Our scribe was one of those to whom the papers were thrown more often
than to others. He occupied a somewhat low place in the hierarchy, and
no bond attached him to the great families of his period. If he is
kneeling, it is that the sculptor has represented him in one of his
ordinary attitudes during the hours of work; he has also drawn his
portrait with the fidelity and jovial good humour adopted by artists
in portraying scenes of everyday life. The man has just brought a
roll of papyrus or a tray laden with papers; kneeling in the approved
manner, the bust well-balanced on the hips, the hands crossed, the back
bowed, the head slightly bent, he waits until his master has finished
reading. Does he think? Scribes felt some secret apprehension when
appearing before their masters. The rod played a large part in the
discipline of the offices. An error in the addition of an account, a
word omitted in copying a letter, an instruction misunderstood, an
order awkwardly executed, and the blows fell. Few employees escaped
flogging. If they did not deserve it, it would be inflicted on
principle: “That young fellow requires a beating. He obeys when he is
flogged!”[36] The sculptor has admirably transferred to the stone the
expression of resigned uncertainty and sheepish gentleness with which
the routine of an entire life spent in service had endowed the model.
The mouth is smiling, for such is the demand of etiquette, but there
is no joy in the smile. The nose and cheeks grimace in unison with the
mouth. The two big enamel eyes, surrounded with bronze, have the fixed
expression of a man who is vaguely waiting, without looking attentively
at anything or concentrating his thought on a definite object. The
face lacks intelligence and vivacity. After all, the profession did
not exact great alertness of mind. The formulas of administration were
simple and of little variety, the arithmetic was not complicated; it
was possible to get on easily with memory and industry, and so, without
much trouble, to earn sufficient to purchase a good funerary statue.
Public-domain text, read in full here on John Shaqi.
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