Visits to Monasteries in the Levant — Themes and Context
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This digital edition of Visits to Monasteries in the Levant — Themes and Context is described by source-level measurements including 119,874 words, 8 hr 42 min estimated reading time, and 12 detected text sections.
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Project Gutenberg metadata also associates the work with “Middle East -- Description and travel,” connecting these edition facts with the source record’s subject description.
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Navarino--The Wrecks of the Turkish and Egyptian Fleets--Alexandria--An Arab Pilot--Intense Heat--Scene from the Hotel Windows--The Water-Carriers--A Procession--A Bridal Party--Violent mode of clearing the Road--Submissive Behaviour of the People--Astonishing Number of Donkeys--Bedouin Arabs; their wild and savage appearance--Early Hours--Visit to the Pasha's Prime Minister, Boghos Bey; hospitable reception--Kawasses and Chaoushes; their functions and powers--The Yassakjis--The Minister's Audience Chamber--Walmas; anecdote of his saving the life of Boghos Bey 1
Rapacity of the Dragomans--The Mahmoudieh Canal--The Nile at Atfeh--The muddy Waters of the Nile--Richness of the Soil--Accident to the Boatmen--Night Sailing--A Collision--A Vessel run down--Escape of the Crew--Solemn Investigation--Final Judgment--Curious Mode of Fishing--Tameness of the Birds--Jewish Malefactors--Moving Pillar of Sand--Arrival at Cairo--Hospitable Reception by the Consul-General 14
National Topics of Conversation--The Rising of the Nile; evil effects of its rising too high; still worse consequences of a deficiency of its waters--The Nilometer--Universal Alarm in August, 1833--The Nile at length rises to the desired Height--Ceremony of cutting the Embankment--The Canal of the Khalidj--Immense Assemblage of People--The State Tent--Arrival of Habeeb Effendi--Splendid Dresses of the Officers--Exertions of the Arab Workmen--Their Scramble for Paras--Admission of the Water--Its sudden Irruption--Excitement of the Ladies--Picturesque Effect of large Assemblies in the East 27
Early Hours in the Levant--Compulsory Use of Lanterns in Cairo--Separation of the different Quarters of the City--Custom of sleeping in the open air--The Mahomedan Times of Prayer--Impressive Effect of the Morning Call to Prayer from the Minarets--The last Prayer-time, Al Assr--Bedouin Mode of ascertaining this Hour--Ancient Form of the Mosques--The Mosque of Sultan Hassan--Egyptian Mode of "raising the Supplies"--Sultan Hassan's Mosque the Scene of frequent Conflicts--The Slaughter of the Mameluke Beys in the Place of Roumayli--Escape of one Mameluke, and his subsequent Friendship with Mohammed Ali--The Talisman of Cairo--Joseph's Well and Hall--Mohammed Ali's Mosque--His Residence in the Citadel--The Harem--Degraded State of the Women in the East 35
Interview with Mohammed Ali Pasha--Mode of lighting a Room in Egypt--Personal Appearance of the Pasha--His Diamond-mounted Pipe--The lost Handkerchief--An unceremonious Attendant--View of Cairo from the Citadel--Site of Memphis; its immense extent--The Tombs of the Caliphs--The Pasha's Mausoleum--Costume of Egyptian Ladies--The Cobcob, or Wooden Clog--Mode of dressing the Hair--The Veil--Mistaken Idea that the Egyptian Ladies are Prisoners in the Harem; their power of doing as they like--The Veil a complete Disguise--Laws of the Harem--A Levantine Beauty--Eastern Manners--The Abyssinian Slaves--Arab Girls--Ugliness of the Arab Women when old--Venerable Appearance of the old Men--An Arab Sheick 47
Mohammed Bey, Defterdar--His Expedition to Senaar--His Barbarity and Rapacity--His Defiance of the Pasha--Stories of his Cruelty and Tyranny--The Horse-shoe--The Fight of the Mamelukes--His cruel Treachery--His Mode of administering Justice--The stolen Milk--The Widow's Cow--Sale and Distribution of the Thief--The Turkish Character--Pleasures of a Journey on the Nile--The Copts--Their Patriarchs--The Patriarch of Abyssinia--Basileos Bey--His Boat--An American's choice of a Sleeping-place 64
Visit to the Coptic Monasteries near the Natron Lakes--The Desert of Nitria--Early Christian Anchorites--St. Macarius of Alexandria--His Abstinence and Penance--Order of Monks founded by him--Great increase of the Number of ascetic Monks in the Fourth Century--Their subsequent decrease, and the present ruined state of the Monasteries--Legends of the Desert--Capture of a Lizard--Its alarming escape--The Convent of Baramous--Night attacks--Invasion of Sanctuary--Ancient Glass Lamps--Monastery of Souriani--Its Library and Coptic MSS.--The Blind Abbot and his Oil-cellar--The persuasive powers of Rosoglio--Discovery of Syriac MSS.--The Abbot's supposed treasure 75
View from the Convent Wall--Appearance of the Desert--Its grandeur and freedom--Its contrast to the Convent Garden--Beauty and luxuriance of Eastern Vegetation--Picturesque Group of the Monks and their Visitors--The Abyssinian Monks--Their appearance--Their austere mode of Life--The Abyssinian College--Description of the Library--The mode of Writing in Abyssinia--Immense Labour required to write an Abyssinian book--Paintings and Illuminations--Disappointment of the Abbot at finding the supposed Treasure-box only an old Book--Purchase of the MSS. and Books--The most precious left behind--Since acquired for the British Museum 90
THE CONVENT OF THE PULLEY.
The Convent of the Pulley--Its inaccessible position--Difficult landing on the bank of the Nile--Approach to the Convent through the Rocks--Description of the Convent and its Inhabitants--Plan of the Church--Books and MSS.--Ancient excavations--Stone Quarries and ancient Tombs--Alarm of the Copts--Their ideas of a Sketch-book 105
RUINED MONASTERY AT THEBES.
Ruined Monastery in the Necropolis of Thebes--"Mr. Hay's Tomb"--The Coptic Carpenter--His acquirements and troubles--He agrees to show the MSS. belonging to the ruined Monastery, which are under his charge--Night visit to the Tomb in which they are concealed--Perils of the way--Description of the Tomb--Probably in former times a Christian Church--Examination of the Coptic MSS.--Alarming interruption--Hurried flight from the Evil Spirits--Fortunate escape--Appearance of the Evil Spirit--Observations on Ghost Stories--The Legend of the Old Woman of Berkeley considered 117
Robert Curzon opens his account with a self-deprecating preface, admitting that the public is 'overwhelmed with little volumes about palm-trees and camels.' Yet his book is no mere travelogue: it is a collector's memoir, born from evenings spent turning over ancient manuscripts in a country-house library. The narrative voice shifts between scholarly detachment and visceral immediacy, as when he describes a dead muletear whose clenched hand still grips another man's jacket. Curzon's prose is at once precise and eerie, grounding the reader in a world where the sacred and the gruesome coexist.
A Collector's Voice: Between Antiquarianism and Adventure
Curzon frames his travels as a pursuit of 'venerable game'—manuscripts collected in 'out-of-the-way places.' His tone is that of a gentleman amateur, diffident yet assured, writing for his own amusement. The preface's self-deprecation ('I am aware that I am committing an act which requires some better excuse') contrasts with the confident eye for detail in the narrative. He describes a monk calling the congregation to prayer by beating a simandro (a wooden board), a detail that signals his interest in the material culture of monastic life. The voice is that of a connoisseur who relishes the odd and the arcane, from the 'gold and azure' of illuminated pages to the 'ghastly regiment' of corpses in a moonlit courtyard.
Pace and the Macabre: The Dead Muleteer Scene
The most striking shift in pace occurs in the extended description of the dead muleteer. Curzon moves from a matter-of-fact account of a battle's aftermath to a slow, almost hypnotic meditation on the corpse. The prose becomes rhythmic, with long sentences that mirror his sleepless vigil: 'I leant against the heavy stone mullions of the window, which was barred, but without glass, and gazed I know not how long.' The wind rises, the moon emerges, and the dead man's jacket waves 'as if he were an evil spirit waving on his ghastly crew.' This passage, with its Gothic intensity, is a deliberate change from the earlier, more pedestrian travel narrative. Curzon's imagination, fed by old books of witchcraft and legend, transforms a battlefield into a supernatural tableau.
Structure and Setting: The Monastery as Stage
Curzon's settings are not backdrops but active participants. The monastery courtyard becomes a stage for the dead, its 'heavy stone mullions' and 'half-uninhabited' corridors amplifying the horror. He notes the contrast between day and night: in the morning, the living men he had spoken to are now corpses he would not willingly touch. The architecture—barred windows, grating doors, shadowed arches—frames his observations. The narrative structure mirrors this spatial confinement: the scene is contained within a single courtyard, yet the emotional range expands from casual observation to existential dread. Curzon's use of the monastery as a liminal space—between life and death, sacred and profane—gives the travelogue a distinctive, almost claustrophobic intensity.
Readers should attend to Curzon's shifts in register: the antiquarian's dry catalogue of manuscripts gives way to passages of raw, personal terror. His eye for the physical—the texture of vellum, the grip of a dead hand—anchors the narrative in tangible detail. The book rewards those who read slowly, letting the pace of the prose mirror the author's own restless nights.
I found myself thinking of Curzon's dusty monasteries while leafing through A Wanderer in Holland — Reading Notes. Both felt less like travelogues and more like quiet conversations with older places. He chased manuscripts; the other chased windmills. Yet each captured a kind of patient solitude, the way stone and water hold stories without rushing to tell them.
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