The hinging of this tale, and of those that follow it, upon the use of magic, shows how thoroughly the belief in magic powers was ingrained in the Egyptians. Now such a belief implies the presence of magicians, and shows how familiar must have been the claim to such powers, and the practising of the tricks of witchcraft, so prevalent in Africa in modern times. The efficacy of a model, such as this crocodile of wax, is an idea continually met with in Egypt. The system of tomb furniture and decoration, of _ka_ statues, of _ushabtis_ or figures to work for the deceased, and the models placed in foundation deposits, all show how a model was supposed to have the efficacy of an actual reality. Even in the latest tale of all (written in Ptolemaic times), Setnau makes a model of a boat and men, to be sunk in the river to work for him. The reconversion of the crocodile to wax, on being taken up by the magician, reminds us of the serpent becoming again a rod when taken up by Aaron. The punishment of burning alive is very rarely, if ever, mentioned in Egyptian history, though it occurs in modern Egyptian tales: and it looks as if it were brought in here rather as a dire horror for the climax than as a probable incident. The place of the penalty, in front of the harem, or the private portion of the palace, was evidently for the intimidation of other ladies. At the close of each tale, King Khufu, to whom it is told, orders funerary offerings by the usual formula, to be presented in honour of the king under whom the wonder took place. On the tablets of the tombs in the early times, there is usually recorded the offering--or, rather, the pious desire that there should be offered--thousands of loaves, of oxen, of gazelles, of cranes, &c., for a deceased person. Such expression cost no more by the thousand than by the dozen, so thousands came to be the usual expression in all ordaining of offerings. We are so accustomed to think of tedium as something modern, that it seems strange to find in the oldest tales [Page 16] in the world how the first king of whom we know anything was bored by his pleasures. A reward for discovering a new pleasure is the very basis of the tale of Sneferu; and the wise man's remedy of a day in the country is still the best resource, though all that we know as human history has tried its experiments in enjoyment since then. The flavour of the ballet thrown in, by the introduction of the damsels of the household clad in fishing nets, is not yet obsolete in modern amusements; and even in this century Muhammed Ali had resource to the same way of killing time, as he was rowed about by his _harem,_ but on an artificial lake.