Akhenaten

Sec e.g. Berry 1938 and Strunsky 1928, where the protagonists are respectively a wax- modeller and a scribe. Of course these elements are all present in fiction written about ancient Egypt before the Amarna period was widely known (e.g. Batty 1890), as were conflicts between religion and state (e.g. Glovacki 1902).

'Patty' in Strunsky 1928, 'Rita' in Merezhkovsky [1924] 1927.

Stuart 1879: 169.

Herbertson 1890: 11.

Rawnsley 1894: 93-4.

Weigall 1923; Julie Hankey will discuss this incident fully in her forthcoming biography of Weigall. Bagnall, Rider Haggard and Lorimer all wrote to Weigall acknowledging how much his book had influenced them: again I am grateful to Mrs Hankey for showing me this correspondence in her family archives.

Such as Mrs James in the Grossmiths' Diary of a Nobody: Grossmith and Grossmith [1892] 1975; 213.

Rider Haggard 1912: 10.

Washington 1993: 5-25.

There are many examples: perhaps the best known arc Marie Corelli, ^'iska (London: Simpkins, Marshall, 1897); Florence Brooks Whitchousc, The God of Things (Boston, MA: Little, Brown, 1902); Florence Barclay's hugely successful The Rosary (London: Putnam's, 1909), still in print in the 1950s.

Lorimcr 1913: 25.

Ibid.: 70.

Ibid.: 218.

Ibid.: 314.

Lorimer 1918: 31.

Ibid.: 221.

Bell 1923: 222-3.

Ibid.: 227.

Wyke 1997:91.

Like many directors at this time, Earle reconstructed antiquity from nineteenth-ccntury classical and Orientalist paintings, which are themselves often based on novels. Sacri­ficing a virgin to the Nile is a theme both in art and in literature (e.g. the painting by Federico Faruffini (1831-69) illustrated in Humbert etal. 1994: 384-5), and in the Egyp­tian novels of Georg Ebers.

Corlett 1923: 235-6. The writer of this review, Dudley S. Corlett, was also interested in the occult and wrote The Magic Art ofEgypt' (1923).

Corlett 1923: 239.

Steinberg and Khrustalev 1995: 163-4, quoting Nicholas' diary for 11 and 19 July 1917.

Rosenthal 1997: 17-19; 1975: 4, 110.

Steinberg and Khrustalev 1995: 22-3, 241, 244; for a good summary see Klier 1995: 78-86.

Merezhkovsky [1924] 1927: 145.

Ibid.: 201.

Ibid.: 309.

Ibid.: 242-3.

Morrison 1938: 360.

Berry 1938: 187.

Osborne 1982: 100-1. See Morgan 1985: 212-13, 226. Christie wrote that TheDawn of Conscience was 'one of the books 1 had been fondest of (Christie 1977: 511).

Christie 1973: 77-8.

For The Egyptian, see Solomon 1978.

Slochower 1938, especially 55-61.

Fast 1990: 300-1.

Hawkes 1967: 174.

See Shohat and Stam 1994: 153.

Stewart's (1995) novel does take the concept of an alien Akhenaten seriously.

There is an excellent discussion of Mahfouz's use of Akhenaten by Pinault 1995; see also Hassan 1998: 203, 206. For a treatment of Akhenaten by an Egyptian poet, see Abou Hadid 1973.

Pinault 1995: 26 and 31 with footnote 3.

Stacton 1958: 15.

Ibid.: 40, 45, 166, 169.

Porter 1992: 122.

7 Sexualities

Strachey 1939: 7.

See Arnold 1996: 91, who suggests that the stela shows Akhenaten and Amunhotep III, or less probably Akhenaten and Nefertiti.

Mann [1943] 1978: 932-3. See Grimm 1993: 42-64, especially 58-9.

Dyer 1993: 73 92, especially 76-9.

Newberry 1928: 7.

Waters 1995, especially 229.

Bristow 1995: 147. In Firbank's The Flower beneath the Foot (1923), for instance, the male object of desire, the Hon. 'Eddy' Monteith, is consistently compared to 'Rameses' as a sort of generic pharaoh.

Hollinger 1995: 126.

http://www.starbasc21.com/ATONS/ourname.htm. The Atons may be contacted at PO Box 580517, Minneapolis, MN 55458-0517, USA.

Conner et al. 1997: 47.

Hollinghurst 1988: 76.

Ibid.: 154. For an interesting reading of the novel's relevance to gay history see Cham­bers 1993.

Bergman 1993: 4-5.

E.g. Hamilton 1980 and Holland 1998.

This account of the development of Akenaten is drawn from Jarman 1996: 3-4.

Ibid.: 40 - compare Velikovsky 1960: 137. Original text in Gardiner 1957: 19-20.

Sec Meskell 1998a: 66-75 on Stargale, where some of the imagery of the pharaoh 'Ra' seems to be influenced by images of Akhenaten. For Orientalism and outing see Apter 1996.

Jarman 1996: 3.

Catherine Bennett, writing in The Guardian, 9 April 1992, quoted in Chedgzoy 1995: 185.

Chedgzoy 1995: 180.

Jarman, quoted in Chedgzoy 1995: 216 (letter to The Independent, 20 May 1993).

Frandsen 1993: 262-3. A fuller version of this article is being developed in Frandsen's forthcoming book about Egypt and opera, which promises to be definitive.

Glass 1987: 139.

Ibid.: 182.

Gardiner 1957: 19-20. See also Frandsen 1993: 251.

Glass 1987: 170. See also Frandsen 1993: 248-9.

Other audiences were taken in; sec Glass 1987: 164—5.