hill known as the Citadel, and there you will get an impression of an Egyptian city. Look at one of the greatest « 2 » buildings, the Mosque of Mehemet Ali. It is called the Alabaster Mosque. There is a great deal in modern Egypt that is imitation. That is the reason that this building of pure alabaster is to be valued. Its interior is rich and beautiful in design.

TOMBS OF MAMELUKES, CAIRO
MUSKI CORNER AND MINARET, CAIRO

CAIRO AND ITS SURROUNDINGS

Stand on the parapet of the Citadel, and look over Cairo, and see the sun rise. Far in the distance is a sandstorm. Many people in the United States think that the weather in Egypt is as clear as crystal always. That is a great mistake. The days there are rarely as clear as American clear days. In January, February, and March you are likely to have sandstorms, or the sirocco, or wind from the desert, which almost obliterate the sun.

Down by the edge of the desert is the Dead City. The tombs there and their interiors are wonderful. The beautiful buildings have been allowed to decay. It is an oriental peculiarity not to repair anything.

On the other side of the Citadel are the tombs of the Mamelukes. I advise anyone going to Cairo to visit these tombs; for they contain very curious sarcophagi, and the tomb mosques are interesting, each of them being surmounted by a picturesque dome.

Our modern expositions and fair grounds would not be complete without "the streets of Cairo." As we know, a bit of street life is shown, more or less accurately—chiefly less. A fairly correct impression of Egyptian street life is, however, created by such artificial reproductions. One of our pictures will no doubt recall these exposition impressions. The genuine old streets of Cairo are fascinating. Some are so narrow that the traveler must go on foot, or on a donkey. The shops are almost within arm's reach on both sides, and many of them are temptingly attractive. « 3 » There on one side they make famous leather goods; on another they sell glassware. Be careful not to buy unless you know how to bargain.

THE STREETS OF CAIRO

You must go to these little streets to find the bazaars if you want to buy anything; for the great street of the Arab quarter, the famous Muski, is not any longer a thorough Cairo street. Big shops and department stores have crept into it.

Stand for a moment on the corner of this great street and see a little bit of the Arab life of old Cairo. It is a busy city. There goes a carryall (a camel), an entire family on its back, except the husband, who walks by the side. This man coming down with a strange sack on his back is a walking fountain. The sack is filled with something sweet and sticky which he calls "sweet water." It is not pleasant. The genuine water carrier of the old school goes to the river, fills his jar, and then goes through the streets shaking his cup in his hand with a chink. It is plain water that he peddles. I should not advise one to drink either of these beverages. Then there are the bread venders of Cairo, who walk the streets carrying bread on their heads and crying out their wares.

BAZAAR STREET, CAIRO
Where the most interesting shops are found.
THE CITADEL, CAIRO
Built, 1176-1207, of stones taken from the Pyramids.

Cairo is full of interesting mosques. The oldest and most celebrated is the Mosque of Omri. It is one of the earliest of Mohammedan temples in Egypt. They have a service there but once a year, when the khedive himself comes. The interior seems a veritable forest of pillars. One of these is a most remarkable pillar. I « 4 » will tell the story of it as my boy Mohammed Mousa told it to me: "This pillar very important one—very holy. This pillar sent by Mahomet here; for when Omri come to build this mosque Mahomet so pleased he sent pillar from Mecca. The pillar come here. He find no other pillar from Mecca here; so he get lonely and fly back. Mahomet very angry, and send pillar back. Second time he fly back. Mahomet then get very angry, draw his sword, and strike pillar, and tell Omri to put pillar in prison. So he put it in prison, and it stand there." That is the story that they all believe.

THE OLDEST PYRAMID, SAKKARA
DISTANT VIEW OF PYRAMIDS, WITH THE NILE

THE PYRAMIDS

The road leading down to the old Nile gate is a very beautiful one. Crossing the bridge there, we see the picturesque Nile boats, like the lateen boats of the Mediterranean. The avenue leads out to the pyramids, and there in the far distance you can see them,—those golden cones about which is wrapped so much of Egypt's history and mystery. The first sight of the pyramids naturally means much to any intelligent traveler. It makes no difference how much you have read, how much you have heard of them, you cannot be disappointed. It is said that the pyramids will last as long as the world, and they certainly look it. They represent to us the life of the world stretching back into the dim past; and, in their imposing solidity, they seem to give assurance of lasting to eternity. There are four of the pyramids in this group; though the mind naturally dwells on the largest,—the Pyramid of Khufu or Cheops. And to think that these are the works of man, and that they are tombs of the kings who lived and reigned somewhere « 5 » about fifty centuries ago! The Great Pyramid of Cheops is 480 feet high and covers an area of thirteen acres, each side being 755 feet. The dimensions of this astounding work are almost mathematically exact. It is built of over two million blocks of limestone, and they are fitted together with the nicety of mosaics. How could these wonderful structures have been erected?—that has been the question of modern engineers. It has been suggested that an inclined plane of earth was constructed, and that the blocks were dragged by men to the top, the inclined plane being added to and raised for each layer. Then, when the pyramid was complete, the inclined plane of earth might have been taken away. This, however, is only a theory. Nothing is known of the methods employed. Originally the sides of the pyramid were smooth, and a little of this outer facing is still in place. These prism-shaped blocks were taken away from time to time for building purposes in Cairo.

GIZEH
Great Pyramid, Sphinx, and Temple of Armachis.

People climb the pyramid, and also go inside. In the very heart of the Great Pyramid is a tomb chamber, where we see the empty coffin of Cheops or Khufu. The tomb was rifled long ago, and no one knows where the king's ashes are.

Ascent to the summit of the Great Pyramid means arduous climbing; but it is worth while simply for the view it affords of the desert. Most of us imagine the desert as a level of white sand. I thought so until I saw it from the summit of this pyramid. The desert stretches off in long waves, and does not seem like a plain, but rather like the rolling ocean.

THE SPHINX

Not far from Cheops we see above the waves of sand a rough-hewn head that stirs us mightily. No one can forget the first impression of the Sphinx. It stands for something unique in history and in knowledge. No one with a spark of reverence in his nature can stand before that great stone face without a feeling of awe. There will be little that he can say—the most reverent ones say nothing. There before you is that half-buried, crouching figure of stone about which you have read and heard so « 6 » much. The paws are covered by sand. It is only by industrious shoveling and digging that the desert is prevented from rising on the wings of the wind and completely burying the great figure.

THE SPHINX
From a drawing showing the front uncovered by sand.

The Sphinx is the symbol of inscrutable wisdom, and its lips are supposed to be closed in mysterious silence,—knowing profoundly, but telling nothing. These are, however, mere impressions. Facts are the important things. No one knows how old the Sphinx is. It is supposed to have been made during the middle empire; but later investigations seem to prove that the Sphinx existed in the time of Cheops, which would mean that it is even older than the Great Pyramid. The Sphinx was made out of living rock, and the dimensions are as follows: Body, 150 feet long; paws, 50 feet long; head, 30 feet long; face, 14 feet wide; and the distance from top of head to base, 70 feet.

It must have been an imposing monument when constructed; for then it stood in position to guard the valley of the Nile, and about it was Memphis, the great city of Egypt—Memphis now past and gone. Memphis was once the capital city of the Pharaohs, and is said to have been founded by « 7 » Menes. In its day of glory it was a prosperous and well fortified city. About 1600 B. C. it was supplanted as capital by Thebes, and the glory of Pharaoh's court was transferred to the southern city.

THE COLOSSI OF MEMNON
These two gigantic statues stand near the approach of the Temple of Amenophis. One of them is known as the Vocal Memnon. Inscriptions on the vocal statue record the visits of those who were with Hadrian, and of others, and relate that they heard the voice of Memnon. The Colossi are of hard gritstone, monolithic, and forty-seven feet in height, with pedestals twelve feet high. They represent Amenophis III, seated on his throne, and are sixty feet apart.
FALLEN STATUE OF RAMESES, MEMPHIS
MEMPHIS
Front of the second court of the Ramesseum.

THEBES

The most flourishing period in the history of Thebes was between 1600 and 1100 B. C. Thebes in turn fell into decay, and is now only a small place visited in the course of a trip to Luxor and Karnak. The situation of Thebes is interesting. It lies in the widest section of the Nile Valley, with a broad plain on the west stretching off to the Libyan Mountains. On this plain are the famous statues known as the Colossi of Memnon. Across the Nile, on the east bank, stand the ruins of Luxor and Karnak, and beyond them to the east are the Arabian hills.

Notable monuments on the west side are the temples of Seti I, Rameses II and III, which bear the names of El Kurna, the Ramesseum, and Medinet-Abu. Lying by the side of the Ramesseum is the fallen Colossus of Rameses II, the largest statue in Egypt. It is made of pink granite, and is about sixty feet in height—or length, we should now say, since the statue is prostrate.

LUXOR

Not far from Thebes is the village of Luxor: not much in « 8 » itself, but just a place to stay while visiting the temples. It is pleasing to note that they have done a good work there in raising the embankment in the hope of keeping the Nile water out of the temples. The bank is steep; for the Nile rises high every year. In olden times these temples were evidently protected from the water by some means; but now it rises half up over them. The Temple of Luxor is one of the most beautiful and interesting in Egypt; though not so imposing as the Temples of Karnak. As you approach you can only see a part of it; for there is a fence up there, and if you want to go through you have to show a ticket. A so-called "monument ticket" can be obtained from the government for about six dollars a year, and this will enable a visitor to see every monument in Egypt. The fund thus raised is used to save the monuments, and every penny of it goes to that work.

The beauty of the Temple of Luxor is in its splendid colonnade. It must have been superb when in good condition, with colors fresh and bright.

RAMESES STATUES AT LUXOR

KARNAK

The Temple of Karnak, too, is a distinguished mass of columns, the most imposing structure of its kind in existence. It was erected by Seti I and his son, Rameses II. Amenophis also had a hand in the building of it. They were great builders in those days, and all their plans were conceived on a vast scale. The ruins of Karnak are magnificent. Some idea of the impressive character of their columns may be gathered from the following statement: There are 134 great columns forming the central aisle, 12 of these 62 feet high and 12 feet thick, the rest of them 42 feet high and 9 feet thick. You will notice traces of color, and can gather from that what the temple must have been in its full glory. On a recent trip I found some German artists at Karnak, and suggested that if they would get some water and throw it over the columns they would obtain the effect of the true coloring. A good color chart of these columns has now been secured, showing them as they were three thousand years ago. On its outside walls sculptures tell the history of the splendid conquests of the kings that erected the structure.

« 9 »

MOONLIGHT ON THE NILE
Reproduced from a night photograph taken near Luxor.

« 10 »

LUXOR, FROM OPPOSITE BANK OF THE NILE

Egypt is a country of impressive temples and monuments, the interest of which has not been exhausted by a library of books on the subject. A trip through Egypt is not complete without a visit to the Ramesseum and that unique monument, the Temple of Denderah. The latter is a building set apart in architectural and in historic interest. It is not imposing; but it has an appeal that the other temples have not. It was a place of mystery. Its inner chamber, the sanctuary of Denderah, was sacred to Pharaoh himself.

EUERGETES GATE, KARNAK
A splendid example of the Egyptian square arch form.

THE GREAT DAM AT ASSOUAN

As one goes up the river visiting these strange monuments, he finds at the first cataract of the Nile an imposing object of modern interest. This is the dam at Assouan, one of the greatest feats of engineering in the world. The dam, which was completed in 1902, is a mile and a quarter long. It holds back the waters of the Nile, and supplies the reservoir, from which the waters are led into irrigation canals. The benefits of this great dam are felt from its location at the first cataract all through the farms and fields that skirt the Nile clear to the delta, six hundred miles below. It has made acres fertile that had been barren. It also, of course, has relieved the burden of the poor workmen at the shadoofs who dipped water for irrigation. Moreover, the dam has improved the conditions of transportation on the Nile; for it has disposed of the first cataract, where boats formerly had to be pulled through the rapids by men. Now the « 11 » vessels go into a canal, and are conveniently and promptly lifted up through four locks to the level of the upper Nile.

The visitor should not leave Egypt till he has seen Philæ, with its beautiful temples, ruined walls, and colonnades. It is a sight for artists to draw and for us to dream of,—Philæ apparently afloat; for now the Nile water has penetrated the halls of its temples and surrounded its beautiful columns.

On returning from the upper Nile a visitor should go to the new National Museum at Cairo. He may have visited this interesting place before he took the Nile trip; but he will know more on his return. The valuable collection of Egyptian antiquities there in the museum will mean more to him. Months could be spent with profit in this building. It contains one of the richest and most interesting collections of historic remains in the world—the result of years of exploration, excavation, and the intelligent study of eminent scholars. There before you are the relics of ancient Egypt. There are the statues, mummies, and other antiquities that the government has collected. In them you may read the history of ancient Egypt and learn to appreciate the life, literature, and art of Pharaoh's time.

THE ISLAND OF PHILÆ
This picture shows the beauty of Philæ before the waters of the Nile rose about it. Since the building of the great dam at Assouan the temples of Philæ are half under water.
=

SUPPLEMENTARY READING.—"Modern Egypt and Thebes," Sir Gardiner Wilkinson; "A Thousand Miles Up the Nile," A. B. Edwards; "Egypt," S. Lane-Poole; "A History of Egypt from the Earliest Times to the Persian Conquest," J. H. Breasted; "A Short History of Ancient Egypt," P. E. Newberry and J. Garstang; "The Empire of the Ptolemies," J. P. Mahaffy; "Egypt in the Nineteenth Century," D. A. Cameron; "Modern Egypt," Lord Cromer.

« 12 »

THE MENTOR

ISSUED SEMI-MONTHLY BY

The Mentor Association, Inc.

381 Fourth Ave., New York, N. Y.

=
Volume I
Number 42
=
ANNUAL SUBSCRIPTION, FOUR DOLLARS. SINGLE COPIES TWENTY CENTS. FOREIGN POSTAGE, SEVENTY-FIVE CENTS EXTRA. CANADIAN POSTAGE, FIFTY CENTS EXTRA. ENTERED AT THE POST OFFICE AT NEW YORK, N. Y. AS SECOND-CLASS MATTER, COPYRIGHT, 1913, BY THE MENTOR ASSOCIATION, INC. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY, W. D. MOFFAT; TREASURER, J. S. CAMPBELL; ASST. TREASURER AND ASST. SECRETARY, H. A. CROWE.
=

Editorial

It was no easy matter for Mr. Elmendorf to present the subject of Egypt in an article of only 2,500 words. He has confined himself in his characteristic interesting manner to the impressions of a traveler. Of the great store of archæological treasures in Egypt, the monuments, statues, tablets, tombs, inscriptions—in fact all that is comprehended under the name Egyptology—Mr. Elmendorf could say nothing. These are subjects for the historical student rather than for the traveler. And they will be taken up in turn in The Mentor of some later date when we will approach the subject of Egypt from the standpoint of the historical student. There is, however, one question that readers of Mr. Elmendorf's article are apt to ask—in fact ordinary curiosity would prompt the inquiry. The monuments of Egypt are covered with historic records in the form of inscriptions. These records are hieroglyphic. They are what some people call "picture writings." The natural question is "How were these hieroglyphics deciphered." The answer is interesting, and it seems to us that both question and answer belong in the number of The Mentor with Mr. Elmendorf's article.

* * * * *

The River Nile separates at its delta into two branches. The eastern stream enters the Mediterranean at Damietta. The western stream enters the great sea at Rosetta. It was near this latter town that an officer in Napoleon's army discovered, in August, 1799, the key to Egyptian hieroglyphics. It is called the Rosetta Stone, and it is now in the British Museum.

* * * * *

For years the hieroglyphic was an unknown language, and the history of Egypt, except such as is contained in the Bible, was a blind book. The Rosetta Stone was found to contain an inscription in three different languages—the Hieroglyphic, the Demotic, which was the common language of the Egyptians, and the Greek. When these inscriptions were examined, it was discovered that they were each a translation of the other. There, then, was the clue which opened up the whole field of Egyptian history.

* * * * *

Dr. Young, in 1814, began the work of deciphering hieroglyphics by this clue. He worked on various inscriptions, especially the pictorial writings on the walls of Karnak. The value of this discovery may be appreciated when we consider that its discovery has enabled scholars to translate hieroglyphics almost as easily as they would any of the classic writings. The actual inscription on the Rosetta Stone is not so important in itself. It is a decree issued in honor of Ptolemy Epiphanes by the priests of Egypt assembled in a synod of Memphis on account of the remission of arrears on taxes and dues. It was put up in 195 B. C. Since the discovery of the Rosetta Stone other tablets containing more important inscriptions have been found, but the unique value of the Rosetta Stone lies in the fact that it contains a corresponding Greek inscription, thereby affording a clue to the meaning of the hieroglyphics.

* * * * *

The stone is black basalt, three feet seven inches in length, two feet six inches in width, and ten inches thick. After it was found by the French it was transferred to the British, and in 1802, it was brought to England, where it was mounted and placed in the British Museum.

* * * * *

The Rosetta Stone is a corner stone of Egyptology. And the revelations of early Egyptian history and life, brought to light by means of it, have cleared some of the mystery of Egypt and have made known much of its history.

« Plate I »

VIEW OF CAIRO, EGYPT

=
EGYPT, THE LAND OF MYSTERY
Cairo
-  ONE  -
C

airo is the capital of modern Egypt, and the most populous city in Africa. By the Arabs it is called Maçr-el-Qâhira or simply Maçr. It is situated on the Nile, extending along the east bank of that river for about five miles. Cairo itself is really the fourth Moslem capital of Egypt. The site of one of those which preceded it is partly included within its walls, while the other two were a little to the south. Jauhar or Gohar-el-Kaid, the conqueror of Egypt for the Fatimite calif El-Moizz, in 968 founded El-Qâhira, "The Victorious." This name was finally corrupted into Cairo.

The city was founded on the spot occupied by the camp of the conqueror. It grew larger and more important as the years went by. In 1175 the Crusaders attacked Cairo; but were repulsed. The town prospered; but in 1517 it was conquered by the Turks. Thereafter it declined. The French captured the city in 1798. The Turkish and English forces drove them out in 1801, and Cairo was then handed over to Turkey.

A few years later Mehemet Ali became the Turkish viceroy. This man was a bold and unscrupulous schemer. He was born in Macedonia, and became colonel of the troops of the Turkish sultan and was stationed in Egypt. In 1805 he was appointed governor. Two years later England tried to get possession of the country; but he foiled the British.

The Mamelukes, the former rulers of Egypt, had been conquered by Napoleon and were forced to acknowledge Mehemet Ali as master of Egypt. But they were still powerful, and their plots hindered the plans of the ambitious viceroy. So one day in 1811 Mehemet gave a great feast in the citadel in Cairo, to which the Mamelukes were all invited. Four hundred and fifty of them accepted and rode, a magnificent cavalcade, up to the citadel through a deep, steep passageway leading from the lower town.

The lower gates of the street were suddenly closed. Behind the walls were the armed men of Mehemet Ali. Point-blank they fired into the crowd of horsemen. The slaughter was kept up until all were dead. Tradition says that one man escaped by leaping his horse over a wall. Thus Mehemet became ruler indeed of Egypt.

Under his rule Cairo grew up. He is supposed to have watched over the welfare of his people; but, according to one historian, "they could not suffer more and live."

Ismail Pasha, the first of the khedives (keh-deeves') modernized Cairo. Coming from Paris filled with progressive but reckless ideas of civilization, he resolved to transform the ancient city by the Nile into an African metropolis. The festivities he organized on the occasion of the opening of the Suez Canal in 1869 are said to have cost twenty million dollars. He built the opera house of Cairo, and had Verdi, the famous composer, write the opera "Aïda" especially to be produced there in 1871. His extravagances plunged Egypt into debt, but in 1882 Cairo was occupied by the British, and under their rule Egypt came gradually from under this heavy burden of indebtedness.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

« Plate II »

PYRAMIDS, EGYPT

=
EGYPT, THE LAND OF MYSTERY
The Pyramids
-  TWO  -
A

ll things fear Time; but Time fears the Pyramids," says the ancient proverb. The pyramids are for eternity. They alone of all man's works seem able to conquer time. They are mute witnesses to the greatness and majesty of Egypt five thousand years ago. The Egyptian pyramids are royal tombs, the burial vaults of kings. A pyramid was constructed of horizontal layers of rough-hewn blocks with a small amount of mortar. The outside casing was of massive blocks, usually greater in thickness than in height. Inside of each pyramid, always low down, and usually below the ground level, was built a sepulchral chamber. This room, which contained the body of the king, was always reached by a passage from the north, sometimes beginning in the pyramid face, sometimes descending into the rock on which the pyramid was built. To build but a single one of these huge tombs must have taken thousands of slaves many years, and there are seventy-six of them in existence today. What a record of toil and suffering for the vanity of kings!

The oldest of these pyramids is the Step Pyramid of Sakkara. It is supposed to be the oldest building of stone in the world. It lies near the vanished city of Memphis, the capital city of King Menes, the first Egyptian monarch whose name is known to history, and the founder of the earliest known dynasty, variously estimated to have been from 5702 to 2691 B. C.

The greatest and most famous pyramid is the Pyramid of Khufu (Cheops) at Gizeh. It was originally four hundred and eighty feet high; its base covers an area of thirteen acres; and each side is seven hundred and fifty-five feet long. The ancient builders were so accurate in their work that modern engineers have discovered an error of only sixty-five one-hundredths of an inch in the length of the sides of the base, and of one-three-hundredth of a degree in angle at the corners. The base is practically a perfect square.

The Pyramid of Khufu is the only surviving wonder of the Seven Wonders of the ancient world. One hundred thousand men worked for twenty years to build this tomb, which contains two million three hundred thousand limestone blocks, of an average weight of two and a half tons. How the tremendous undertaking was ever accomplished is one of the mysteries of the world. But even this huge tomb was no protection against robbers. The body of King Khufu has disappeared, stolen from its famous resting place centuries ago.

To ascend the pyramid one has to climb steps, narrow and about three feet apart. For a small fee the Arabs help the tourist to the top, from where the view is well worth the trouble. The blocks that formed the point of the pyramid have been removed, and the summit is a level platform thirty-six feet square.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

« Plate III »

THE SPHINX, EGYPT

=
EGYPT, THE LAND OF MYSTERY
The Sphinx
-  THREE  -
B

attered and broken by the attacks of time and man, buffeted by the desert winds, flat faced, and almost featureless, the Sphinx is still the possessor of its mighty secret—the mystery of the ages. "It is still able to express by the smile of those closed lips the inanity of our most profound human conjectures."

Everyone knows about the Sphinx at Gizeh near the Great Pyramids. This is proved by the common use of the word "sphinxlike," applied to that which holds, but will not disclose, mystery. But not everyone knows the reason for the form of the Sphinx, half human and half beast.

Sphinx is the Greek name for a compound creature with a lion's body and a human head. The Greek sphinx had male wings and a female bust. The sphinx of Egypt was wingless, and was called "Androsphinx" by Herodotus. In Egypt the sphinx was usually designed as lying down. The heads of the Egyptian sphinxes are royal portraits, apparently intended to represent the power of the reigning Pharaoh.

The most famous sphinx is the great Sphinx of Gizeh. No one knows who formed this gigantic figure of mystery nor when it was made. It was cut from a ridge of natural rock, with patches of masonry here and there to carry out the effect. The body is one hundred and forty feet long, and it faces eastward, looking out over the valley of the Nile. It has been said that the Sphinx was probably intended to be the guardian of the entrance to the Nile Valley.

The name of the Sphinx in Egyptian was "Hu." The inscriptions in the shrine between its paws say that it represented the sun god Hormakhu.

In the long past days of Egypt's grandeur the Sphinx was a central feature of the grandest cemetery the world has ever seen. This was the cemetery of Memphis, the metropolis of Egypt. The city of Memphis was the chief city of King Menes, who founded the earliest known dynasty. Now the only things that mark the site of the vanished metropolis are two colossal but fallen statues of Egypt's vainest king, Rameses II, the Great.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

« Plate IV »

TEMPLE OF LUXOR, EGYPT

=
EGYPT, THE LAND OF MYSTERY
The Temple of Luxor
-  FOUR  -
T

he ancient Egyptians had a great many gods; but the greatest of all was the Sun God. His name was Amun, and this meant "the hidden or veiled one." All worship of this god was mysterious and shrouded in darkness. In that way the priests held their power over the people. It was at old Thebes that the greatest temples of the Sun God were built. For about two thousand years Thebes was the capital of the powerful Egyptian Pharaohs. It was called Weset and Nut, which means "The City." The Greeks gave it the name of Thebai. Now this once great and important city has disappeared except for its ruins.

The little village of Luxor occupies the southern part of ancient Thebes. It is on the east bank of the Nile, four hundred and fifty miles from Cairo. Its name, Luxor, is a corruption of the Arabic El-Kusur, meaning "The Castles," and referring to the many-columned courts of the abandoned temples.

The great king of Egypt, Amenophis III, built the temple of Amun about which Luxor has grown up. He did not finish it, and Rameses II added to it a huge columned court. But this temple was never altogether completed. Still, it measures almost 900 feet from front to rear.

Rameses II also erected outside some colossal statues and a pair of obelisks. One of these obelisks now stands in the Place de la Concorde in Paris. It was taken there in 1831.

The chief religious festival of Thebes was that of "Southern Opi," the ancient name of Luxor. The sacred ships of the gods, which were kept in the temple of Karnak, were then taken in procession to Luxor and back.

Most of the old village of Luxor lay inside the courts of the temple. The Christians built churches within the temple. Luxor was also called Abul Haggag, from a Moslem saint of the seventh century. His tomb stands on a high heap of debris in the court of Rameses.

Today Luxor is a tourist center, and several fine hotels have been erected to accommodate the many visitors to the famous ruins. Nearly all the debris has been cleared away by the Service des Antiquités, which took up this work in 1885. Most of the natives thereabout are engaged in the manufacture of forged antiques, which they sell to the unwary traveler.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

« Plate V »

KARNAK—VIEW FROM SACRED LAKE, EGYPT

=
EGYPT, THE LAND OF MYSTERY
Karnak
-  FIVE  -
A

little village with a big ruin,—that is Karnak. Karnak itself is a town of only twelve thousand people in upper Egypt, which has given its name to the northern half of the ruins of ancient Thebes. The most important of these ruins are the ruins of the temple of Amun. These are to other ruins what the Grand Canyon of the Colorado is to other gorges.

Many of Egypt's kings contributed to build the temple of Amun at Karnak.

Karnak represents colossal antiquity. Here are to be found the highest columns on earth. They are one hundred and thirty-four in number; but many have crumbled and fallen to earth. The large columns were nearly twelve feet thick and sixty-two feet high. On top of each a hundred men could have stood. Each column was made up of many half-drums put together, and on them are raised reliefs, once painted with bright colors, picturing the events in the reigns of the various kings of Egypt. But now their glory has departed. The walls of the temple have fallen, and all that we can see is a mass of ruins, resembling the litter of an avalanche.

Tribute from all the world once poured into the coffers of the priests of Amun. The Egyptian kings gave them a great share of the spoils of their conquering raids, and Rameses III gave ninety thousand of his prisoners of war to them for slaves. Finally these priests became so rich and powerful that the high priest of Amun took the throne and became ruler of the Egyptians.

In 1899 a great calamity came upon the ruins of the temple. Eleven of the standing columns fell. These were all restored by 1908, and the work of excavation, strengthening, and reconstruction is still going on.

Beside the temple of Amun at Karnak there are two other ruins of importance. A temple of the god Mut, built by Amenophis III, and restored by Rameses II and the Ptolemys, has almost disappeared, except for a well preserved gateway and the plan of the foundations. The other ruin, the temple of Khuns, was built by Rameses II and his successors.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

« Plate VI »

THE GREAT DAM, ASSOUAN, EGYPT

=
EGYPT, THE LAND OF MYSTERY
The Dam at Assouan
-  SIX  -
T

here are many ancient and awe-inspiring monuments in Egypt; but one work of modern times there does not suffer in comparison with the greatest things that the Pharaohs have left us. The tombs, the pyramids, and the obelisks were built at the cost of terrible suffering, merely to satisfy the vanity of selfish kings; but this great work has given life to the land, enriched the population, and made their labor far lighter. It is the dam at Assouan.

Assouan, or Aswan, is a town of upper Egypt on the east bank of the River Nile below the first cataract. It has of late grown very popular as a winter health resort, and many large modern hotels are now situated there.

At the beginning of the cataract, three and a half miles above the town, is the dam of Assouan. This is a mile and a quarter long from shore to shore. It was finished in December, 1902. This dam controls the water of the Nile, and makes possible the irrigation of vast areas of land that had hitherto been dead and unproductive. Water is very valuable in Egypt.

Before the dam was built a boat had to be hauled up the rapids of the first cataract by hundreds of natives. It was an all-day task. Now a canal with four locks quietly and quickly takes vessels to the upper level of the Nile.

The dam has transformed the river above it into a huge lake. Many former islands have been wholly or partly submerged. The Isle of Philæ is the most important of these. The goddess Isis was worshiped there, and there were temples erected to her. One rocky point of the island is still above water. The rest of Philæ is an Egyptian Venice. Water paves the courts of the temples and gives added beauty to the relics of the past.

Opposite Philæ, on the east bank of the Nile, is the village of Shellal. This town is the southern terminus of the Egyptian railway, and the starting point of steamers for the Sudan.

Near Assouan are the quarries from which the old Egyptians took granite for their obelisks. There is still one obelisk all carved and shaped, ready to be taken from the rock. When an obelisk was shaped, holes were bored in the rock all along the line of separation. Wedges of wood were driven into these holes and soaked with water. The wet wood expanded, and the great obelisk was broken from the mother rock. It was then ready to be shipped to its destination.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 42, SERIAL No. 42
COPYRIGHT, 1913. BY THE MENTOR ASSOCIATION, INC.

Transcriber Notes

The cover image was derived from an image made available on The Internet Archive and is placed in the Public Domain.






End of the Project Gutenberg EBook of The Mentor: Egypt, The Land of
Mystery, Serial No. 42, by Dwight L. Elmendorf

*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: EGYPT, SERIAL NO 42 ***

***** This file should be named 50384-h.htm or 50384-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/0/3/8/50384/

Produced by Juliet Sutherland, Tom Cosmas and the Online
Distributed Proofreading Team at http://www.pgdp.net

Updated editions will replace the previous one--the old editions will
be renamed.

Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works

1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:

  This eBook is for the use of anyone anywhere in the United States and
  most other parts of the world at no cost and with almost no
  restrictions whatsoever. You may copy it, give it away or re-use it
  under the terms of the Project Gutenberg License included with this
  eBook or online at www.gutenberg.org. If you are not located in the
  United States, you'll have to check the laws of the country where you
  are located before using this ebook.

1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that

* You pay a royalty fee of 20% of the gross profits you derive from
  the use of Project Gutenberg-tm works calculated using the method
  you already use to calculate your applicable taxes. The fee is owed
  to the owner of the Project Gutenberg-tm trademark, but he has
  agreed to donate royalties under this paragraph to the Project
  Gutenberg Literary Archive Foundation. Royalty payments must be paid
  within 60 days following each date on which you prepare (or are
  legally required to prepare) your periodic tax returns. Royalty
  payments should be clearly marked as such and sent to the Project
  Gutenberg Literary Archive Foundation at the address specified in
  Section 4, "Information about donations to the Project Gutenberg
  Literary Archive Foundation."

* You provide a full refund of any money paid by a user who notifies
  you in writing (or by e-mail) within 30 days of receipt that s/he
  does not agree to the terms of the full Project Gutenberg-tm
  License. You must require such a user to return or destroy all
  copies of the works possessed in a physical medium and discontinue
  all use of and all access to other copies of Project Gutenberg-tm
  works.

* You provide, in accordance with paragraph 1.F.3, a full refund of
  any money paid for a work or a replacement copy, if a defect in the
  electronic work is discovered and reported to you within 90 days of
  receipt of the work.

* You comply with all other terms of this agreement for free
  distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org



Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.

The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact

For additional contact information:

    Dr. Gregory B. Newby
    Chief Executive and Director
    gbnewby@pglaf.org

Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate

Section 5. General Information About Project Gutenberg-tm electronic works.

Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our Web site which has the main PG search
facility: www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.