The Essential Works of George Rawlinson: Egypt, The Kings of Israel and Judah, Phoenicia, Parthia, Chaldea, Assyria, Media, Babylon, Persia, Sasanian Empire & Herodotus' Histories. George Rawlinson
rel="nofollow" href="#fb3_img_img_fdfccf6f-d637-54af-83c0-850686c8d231.png" alt=""/>being the best representation that straight lines could give of the sun. In the case of ka, “a gate,” we have not the original design; but we may see posts, bars, and hinges in
Another curious example of the pictorial origin of the letters is furnished by the character
The original writing, it would therefore seem, was a picture-writing as rude as that of the Mexicans. Objects were themselves represented, but coarsely and grotesquely—and, which is especially remarkable, without any curved lines. This would seem to indicate that the system grew up where a hard material, probably stone, was alone used. The cuneiform writing arose when clay took the place of stone as a material. A small tool with a square or triangular point, impressed, by a series of distinct touches, the outline of the old pictured objects on the soft clay of tablets and bricks. In course of time simplifications took place. The less important wedges were omitted. One stroke took the place of two, or sometimes of three. In this way the old form of objects became, in all but a few cases, very indistinct; while generally it was lost altogether.
Originally each character had, it would seem, the phonetic power of the name borne by the object which it represented. But, as this namee was different in the languages of the different tribes inhabiting the country, the same character came often to have several distinct phonetic values. For instance, the character
The Chaldaean characters are of three kinds-letters proper, monograms, and determinatives. With regard to the letters proper, there is nothing particular to remark, except that they have almost always a syllabic force. The monograms represent in a brief way, by a wedge or a group of wedges, an entire word, often of two or three syllables, as Nebo, Babil, Merodach, etc. The determinatives mark that the word which they accompany is a word of a certain class, as a god, a man, a country, a town, etc. These last, it is probable, were not sounded at all when the word was read. They served, in some degree, the purpose of our capital letters, in the middle of sentences, but gave more exact notice of the nature of the coming word. Curiously enough, they are retained sometimes, where the word which they accompany has merely its phonetic power, as (generally) when the names of gods form a part of the names of monarchs.
It has been noticed already that the chief material on which the ancient Chaldaeans wrote was moist clay, in the two forms of tablets and bricks. On bricks are found only royal inscriptions, having reference to the building in which the bricks were used, commonly designating its purpose, and giving the name and titles of the-monarch who erected it. The inscription does not occupy the whole brick, but a square or rectangular space towards its centre. It is in some cases stamped, in some impressed with a tool. The writing—as in all cuneiform inscriptions, excepting those upon seals—is from left to right, and the lines are carefully separated from one another. Some specimens have been already given.
The tablets of the Chaldaeans are among the most remarkable of their remains, and will probably one day throw great additional light on the manners and customs, the religion, and even, perhaps, the science and learning, of the people. They are small pieces of clay, somewhat rudely shaped into a form resembling a pillow, and thickly inscribed with cuneiform characters, which are sometimes accompanied by impressions of the cylindrical seals so common in the museums of Europe. The seals are rolled across the body of the document, as in the accompanying figure. Except where these impressions occur, the clay is commonly covered on both sides with minute writing. What is most curious, however, is that the documents thus duly attested have in general been enveloped, after they were baked, in a cover of moist clay, upon which their contents have been again inscribed, so as to present externally a duplicate of the writing within; and the tablet in its cover has then been baked afresh. That this was the process employed is evident from the fact that the inner side of the envelope bears a cast, in relief, of the inscription beneath it. Probably the object in view was greater security—that if the external cover became illegible, or was tampered with, there might be a means of proving beyond a doubt what the document actually contained. The tablets in question have in a considerable number of cases been deciphered; they are for the most part deeds, contracts, or engagements, entered into by private persons and preserved among the archives of families.
Besides their writings on clay, the Chaldaeans were in the habit, from very early times, of engraving inscriptions on gems. The signet cylinder of a very ancient king exhibits that archaic formation of letters which has been already noted as appearing upon some of the earliest bricks. That it belongs to the same period is evident, not only from the resemblance of the literal type, but from the fact that the same king’s name appears upon both. This signet inscription—so far as it has been hitherto deciphered—is read as follows:—“The signet of Urukh, the pious chief, king of Ur, . . . . High-Priest (?) of . . . . Niffer.” Another similar relic, belonging to a son of this monarch, has the inscription, “To the manifestation of Nergal, king of Bit-Zida, of Zurgulla, for the saving of the life of Ilgi, the powerful hero, the king of Ur, . . . . son of Urukh . . . . May his name be preserved.” A third signet, which belongs to a later king in the series, bears the following legend: “—sin, the powerful chief, the king of Ur, the king of the Kiprat-arbat (or four races) . . . . his seal.” The cylinders, however, of this period are more usually without inscriptions, being often plain, and often engraved with figures, but without a legend.
Chapter V. Arts and Sciences
“Chaldaei cognitione astrorum sollertiaque ingeniorum antecellunt.” Cic. de Div. i. 41.
Among the arts which the first Ethiopic settlers on the shores of the Persian Gulf either brought with them from their former homes, or very early invented in their new abode, must undoubtedly have been the two whereby they were especially characterized in the time of their greatest power—architecture and agriculture. Chaldaea is not a country disposing men to nomadic habits. The productive powers of the soil would at once obtrude themselves on the notice of the new comers, and would tempt to cultivation and permanency of residence. If the immigrants came by sea, and settled first in the tract immediately bordering upon the gulf, as seems to have been the notion of Berosus, their earliest abodes may have been of that simple character which can