Smith and the Pharaohs, and other Tales — Inside the Classic

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In Category - Folklore
Haggard, H. Rider (Henry Rider), 1856-1925 Project Gutenberg 2006 Not confirmed
Fantasy fiction, English; Short stories, English; Adventure stories, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 87,929
Reading time 383 min
Text sections 16

Smith and the Pharaohs, and other Tales — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 87,929 words, 6 hr 23 min estimated reading time, and 16 detected text sections.

The text analysis averages about 19.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fantasy fiction, English,” connecting these edition facts with the source record’s subject description.

An editorial note on H. Rider Haggard's collection, focusing on how the opening, middle, and later excerpts guide a first reading through shifts in setting, narrative voice, and supernatural elements.
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 CHAPTER I. THE RECTORY BLIND  CHAPTER II. THE NEW YEAR FEAST  CHAPTER III. AUNT MARIA  CHAPTER IV. A YEAR LATER  CHAPTER V. WEDDED  CHAPTER VI. PARTED  CHAPTER VII. BARBARA’S SIN  CHAPTER VIII. THE ATONEMENT

SMITH AND THE PHARAOHS

Scientists, or some scientists—for occasionally one learned person differs from other learned persons—tell us they know all that is worth knowing about man, which statement, of course, includes woman. They trace him from his remotest origin; they show us how his bones changed and his shape modified, also how, under the influence of his needs and passions, his intelligence developed from something very humble. They demonstrate conclusively that there is nothing in man which the dissecting-table will not explain; that his aspirations towards another life have their root in the fear of death, or, say others of them, in that of earthquake or thunder; that his affinities with the past are merely inherited from remote ancestors who lived in that past, perhaps a million years ago; and that everything noble about him is but the fruit of expediency or of a veneer of civilisation, while everything base must be attributed to the instincts of his dominant and primeval nature. Man, in short, is an animal who, like every other animal, is finally subdued by his environment and takes his colour from his surroundings, as cattle do from the red soil of Devon. Such are the facts, they (or some of them) declare; all the rest is rubbish.

At times we are inclined to agree with these sages, especially after it has been our privilege to attend a course of lectures by one of them. Then perhaps something comes within the range of our experience which gives us pause and causes doubts, the old divine doubts, to arise again deep in our hearts, and with them a yet diviner hope.

Perchance when all is said, so we think to ourselves, man _is_ something more than an animal. Perchance he has known the past, the far past, and will know the future, the far, far future. Perchance the dream is true, and he does indeed possess what for convenience is called an immortal soul, that may manifest itself in one shape or another; that may sleep for ages, but, waking or sleeping, still remains itself, indestructible as the matter of the Universe.

An incident in the career of Mr. James Ebenezer Smith might well occasion such reflections, were any acquainted with its details, which until this, its setting forth, was not the case. Mr. Smith is a person who knows when to be silent. Still, undoubtedly it gave cause for thought to one individual—namely, to him to whom it happened. Indeed, James Ebenezer Smith is still thinking over it, thinking very hard indeed.

J. E. Smith was well born and well educated. When he was a good-looking and able young man at college, but before he had taken his degree, trouble came to him, the particulars of which do not matter, and he was thrown penniless, also friendless, upon the rocky bosom of the world. No, not quite friendless, for he had a godfather, a gentleman connected with business whose Christian name was Ebenezer. To him, as a last resource, Smith went, feeling that Ebenezer owed him something in return for the awful appellation wherewith he had been endowed in baptism.

To a certain extent Ebenezer recognised the obligation. He did nothing heroic, but he found his godson a clerkship in a bank of which he was one of the directors—a modest clerkship, no more. Also, when he died a year later, he left him a hundred pounds to be spent upon some souvenir.

Smith, being of a practical turn of mind, instead of adorning himself with memorial jewellery for which he had no use, invested the hundred pounds in an exceedingly promising speculation. As it happened, he was not misinformed, and his talent returned to him multiplied by ten. He repeated the experiment, and, being in a position to know what he was doing, with considerable success. By the time that he was thirty he found himself possessed of a fortune of something over twenty-five thousand pounds. Then (and this shows the wise and practical nature of the man) he stopped speculating and put out his money in such a fashion that it brought him a safe and clear four per cent.

The collection opens with a skeptical voice that questions scientific certainty about human nature, then pivots to a mysterious incident involving Mr. James Ebenezer Smith. This framing immediately establishes a tension between rational explanation and the possibility of the supernatural, a thread that runs through the tales. The narrator's wry tone—'Scientists, or some scientists'—invites readers to entertain doubts about materialism.

Later excerpts shift to a very different setting: Portuguese East Africa, where a missionary named Thomas (called 'Tombool' or 'Inkunzi') confronts a witch-doctor, Menzi. The dialogue bristles with veiled threats and cultural clash, as Menzi offers snuff from a buffalo-horn snuff-box kept in his earlobe. The river named 'Death' and Menzi's plucking of a white lily hint at symbolic undercurrents.

Opening Gambit: Skepticism and the Supernatural

The first chapter of 'Smith and the Pharaohs' sets up a philosophical debate about human nature. The narrator mocks scientists who claim to know everything about man, reducing him to an animal shaped by environment. Then, almost as a counterexample, an incident in Mr. Smith's life is introduced—something that 'might well occasion such reflections.' The reader is primed to expect a story that challenges reductive views. Smith himself is described as 'a person who knows when to be silent,' suggesting he has secrets worth guarding. This opening works as a thesis: the tales that follow will test the boundaries of materialist explanation.

African Interlude: Menzi and the Missionary

In the excerpt from 'Magepa' or a related story, the setting shifts to Portuguese Territory, where law is absent. Thomas, the missionary, is greeted by Menzi, a witch-doctor who carries a snuff-box in his earlobe and speaks with 'a gentle and refined voice.' Their exchange is a battle of wills: Thomas declares war on Menzi's spirits, while Menzi responds with a mysterious smile and a look at the river named Death. The narrative voice here is more direct, but the supernatural tension is palpable. Menzi's plucking of a white lily—a rare and beautiful flower—suggests a ritualistic or symbolic act, though its meaning is left ambiguous. This section contrasts with the opening's philosophical tone, grounding the supernatural in a specific cultural conflict.

Narrative Voice and Structure Across Tales

The excerpts reveal two distinct narrative modes. The opening tale uses a detached, ironic narrator who addresses the reader directly ('Perchance the dream is true'). The African story employs a more conventional third-person limited perspective, focusing on Thomas's reactions and Menzi's enigmatic behavior. This variety suggests the collection may experiment with different genres—from philosophical fantasy to adventure. The table of contents lists titles like 'The Blue Curtains,' 'Only a Dream,' and 'Barbara Who Came Back,' hinting at further shifts in tone and setting. Readers should expect each story to establish its own rules for the supernatural, rather than a unified mythology.

Clues from the Closing: The River and the Lily

Near the end of the African excerpt, Menzi looks at the river 'Death' and plucks a white lily, which he presents to someone. The lily is described as 'rare and beautiful,' and the river is 'very deep and still.' These details carry symbolic weight, but the excerpt cuts off before their significance is explained. A first-time reader might note them as potential foreshadowing: the lily could represent purity, death, or a token of fate. The river's name is ominous, and Menzi's earlier threat—'we are at war over this matter of Spirits'—suggests the conflict may turn deadly. Without the full story, the reader is left to speculate, which is precisely the effect Haggard seems to cultivate: a sense of unresolved mystery that lingers beyond the page.

These excerpts show Haggard's skill at planting questions without immediate answers. The opening challenges scientific certainty; the African tale pits a missionary against a witch-doctor in a landscape where law is absent. Readers should pay attention to recurring motifs—snuff-boxes, lilies, rivers—that may carry symbolic weight across stories. The collection rewards those who read with an eye for detail and a tolerance for ambiguity.

Smith and the Pharaohs left me sitting quietly afterward, that strange weight of old places and voices. There's something in the way those stories shift, almost without you noticing, that feels familiar. I found myself thinking of the gentle strangeness in The ninth vibration and other stories — Story, Setting & Ideas, a similar current running underneath. It stayed with me, soft and unresolved.

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