I delight in seeing the sailors climbing the tall, oblique yards of the Nile boats. Sometimes five or six of them perch on one yard at the same time, looking at a distance like great birds.
_Thursday, 26th._--Finished my donkey and started; as I get further north, the weather is much cooler--the mornings and evenings are quite fresh, though not so cold but that I can sketch in the shade an hour after sunrise in summer clothes. The natives, however, seem to take a severe view of the temperature, and leave nothing unmuffled but their mouths, with which they occasionally blow their fingers in the most approved winter fashion. Was more struck than before with Gebel Aboofada--the infinite and strongly marked strata of which it is made up writhe and heave in a very grand and fantastic manner. Some of the Egyptian mountains are ruled like a copy book from head to foot, and are very monotonous.
At the foot of Aboofada, I saw, for an instant, my first and last crocodile; a small one. They are very seldom seen from a steamer below the cataracts, as the noise frightens away the few there are. I had looked forward to getting a shot at one, and was a good deal disappointed at finding none up the river. It is curious how rapidly time lends its perspective to the past. Every now and then a boat from the cataracts laden with dates comes floating down the river, and the melancholy chant of the Nubian sailors, as they strain at the oars, already falls on my ear as a sudden memory of an almost distant past--not a month old.
Arrived at Roda this evening. I have been reading, amongst other things, a book everybody else read thirty years ago, "Les Natchez," and am greatly disappointed with it. I am especially struck with the extraordinary contrast between the masterful sobriety and simplicity of the style, and the far-fetched affectation of the ideas which are, more often than not, distorted, tawdry and inflated, sometimes disgusting and not seldom maudlin in the extreme. This singular discrepancy between form and matter is especially French, and may frequently be traced in the works of their painters and sculptors. No living people has so sensitive a perception of form or so artistic an epiderm, but an ineradicable self-consciousness develops in them a theatrical attitude of mind which too often betrays itself in their artistic and literary conceptions. It is the absolute consent between conception and execution which constitutes one of the chief sources of delight in the art of the Greeks, to whom they are fond, too rashly, of comparing themselves.[41]