As the protagonist of the ancient Egyptian narrative, Hatshepsut is a round and dynamic character who deftly uses political strategy and power. Her ambition is evident from her youth as the God’s Wife of Amun, a role that gives her significant religious authority. This ambition is not for personal glory alone but is deeply intertwined with her duty to the Thutmoside dynasty established by her father. Upon the death of her husband, Thutmose II, she navigates a precarious political landscape, moving from queen to regent for her young stepson, Thutmose III. Recognizing the vulnerability of a kingdom ruled by a child, she makes the calculated decision that she “must become a pharaoh” (183). To legitimize this unprecedented move, she strategically adopts the masculine trappings of kingship, including the false beard and nemes headdress, gradually transforming her public image from female regent to male ruler. This performance of gender is not an erasure of her identity but a pragmatic tool to secure power in a patriarchal world and ensure the stability of Egypt.

The novel frames Hatshepsut’s motivations and reign through the lens of maternal protection and dynastic duty, which highlights the theme of the conflict between personal ambition and familiar duty. Her primary impetus for seizing the throne is to safeguard the future of her daughter, Neferure, and to preserve her father’s legacy. This connection to the theme culminates in her most profound sacrifice. Faced with a plot that threatens Neferure’s life, Hatshepsut fakes her own death and makes the astonishing command to Thutmose III to “erase me from history” (322). This act fictionally establishes the mystery of her historical disappearance as a deliberate sacrifice. She chooses to have her legacy obliterated to protect her child, representing the ultimate triumph of familial duty over personal ambition and historical immortality.

Beyond her political maneuvering, Hatshepsut is depicted as an effective and visionary ruler whose reign is marked by peace and prosperity. Instead of pursuing military expansionism, she focuses on enriching Egypt through trade and diplomacy, most notably with the successful expedition to the land of Punt. Furthermore, she embarks on one of the most ambitious building programs in Egyptian history, commissioning magnificent structures like her mortuary temple at Deir el-Bahari. These projects are not mere vanity; they serve as powerful propaganda, using art and architecture to tell the story of her divine birth and legitimate rule, thereby reinforcing her authority and ensuring maat, or cosmic order and justice. Her ability to rule effectively and peacefully challenges the patriarchal assumption that female leadership is inherently illegitimate or weak.

Howard Carter is a round character who functions as a mentor to Eve and a foil to his patron, Lord Carnarvon. He is a serious, dedicated Egyptologist who disdains the socialite world his patron inhabits, preferring the intellectual and physical work of excavation. His genuine passion for history is evident in his mentorship of Eve. He is the first to recognize her scholarly potential, treating her not as a flighty, aristocratic girl but as a discerning “colleague” (9) and fostering her knowledge of ancient Egypt. This intellectual connection contrasts sharply with Lord Carnarvon’s view of archaeology as a high-stakes treasure hunt. Carter’s methodical approach and deep respect for historical context position him as a true scholar, even as his actions reveal the ethical compromises of his era.

However, Carter also embodies the moral ambiguity inherent in colonial-era archaeology and thus fuels the theme of the ethics of archaeology and cultural ownership. While he is a committed scholar, he is also a pragmatist who operates within a flawed system. He runs a side business selling illicitly obtained antiquities to fund his work and supplement his income, revealing a gray market that underpins the formal world of excavation. This is part of his larger strategy to “advance his interests obliquely” (53), whether that means manipulating Lord Carnarvon toward a more promising dig site or engaging in dealings he knows are ethically questionable. His decision to help Carnarvon smuggle artifacts from Tutankhamun’s tomb highlights his ultimate loyalty to his patron and the excavation itself, even when it is wrong and violates Egyptian law.

Furthermore, Carter’s relationship with his patron is complex, defined by both loyalty and quiet resistance. As a man from a middle-class background, he is financially dependent on Lord Carnarvon’s patronage and must often yield to his whims, such as prioritizing the search for Tutankhamun over Hatshepsut. However, he is not merely a subordinate. He subtly guides Carnarvon and collaborates with Eve to pursue his own scholarly interests, demonstrating a quiet independence. Carter is a man caught between his ideals, the demands of his patron, and the economic realities of his profession, making him one of the novel’s most nuanced figures.

George Herbert, the fifth Earl of Carnarvon, is a primary antagonist to Eve’s ambitions and embodies the colonialist attitudes of his time. He is a round character whose motivations are driven by a blend of genuine interest, ego, and financial desperation. For him, archaeology is a grand gambling adventure, akin to his passion for horse racing and fast cars. He is captivated by the “thrill of the chase” (63) and the prospect of unearthing a “splashy burial” (50) that will bring him fame and fortune. This perspective places him in direct conflict with both Carter’s scholarly focus and Eve’s deeper historical curiosity. His dismissal of Hatshepsut as a worthy subject of study because she is a “woman pharaoh” (50) reflects a patriarchal worldview and connects his character to the theme of the erasure of women from the historical record. Furthermore, as a father, Lord Carnarvon is both affectionate and dismissive toward Eve. He is charmed by her interest in Egypt, but ultimately he sees it as a passing fancy and believes her duty is to marry well. He is a product of his aristocratic class, unable to envision a future for his daughter outside the traditional societal roles. This paternalistic stance forces Eve to pursue her intellectual life in the shadows.

Lord Carnarvon’s actions are increasingly dictated by his dire financial situation. The immense cost of the excavations, coupled with dwindling family funds, creates a sense of desperation that drives his most ethically compromised decisions. His deal to grant exclusive press rights for the Tutankhamun discovery to the London Times alienates the Egyptian government and press, exacerbating political tensions. This financial pressure culminates in his support for Carter’s plan to illegally remove artifacts from the tomb. In this, he reveals that his desire for a return on his investment supersedes legal and ethical considerations, highlighting the corrupting influence of money on the pursuit of history and fueling the theme of the ethics of archaeology and cultural ownership.

Eve’s mother, Lady Carnarvon, is a flat and static character who functions as a social antagonist and a catalyst for the theme the conflict between personal ambition and familial duty. She embodies the rigid expectations of the British aristocracy, relentlessly pushing Eve to prioritize social duties and find a suitable husband over her intellectual pursuits. Her perspective creates the primary external conflict for Eve, forcing her to lead a secret life as a scholar. The novel presents her as deeply hypocritical; having found her own “life of purpose” (134) as a celebrated nurse during World War I, she refuses to grant her daughter the same opportunity for a meaningful existence outside the domestic sphere. Ultimately, Lady Carnarvon represents the societal forces that seek to limit women’s ambitions to the home.

Senenmut is a key figure in Hatshepsut’s narrative, acting as her most trusted advisor, confidante, and lover. A man of humble origins, his brilliance and unwavering loyalty earn him a high position in her court. He is instrumental in Hatshepsut’s strategic ascension to pharaoh, providing her with historical precedents and unwavering support. Unlike others who may see her gender as a disqualification, he views her as both a “pharaoh and a woman” (182), validating her dual identity as a powerful ruler and a person deserving of love. His character provides Hatshepsut with a rare source of genuine emotional connection and intellectual partnership, illustrating the crucial role of steadfast allies for women navigating hostile political environments.

Lieutenant Brograve Beauchamp is Eve’s primary love interest and an ally to her ambitions, much like Senenmut is to Hatshepsut in ancient times. He represents a modern, progressive masculinity that stands in stark contrast to the patriarchal views of Lord Carnarvon. From their first meeting, he is genuinely intrigued by Eve’s intellect and passion for archaeology, viewing it not as an eccentric hobby but as a source of admiration. His promise that he wants to “dig alongside” her (219) offers Eve the radical possibility of a future where she does not have to choose between marriage and her life’s calling. His unwavering support and respect for her work make him a symbol of a more egalitarian partnership, one that Eve had never thought possible.

The wife of Egyptian nationalist Saad Zaghloul, Safiya emerges from purdah, the Egyptian practice of separating the sexes, to lead women in the revolution against the British protectorate while her husband is in exile. When Eve meets Safiya, her strength, leadership, and compassion are on display as she is surrounded by Egyptian women of all classes. Addressing the world she lives in, Safiya acknowledges that “any power [she] wield[s] comes from [her] husband and from God” but also notes that as a woman she will “do what is necessary and use whatever means at [her] disposal for the larger good” (239). Her mindset fuels her fight for Egyptian independence from Britain. Furthermore, she understands that women are strong and predicts that “one day” they “will sweep up into a mighty storm and transform the land” (241). Although her presence in the narrative is brief, Safiya Zaghloul ultimately mirrors the power and leadership of Hatshepsut while also pushing back against colonialism and societal norms.