The Woman Who Would Be King (10 page)

And so Hatshepsut survives as other royal children die. She learns more and more about the intricacies of court life and ritual, as well as temple rites, and waits to find out who her future husband will be, knowing that when her father, King Thutmose I, flies to heaven, the process of
succession will proceed in a whirlwind, sweeping her up into marriage with one of her brothers and the role of King’s Great Wife.

Once Hatshepsut left the royal nursery, waiting to see which prince she would wed, she moved to her own palace rooms. They were likely surrounded by a meticulously maintained pool and gardens filled with birdsong and cool breezes. Instead of a space shared with many nurses and sisters, her new bedroom was more private, perhaps for her alone if she had wanted it, with a sleeping area made from a light woven material with a smooth, low, wooden headrest wrapped in soft textiles. Her bed was covered with linen sheets produced by palace Beauties, woven of the highest thread count they could manage, as many as five hundred threads per square inch. She was covered with her own soft, pashmina-like imported woolen blankets on cold winter nights when a fire made of fragrant local woods was laid on her hearth. Young naked girls wearing only girdles around their waists rushed to and fro carrying drinks, fans, and nibbles for her and her guests. A series of scribes, serving only her office, managed her day-to-day activities and the economic dealings of her now-extensive holdings, and they would have dashed about, too, waiting on the great lady’s pleasure. Hatshepsut could now choose her own daily menu, or perhaps she left that domestic task to her ladies-in-waiting. Food was plentiful and beautifully prepared: beef, lamb, mutton, duck, and goose; spiced milk, fresh cheese, and goose egg custards; fragrant breads, some sweet, some savory; date and honey tarts; dishes made with green onions, leeks, greens, and garlic; smooth dipping pastes made of lentils and other beans; sweet fig cakes and delicate pistachio puddings. And there was always plenty of beer and wine, much of it sweetened with honey and laced with exotic spices that a poor villager would never taste.

No longer a little girl, though probably still a child in our eyes, Hatshepsut was now dressed as one of the highborn ladies of the palace. She likely wore a long, narrow, linen shift of the finest, most gossamer, royal fabric, enhanced with sharply pleated linen robes of diaphanous thinness that covered her arms and fastened tightly under her breasts, accentuating her femininity and her slender form. Her sandals were made from the softest leather, and her feet lay on a footstool before her high chair. She wore kohl around her eyes, which not only protected her from the glare of the harsh sun but also kept away some of the more virulent eye diseases. She was now expected to wear a wig over her own hair, and
perhaps the weight of it took some getting used to—a full, structured hairpiece made of human plaits and braids cut from the heads of many peasant women who may or may not have been happy to give their locks to serve the God’s Wife. A diadem of delicate filigreed stars likely adorned her wig. On her wrists and upper arms she wore solid gold bands, and her fingers bore elaborate rings, some of golden scarabs on whose undersides were embossed the names of apotropaic divinities, her father’s cartouches, and images of her own name and titles.

And what did this blossoming Hatshepsut look like, as she came into her own? Her skin color was probably darker than that of most modern Egyptians, but certainly not as black as that of the sub-Saharan princes captured from Kerma whom she saw at court functions. As a princess, it was not her place to be out of doors in the full light of the sun, and so she remained as pale as her station allowed. Perhaps her hair had fully grown out from the baldness of childhood and was maintained in rows of tiny braids that would be covered with a heavy wig during formal occasions, giving her full and long tresses like today’s hair extensions. She likely commissioned a collection of both summer and winter wigs for her new station in society. Her body would have been conditioned to accept the North African heat, but a brutal summer day would still demand lighter coverings.

We will never know what Hatshepsut really looked like, even if her mummy is someday identified with certainty. Later statues of her as king certainly communicate how she wanted to appear and how she envisioned herself—as a delicate girl with a charming face full of life, joy, and alertness, blessed with a tiny, straight, Barbie-doll nose, large Disney-princess eyes that opened wide in an unblinking gaze, and small, smiling lips placed into a heart-shaped face that tapered to an elegant, feminine chin. According to Hatshepsut’s later portraiture, her body was slim and slight, complemented by pert breasts and the trim waist of a young woman, surmounted by the narrow shoulders of an elegant patrician who performed no manual labor in the fields. If we believe her statues and reliefs, Hatshepsut’s person embodied all the ideals that most cultures hold for young women—a symmetrical, thin, shapely girl, exactly what Hatshepsut wanted to be.

She had come of age as the greatest priestess in the land, one step away from her looming marriage and transformation into the King’s
Great Wife. As the God’s Wife of Amen, Hatshepsut was set apart from others in the palace; perhaps she conducted her daily administrative business seated upon an inlaid wooden chair on a raised dais. She had her own steward in charge of looking after the management of her extensive real estate, making sure that the production of grain, wine, oils, honey, and beer was enriching them. An official’s prosperity was inherently tied to the long-term well-being of his master, and it would have been in the best interest of Hatshepsut’s steward to administer her affairs honestly. Indeed, there is no evidence that the young God’s Wife was in any way a pawn of her steward, just because he was male and she was female. Her word was likely followed, and she was guided in economic and political matters by her tutors, who helped her to understand the repercussions of her decisions. But Hatshepsut certainly learned about manipulative and greedy officials along the way, and as she ascended the ranks of power, she likely grasped that it was wise to reward the loyal and true members of her staff with riches and honors, while passing over the self-interested and fickle ones.

Hatshepsut’s new life was luxurious, to be sure, but it was one full of responsibilities. Her temple duties included deeply important ritual moments that demanded her presence before dawn and during the darkest hours of night. Some rites required that she leave her family and friends and travel to other temples, accompanying Amen as his statue was taken on yearly visits. She must have spent tedious hours working with the high priests of the many Amen temples in the Theban region to maintain the smooth running of the God’s House. As God’s Wife, she was the intermediary between two fathers—bringing communications back and forth between her earthly father, Thutmose I, and her heavenly father, Amen of Karnak.
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The stakes were high for such a young woman. The Amen priesthood was an institution with temple lands that rivaled the king’s private holdings, but all indications are that the Amen priests worked in tandem with the king during Hatshepsut’s tenure as God’s Wife, enriching one another in their exploitation of peasants and foreigners. Hatshepsut’s bureaucratic meetings with priests and stewards and scribes were vital to keeping her own house in order, but it was also her duty to maintain the sacred connection between the king and the god Amen. In other words, her life was not her own. It belonged to her god, to her father, to her people, and soon, to her husband, the next king.

Meanwhile, Thutmose I was busy shocking the Theban elite with some of his decisions and expenses. As money poured into Egypt from his successful campaigns and tributary extractions, he was able to flaunt Egypt’s wealth with visible excess. He added more stone to the God’s Houses than had ever been seen: he charged his architect Ineni with constructing a sandstone enclosure wall around Karnak, adding great stone pylon gateways at the Amen temple that were unprecedented in size and material, and crafting giant monoliths of red granite excavated by tens of thousands of prisoners of war and criminals in the southern quarries at Aswan into obelisks that caught the rays of the sun, when the massive stone needles’ tips were covered with hammered sheets of gold and electrum. They were the first new obelisks seen in Egypt for hundreds of years.
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Thutmose I blossomed as king, and perhaps because he was not brought up to follow old traditions, he was deeply interested in innovation. Ever practical, he was the first king to construct a royal tomb hidden from public view, deep in the newly consecrated and secret Valley of the Kings. Every other monarch before him, at least those who had lived during a time of prosperity, had built grand tombs for all to see, usually pyramids faced with precious white limestone so brilliant they would have caught the blinding rays of the sun, essentially turning rock into light, and thus the king inside into the sun. The pyramid was a machine of resurrection but also a beacon to potential tomb robbers. Thutmose I must have been aware of this. His predecessor Ahmose I seems to have been buried at Abydos, while Amenhotep I followed his Seventeenth Dynasty ancestors by being interred at Dra Abu el-Naga, on the Theban west bank of the Nile, facing toward Karnak.
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Thutmose I, however, wanted something different, and he was confident enough to follow through, despite the radical nature of his burial plans.
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He chose to be buried within the sacred mountain of western Thebes, a geological formation that resembles a massive pyramid. He selected a final resting place within the goddess, that Thebans called Hathor of the Mistress of the West, underneath the body of the great cobra goddess Meretseger, She Who Loves Silence. The goddess of the mountain would keep his body safe and hidden, and she would gestate him into a transformed sun god. He planned for a secret installation, a burial space in which his body could be placed with “no one seeing, no one hearing.”
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It was this decision of Thutmose I that forever separated the sepulcher holding the king’s body from the temple space
that maintained his health and happiness in the great beyond. People must have talked about these novelties and changes, especially the elites, whose education allowed them to know what had come before and what was to be expected. For everyone else, Thutmose I’s excesses were nothing short of miracles, demonstrations of godly power that proved beyond a shadow of a doubt that he contained the grace of the gods.

Thutmose I was the perfect model of royal authority for Hatshepsut. She grew up seeing the economic fruits of hard military campaigning and the value of architectural and artistic creativity within Egypt’s conservative cultural system. Instead of slavishly doing what kings before him had done, Thutmose I piously followed the core of established kingship, while embellishing its fringes with wonders in stone, a form of respectful progressiveness. But more than anything else, Thutmose I created a stable income of imperial tribute from vanquished foes. He made Egypt rich. Successful wars were an Egyptian king’s lifeblood, at least in the early years of his reign, and Thutmose maintained that tradition through heartless exploitation of lands beyond Egypt. The money he brought back from those wars allowed him to build temples, as hundreds of kings had done before him, but Thutmose I crafted his architecture in stone, not just mud brick. Now with authority of her own, Hatshepsut would have seen the impact of his ambitious building projects. She likely heard her courtiers talking with wonder about the king’s constructions at the Amen temple, and like her father before her, she understood how building programs functioned simultaneously as jobs programs, propaganda machines, and gifts to the gods. What a king did for religious reasons could prove to be of political benefit as well.

With a room of her own, so to speak, she grew as a leader in her own right. She had her own advisers and her own holdings. As servant to her father, the king, Hatshepsut was a close observer of true successful kingship, and her mind absorbed both formal and informal lessons to share with her own future husband, the next king. She likely analyzed her father’s policies and agenda, and perhaps as she waited out her fate—marriage to a brother upon the death of her father—she knew she could be of profound use to her future husband. She would soon serve as Egypt’s great queen. She was smart, quick, and resourceful. She had received the best possible training for her future role. She would put those qualities to virtuous use for her husband and her god.

Tragedy struck. The fate that everyone feared had come to pass: two princes dead, one after the other. Wadjmose died first, it seems, but then Amenmose, too, was taken up by the gods. The palace was in upheaval. Hushed voices alternated with the wails and lamentations of acute mourning.

The details of these events elude us. The Egyptians superstitiously avoided recounting the minutiae of tragedy in their written accounts, religious or otherwise. Perhaps the same epidemic took both brothers, or more likely Wadjmose died first, leaving Amenmose as the last prince of full blood to save his dynasty’s honor. There is evidence that Amenmose lived in Memphis and hunted on the Giza plateau in the shadow of the pyramids, a convenient location to accompany his father on his Syrian campaigns. It’s possible he was killed in some kind of accident, but we have no way to know. Despite the plans made for the boy—including the title of Great General of the Army and his travels to Nubia—his young life was somehow cut short. It is not clear how Thutmose I was alerted or where he was at the time. Word traveled slowly in ancient Egypt, and perhaps the news reached Thebes a fortnight later, as soon as a ship was able to complete the journey upstream by sail. Given the evidence of his investment in the boys—even recording Amenmose’s name and titles on stelae as his heir—he must have felt deep anxiety at their passing.

While the details of circumstance are lost, the king did express his grief in stone. He placed the images and names of his dead sons Wadjmose and Amenmose in his own funerary temple, which was under construction at the time in western Thebes. He memorialized the princes, both once heirs to the throne, in family shrine rooms.
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The structure was called Aakheperkare Khenemtankh, or Thutmose United with Life, and is now a very fragmentary and destroyed building near the Ramesseum. Memorializing and concretizing grief in this way was an unusual honor for princes of the Eighteenth Dynasty, most of whom went unmentioned until they became adults with their own offices and their own tomb chapels, but with little mention of their royal father. Thutmose I broke with tradition for his dead sons.