But 'royal' is not capable of rapid enunciation, and 'groat' is decidedly objectionable for designating ten farthings, as it is still sacred to fourpence in the English mind. Whatever the names, the full enunciation of them at first would appear stiff and solemn; but abbreviated modes of expression would soon be established. 'Four-two' would be understood as L.4, 2 (florins), while 'four and two' would convey four florins, two cents. When three denominations were used, it would be 'four-three-two,' there being little danger of a misunderstanding as to whether the 'four' were pounds or florins. So, in writing, it would
performance of this simple act to his own discretion. Yes, it is in this fine instance of steady principle that we see a discrimination of politeness exquisitely ingenious and beautiful. The English have the reputation of being a blunt, downright people; and their practice of shutting the door after them makes it certain they are so. When they draw to the door, turn the handle, and hear the latch click, they as good as say: 'There, the door is shut; the thing is done. I leave no doubt on the subject; I care not what you think of me; I have done my duty.' This is England all overgreat, uncalculating, independent-minded England! The Scotch almost pity this daring recklessness of character. They are astonished at its boldness. It is action resting on no proper grounds. How differently they proceed! Treating it as belonging to the science of numbers, the following becomes the method of stating the question:
Given that there is a door which may or may not be shut on quitting an apartment, let it be shewn by the rules of arithmetic whether it would be preferable to shut the said door or leave it open. Write down, first, the arguments for not shutting, according to their supposed value; then do the same for the arguments per contra ; lastly, sum up both, and strike the balance. Thus
EDFOU AND ITS NEIGHBOURHOOD
True, some portions of the view are missed during the hours of night-travelling; but these have most probably been seen during the ascent. Besides, though the scenery of the Nile is certainly not monotonous enough to weary the eye, yet there is a general sameness in its details, a want of those bold, original features which in other countries stamp the character of particular localities. Two parallel lines of mountains ever within sight of each other, now advancing towards the river through a sea of verdure in promontories, always nearly with the same level outline, now receding in semicircular sweeps; a narrow flat plain, loaded with crops and palm-groves, and intersected by canals and dikes, sometimes equally divided by a tortuous stream of vast breadth, but sometimes thrown, as it were, all to one side, east or west; occasionally a long line of precipices descending sheer into the very water; once only a regular defile with rocks on either hand; islands in the river, sandbanks, broad, winding reachessuch, in a few words, is a description of Egypt. It is the variety of colour produced by that mighty painter, the sun, that gives all the beauty to the landscape; and of this it is almost impossible
to convey an idea. The chaste loveliness of the dawn, the majestic splendour of noon, and the marvellous glories of the sunset-hourthe thousand hues that glow and tremble, and melt and mingle around through all the scenes of this great drama of lightwords have not yet been invented to describe.
And then the night! Who can sit down and recall and count over the impressions which fly like a troop of fairies over the thrilling senses at that mystic hour, when the skirts of retiring day have ceased to flutter above the western hills, and the moon casts down her pale, melancholy glances on the silent scene, and the starsour guardian angels, according to someseem to stoop nearer and nearer to the earth as slumber deepens, as if to press golden kisses upon the eyelids of those whom they watch and love! In all countries these hours are beautiful; but in Egyptlet those who doubt come and witness all that we beheld, and which is indescribable, on the evening that we left the neighbourhood of Silsilis on our way to Edfouon that calm, placid river, over which brooded a silence interrupted only by the alternate songs of the crews of the two boats as they leisurely pulled with the current.
It was late in the afternoon of next day when we reached the landing-place; but we immediately set out to see the ruin, if ruin it can be called, for it is almost in perfect preservation. After traversing a broad extent of ground covered with rank grass and prickly plants, we came to the customary palm-grove, and then entered what romancers would probably call the 'good city' of Edfou. It is a considerable collection of huts, principally constructed of mud, clustering amidst mounds of rubbish at the base of the temple. The lofty propylæa, above a hundred feet high, I believe, were of course seen from afar off, both during our walk and in ascending and descending the river. As is the case in nearly all other Egyptian buildings, the effect at a distance is anything but picturesque. From want of objects of comparison, the impression of great size is not produced; and nothing can be meaner in outline than two towers like truncated pyramids, pierced with small, square windows at irregular intervals. On a nearer approach, however, the surface-ornament begins to appear; and the central doorway, overhung by a rich and painted cornice, presents itself in its really grand proportions, but crushed, as it were, by the vast size of the twin towers, which now seem magnified into mountains. At Edfou the effect of this surprise is partly injured by the circumstances: first, the accumulation of huts through which you approach; and second, that of mounds of dirt which have risen nearly to the height of the doorway. However, when you come to the summit of these mounds, almost on a level with the lintel, and look down between the enormous jambs into a kind of valley formed by the great court, with its wonderful portico and belt of columns, it is difficult to conceive a more imposing scene.