Alexander William Kinglake’s travelogue Eothen (1844) is bookended by plague. It opens with a grim view from the Austrian-held side of the Sava river to Ottoman Belgrade on the other bank, where the yellow flag of contagion flies above the battlements. It ends in the epidemic hell of Cairo where every other person Kinglake meets will be dead in three days.
Between these two chapters Eothen unfolds with an authentic air of early nineteenth-century Romanticism. Through haunted Balkan woods and the crowded alleys of ancient eastern cities, through desert wastes and trackless mountains of red stone, Kinglake and his small band press on. He visits ruined temples and holy sites. He smokes from narghiles in the palaces of the mighty and dines in the tents of the Bedouin. He risks life and limb – his own and those of his hired companions – on more occasions than one.
Along the way he reinvents travel writing, or at least he's commonly credited with doing so. Kinglake is determined not be your tour guide and Eothen is not a guidebook for would-be vacationers. He will not inform, uplift, or humor you. In his introduction he writes:
“I have endeavored to discard from [my book] all valuable matter derived from the works of others, and it appears to me that my efforts in this direction have been attended with great success; I believe that I may truly acknowledge that from all details of geographical discovery or antiquarian research, from all display of ‘sound learning and religious knowledge,’ from all historical and scientific illustrations, from all useful statistics, from all political disquisitions, and from all good moral reflections, the volume is thoroughly free.”
What he provides in place of these is the straightforward (occasionally "insolent") record of his personal experience and impressions. His book is less an education than an entertainment. In this respect, although Eothen strongly influenced so much of the travel writing that followed it, it's not really so much a reinvention of the travel book but a return to the sort of pre-Enlightenment travelogues of Marco Polo or Sir John Mandeville (assuming the latter was a real person).
The most memorable parts of the book, I think, include the chapter describing Kinglake’s visit to Lady Hester Stanhope in the mountains of Lebanon, where the elderly London society girl now lives a hermit’s life in a fortified monastery with a small army at her command, and with a strong belief in her own occult powers and divine nature.
In another favorite passage, Kinglake describes the psychological inversion he experienced stepping into the very landscape of myth near the site of Troy:
“You force yourself hardily into the material presence of a mountain or river whose name belongs to poetry and ancient religion, rather than to the external world; your feelings, wound up and kept ready for some sort of half-expected rapture, are chilled and borne for the time under all this load of real earth and water; but let these once pass out of sight, and then again the old fanciful notions are restored, and the mere realities which you have just been looking at are thrown back so far into distance that the very event of your intrusion upon such scenes begins to look dim and uncertain, as though it belonged to mythology.”
The chapters covering Cairo in a season of plague, however, feel especially timely just now, as we wrap up (hopefully) our own season of COVID. Kinglake’s story illustrates, at least, how much worse things can get in an epidemic. “The fear of the plague is its forerunner,” he writes, and though we’ve had, on balance, much less to fear than Kinglake himself and the residents of Cairo at the time, we see that fear may also be the last symptom to finally quit us. Then, as now, there were the fatalistic, the careless, and the paranoid. Kinglake describes the constant terror suffered by those convinced the plague may be spread by touch, before the germ theory of disease proved them right:
“To people entertaining such opinions as these respecting the fatal effect of contact, the narrow and crowded streets of Cairo were terrible as the easy slope that leads to Avernus. The roaring ocean and the beetling crags owe something of their sublimity to this – that if they be tempted they can take the warm life of a man. To the contagionist, filled as he is with the dread of final causes, having no faith in destiny, nor in the fixed will of God, and with none of the devil-may-care indifference which might stand him instead of creeds – to such one every rag that shivers in the breeze of a plague-stricken city has this sort of sublimity. If, by any terrible ordinance, he be forced to venture forth, he sees death dangling from every sleeve, and as he creeps forward, he poises his shuddering limbs between the imminent jacket that is stabbing at his right elbow, and the murderous pelisse that threatens to mow him clean down as it sweeps along his left.”
Go ahead: remove your mask, if you dare. Take a deep breath. Don’t be afraid. Masked or unmasked, you never know what you'll meet on the road ahead. “Death,” writes Kinglake, is “the last and greatest of all the ‘fine sights’ that there be.”