Real men, such as we see around us in actual life, not silhouettes constructed to the old priestly scale such as the monuments show us—­real living men dwelt by the old Nile-stream; and the poet who would represent them must courageously seize on types out of the daily life of modern men that surround him, without fear of deviating too far from reality, and, placing them in their own long past time, color them only and clothe them to correspond with it.

I have discussed the authorities for the conception of love which I have ascribed to the ancients in the preface to the second edition of “An Egyptian Princess.”

With these lines I send Uarda into the world; and in them I add my thanks to those dear friends in whose beautiful home, embowered in green, bird-haunted woods, I have so often refreshed my spirit and recovered my strength, where I now write the last words of this book.

               Rheinbollerhutte, September 22, 1876. 
          
                                        Georg Ebers.

PREFACE

To the fifth German edition.

The earlier editions of “Uarda” were published in such rapid succession, that no extensive changes in the stereotyped text could be made; but from the first issue, I have not ceased to correct it, and can now present to the public this new fifth edition as a “revised” one.

Having felt a constantly increasing affection for “Uarda” during the time I was writing, the friendly and comprehensive attention bestowed upon it by our greatest critics and the favorable reception it met with in the various classes of society, afforded me the utmost pleasure.

I owe the most sincere gratitude to the honored gentlemen, who called my attention to certain errors, and among them will name particularly Professor Paul Ascherson of Berlin, and Dr. C. Rohrbach of Gotha.  Both will find their remarks regarding mistakes in the geographical location of plants, heeded in this new edition.

The notes, after mature deliberation, have been placed at the foot of the pages instead of at the end of the book.

So many criticisms concerning the title “Uarda” have recently reached my ears, that, rather by way of explanation than apology, I will here repeat what I said in the preface to the third edition.

This title has its own history, and the more difficult it would be for me to defend it, the more ready I am to allow an advocate to speak for me, an advocate who bears a name no less distinguished than that of G. E. Lessing, who says: 

“Nanine? (by Voltaire, 1749).  What sort of title is that?  What thoughts does it awake?  Neither more nor less than a title should arouse.  A title must not be a bill of fare.  The less it betrays of the contents, the better it is.  Author and spectator are both satisfied, and the ancients rarely gave their comedies anything but insignificant names.”