The Life in Ancient Times: Discoveries of Pompeii, Ancient Greece, Babylon & Assyria. T. L. Haines
above all the nations of the earth.
They, therefore, never sat down to meals without saying grace; and Josephus says that when the seventy-two elders were invited by Ptolemy Philadelphus to sup at the palace, Nicanor requested Eleazer to say grace for his countrymen, instead of those Egyptians to whom that duty was committed on other occasions.
It was also a custom of the Egyptians, during or after their repasts, to introduce a wooden image of Osiris, from one foot and a half to three feet in height, in the form of a human mummy, standing erect, or lying on a bier, and to show it to each of the guests, warning him of his mortality, and the transitory nature of human pleasures. He was reminded that some day he would be like that figure; that men ought "to love one another, and avoid those evils which tend to make them consider life too long, when in reality it is too short;" and while enjoying the blessings of this world, to bear in mind that their existence was precarious, and that death, which all ought to be prepared to meet, must eventually close their earthly career.
Thus, while the guests were permitted, and even encouraged, to indulge in conviviality, the pleasures of the table, and the mirth so congenial to their lively disposition, they were exhorted to put a certain degree of restraint upon their conduct; and though this sentiment was perverted by other people, and used as an incentive to present excesses, it was perfectly consistent with the ideas of the Egyptians to be reminded that this life was only a lodging, or "inn" on their way, and that their existence here was the preparation for a future state.
"The ungodly," too, of Solomon's time, thus expressed themselves: "Our life is short and tedious, and in the death of a man there is no remedy; neither was there any man known to have returned from the grave. For we are born at all adventure, and we shall be hereafter as though we had never been, … come on, therefore, let us enjoy the good things that are present, … let us fill ourselves with costly wine and ointments; and let no flower of the spring pass by us; let us crown ourselves with rosebuds, before they be withered; let none of us go without his part of our voluptuousness; let us leave tokens of our joyfulness in every place."
But even if the Egyptians, like other men, neglected a good warning, the original object of it was praiseworthy; and Plutarch expressly states that it was intended to convey a moral lesson. The idea of death had nothing revolting to them; and so little did the Egyptians object to have it brought before them, that they even introduced the mummy of a deceased relative at their parties, and placed it at table, as one of the guests; a fact which is recorded by Lucian, in his "Essay on Grief," and of which he declares himself to have been an eye-witness.
After dinner, music and singing were resumed; hired men and women displayed feats of agility; swinging each other round by the hand; throwing up and catching the ball; or flinging themselves round backwards head-over-heels, in imitation of a wheel; which was usually a performance of women. They also stood on each other's backs, and made a somersault from that position; and a necklace, or other reward, was given to the most successful tumbler.
Egyptian Music and Entertainments.
Though impossible for us now to form any notion of the character or style of Egyptian music, we may be allowed to conjecture that it was studied on scientific principles; and, whatever defects existed in the skill of ordinary performers, who gained their livelihood by playing in public, or for the entertainment of a private party, music was looked upon as an important science, and diligently studied by the priests themselves. According to Diodorus it was not customary to make music part of their education, being deemed useless and even injurious, as tending to render the minds of men effeminate; but this remark can only apply to the custom of studying it as an amusement. Plato, who was well acquainted with the usages of the Egyptians, says that they considered music of the greatest consequence, from its beneficial effects upon the mind of youth; and according to Strabo, the children of the Egyptians were taught letters, the songs appointed by law, and a certain kind of music, established by government.
That the Egyptians were particularly fond of music is abundantly proved by the paintings in their tombs of the earliest times; and we even find they introduced figures performing on the favorite instruments of the country, among the devices with which they adorned fancy boxes or trinkets. The skill of the Egyptians in the use of musical instruments is also noticed by Athenæus, who says that both the Greeks and barbarians were taught by refugees from Egypt, and that the Alexandrians were the most scientific and skillful players on pipes and other instruments.
It is sufficiently evident, from the sculptures of the ancient Egyptians, that their hired musicians were acquainted with the triple symphony: the harmony of instruments; of voices; and of voices and instruments. Their band was variously composed, consisting either of two harps, with the single pipe and flute; of the harp and double pipe, frequently with the addition of the guitar; of a fourteen-stringed harp, a guitar, lyre, double pipe, and tambourine; of two harps, sometimes of different sizes, one of seven, the other of four, strings; of two harps of eight chords, and a seven-stringed lyre; of the guitar and the square or oblong tambourine; of the lyre, harp, guitar, double pipe, and a sort of harp with four strings, which was held upon the shoulder; of the harp, guitar, double pipe, lyre, and square tambourine; of the harp, two guitars, and the double pipe; of the harp, two flutes, and a guitar; of two harps and a flute; of a seventeen-stringed lyre, the double pipe, and a harp of fourteen chords; of the harp and two guitars; or of two seven-stringed harps and an instrument held in the hand, not unlike an eastern fan, to which were probably attached small bells, or pieces of metal that emitted a jingling sound when shaken, like the crescent-crowned bells of our modern bands. There were many other combinations of these various instruments; and in the Bacchic festival of Ptolemy Philadelphus, described by Athenæus, more than 600 musicians were employed in the chorus, among whom were 300 performers on the cithara.
Sometimes the harp was played alone, or as an accompaniment to the voice; and a band of seven or more choristers frequently sang to it a favorite air, beating time with their hands between each stanza. They also sang to other instruments, as the lyre, guitar or double pipe; or to several of them played together, as the flute and one or more harps; or to these last with a lyre or a guitar. It was not unusual for one man or one woman to perform a solo; and a chorus of many persons occasionally sang at a private assembly without any instrument, two or three beating time at intervals with the hand. Sometimes the band of choristers consisted of more than twenty persons, only two of whom responded by clapping their hands; and in one instance we have seen a female represented holding what was perhaps another kind of jingling instrument.
The custom of beating time by clapping the hands between the stanzas is still usual in Egypt.
On some occasions women beat the tambourine and darabooka drum, without the addition of any other instrument; dancing or singing to the sound; and bearing palm branches or green twigs in their hands, they proceeded to the tomb of a deceased friend, accompanied by this species of music. The same custom may still be traced in the Friday visit to the cemetery, and in some other funeral ceremonies among the Moslem peasants of modern Egypt.
If it was not customary for the higher classes of Egyptians to learn music for the purpose of playing in society, and if few amateur performers could be found among persons of rank, still some general knowledge of the art must have been acquired by a people so alive to its charms; and the attention paid to it by the priests regulated the taste, and prevented the introduction of a vitiated style.
Those who played at the houses of the rich, as well as the ambulant musicians of the streets, were of the lower classes, and made this employment the means of obtaining their livelihood; and in many instances both the minstrels and the choristers were blind.
It was not so necessary an accomplishment for the higher classes of Egyptians as of the Greeks, who, as Cicero says, "considered the arts of singing and playing upon musical instruments a very principal part of learning; whence it is related of Epaminondas, who, in my judgment, was the first of all the Greeks, that he played very well upon the flute. And, some time before, Themistocles, upon refusing the harp at an entertainment, passed for an uninstructed and ill-bred