The way to Egypt is long and vexatious"—so Homer sings; and so also have sung other persons more modern. A chopping sea prevails off Crete, and whether one leaves Europe at Naples, Brindisi, or Athens, one's steamer soon reaches that beautiful island, and consumes in passing it an amount of time which is an ever-fresh surprise. Crete, with its long coast-line and soaring mountain-tops, appears to fill all that part of the sea. However, as the island is the half-way point between Europe and Africa, one can at least feel, after finally leaving it behind, that the Egyptian coast is not far distant. This coast is as indolent as that of Crete is aggressive; it does not raise its head. You are there before you see it or know it; and then, if you like, in something over three hours more you can be in Cairo.
The Cairo street of the last Paris Exhibition, familiar to many Americans, was a clever imitation. But imitations of the Orient are melancholy; you cannot transplant the sky and the light.
The real Cairo has been sacrificed to the Nile. Comparatively few among travellers in the East see the place under the best conditions; for upon their arrival they are preoccupied with the magical river voyage which beckons them southward, with the dahabeeyah or the steamer which is to carry them; and upon their return from that wonderful journey they are planning for the more difficult expedition to the Holy Land. It is safe to say that to many Americans Cairo is only a confused memory of donkeys and dragomans, mosquitoes and dervishes, and mosques, mosques, mosques! This hard season probably must be gone through by all. The wise are those who stay on after it is over, or who return; for the true impression of a place does not come when the mind is overcrowded and confused; it does not come when the body is wearied; for the descent of the vision, serenity of soul is necessary—one might even call it idleness. It is during those days when one does nothing that the reality steals noiselessly into one's comprehension, to remain there forever.
But is Cairo worth this? is asked. That depends upon the temperament. If one must have in his nature somewhere a trace of the poet to love Venice, so one must be at heart something of a painter to love Cairo. Her colors are so softly rich, the Saracenic part of her architecture is so fantastically beautiful, the figures in her streets are so picturesque, that one who has an eye for such effects seems to himself to be living in a gallery of paintings without frames, which stretch off in vistas, melting into each other as they go. If, therefore, one loves color, if pictures are precious to him, are important, let him go to Cairo; he will find pleasure awaiting him. Flaubert said that one could imagine the pyramids, and perhaps the Sphinx, without an actual sight of them, but that what one could not in the least imagine was the expression on the face of an Oriental barber as he sits cross-legged before his door. That is Cairo exactly. You must see her with the actual eyes, and you must see her without haste. She does not reveal herself to the Cook tourist nor even to Gaze's, nor to the man who is hurrying off to Athens on a fixed day which nothing can alter.
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