by Will Durant
The people on whom thou lookest is rich in power;
The worshiper on whom thou lookest, his life is prolonged.
I have no mother—thou art my mother;
I have no father—thou art my father. . . .
My goddess Bau, thou knowest what is good;
Thou hast given me the breath of life.
Under the protection of thee, my Mother,
In thy shadow I will reverently dwell.50
Women were attached to every temple, some as domestics, some as concubines for the gods or their duly constituted representatives on earth. To serve the temples in this way did not seem any disgrace to a Sumerian girl; her father was proud to devote her charms to the alleviation of divine monotony, and celebrated the admission of his daughter to these sacred functions with ceremonial sacrifice, and the presentation of the girl’s marriage dowry to the temple.51
Marriage was already a complex institution regulated by many laws. The bride kept control of the dowry given her by her father in marriage, and though she held it jointly with her husband, she alone determined its bequest. She exercised equal rights with her husband over their children; and in the absence of the husband and a grown-up son she administered the estate as well as the home. She could engage in business independently of her husband, and could keep or dispose of her own slaves. Sometimes, like Shub-ad, she could rise to the status of queen, and rule her city with luxurious and imperious grace.52 But in all crises the man was lord and master. Under certain conditions he could sell his wife, or hand her over as a slave to pay his debts. The double standard was already in force, as a corollary of property and inheritance: adultery in the man was a forgivable whim, but in the woman it was punished with death. She was expected to give many children to her husband and the state; if barren, she could be divorced without further reason; if merely averse to continuous maternity she was drowned. Children were without legal rights; their parents, by the act of publicly disowning them, secured their banishment from the city.53
Nevertheless, as in most civilizations, the women of the upper classes almost balanced, by their luxury and their privileges, the toil and disabilities of their poorer sisters. Cosmetics and jewelry are prominent in the Sumerian tombs. In Queen Shub-ad’s grave Professor Woolley picked up a little compact of blue-green malachite, golden pins with knobs of lapis-lazuli, and a vanity-case of filigree gold shell. This vanity-case, as large as a little finger, contained a tiny spoon, presumably for scooping up rouge from the compact; a metal stick, perhaps for training the cuticle; and a pair of tweezers probably used to train the eyebrows or to pluck out inopportune hairs. The Queen’s rings were made of gold wire; one ring was inset with segments of lapis-lazuli; her necklace was of fluted lapis and gold. Surely there is nothing new under the sun; and the difference between the first woman and the last could pass through the eye of a needle.
5. Letters and Arts
Writing—Literature—Temples and palaces—Statuary—Ceramics-Jewelry—Summary of Sumerian civilization
The startling fact in the Sumerian remains is writing. The marvelous art seems already well advanced, fit to express complex thought in commerce, poetry and religion. The oldest inscriptions are on stone, and date apparently as far back as 3600 B.C.54 Towards 3200 B.C. the clay tablet appears, and from that time on the Sumerians seem to have delighted in the great discovery. It is our good fortune that the people of Mesopotamia wrote not upon fragile, ephemeral paper in fading ink, but upon moist clay deftly impressed with the wedge-like (“cuneiform”) point of a stylus. With this malleable material the scribe kept records, executed contracts, drew up official documents, recorded property, judgments and sales, and created a culture in which the stylus became as mighty as the sword. Having completed the writing, the scribe baked the clay tablet with heat or in the sun, and made it thereby a manuscript far more durable than paper, and only less lasting than stone. This development of cuneiform script was the outstanding contribution of Sumeria to the civilizing of mankind.
Sumerian writing reads from right to left; the Babylonians were, so far as we know, the first people to write from left to right. The linear script, as we have seen, was apparently a stylized and conventionalized form of the signs and pictures painted or impressed upon primitive Sumerian pottery.* Presumably from repetition and haste over centuries of time, the original pictures were gradually contracted into signs so unlike the objects which they had once represented that they became the symbols of sounds rather than of things. We should have an analogous process in English if the picture of a bee should in time be shortened and simplified, and come to mean not a bee but the sound be, and then serve to indicate that syllable in any combination as in being. The Sumerians and Babylonians never advanced from such representation of syllables to the representation of letters—never dropped the vowel in the syllabic sign to make be mean b; it seems to have remained for the Egyptians to take this simple but revolutionary step.55
The transition from writing to literature probably required many hundreds of years. For centuries writing was a tool of commerce, a matter of contracts and bills, of shipments and receipts; and secondarily, perhaps, it was an instrument of religious record, an attempt to preserve magic formulas, ceremonial procedures, sacred legends, prayers and hymns from alteration or decay. Nevertheless, by 2700 B.C., great libraries had been formed in Sumeria; at Tello, for example, in ruins contemporary with Gudea, De Sarzac discovered a collection of over 30,000 tablets ranged one upon another in neat and logical array.56 As early as 2000 B.C. Sumerian historians began to reconstruct the past and record the present for the edification of the future; portions of their work have come down to us not in the original form but as quotations in later Babylonian chronicles. Among the original fragments, however, is a tablet found at Nippur, bearing the Sumerian prototype of the epic of Gilgamesh, which we shall study later in its developed Babylonian expression.57 Some of the shattered tablets contain dirges of no mean power, and of significant literary form. Here at the outset appears the characteristic Near-Eastern trick of chanting repetition—many lines beginning in the same way, many clauses reiterating or illustrating the meaning of the clause before. Through these salvaged relics we see the religious origin of literature in the songs and lamentations of the priests. The first poems were not madrigals, but prayers.
Behind these apparent beginnings of culture were doubtless many centuries of development, in Sumeria and other lands. Nothing has been created, it has only grown. Just as in writing Sumeria seems to have created cuneiform, so in architecture it seems to have created at once the fundamental shapes of home and temple, column and vault and arch.58 The Sumerian peasant made his cottage by planting reeds in a square, a rectangle or a circle, bending the tops together, and binding them to form an arch, a vault or a dome;59 this, we surmise, is the simple origin, or earliest known appearance, of these architectural forms. Among the ruins of Nippur is an arched drain 5000 years old; in the royal tombs of Ur there are arches that go back to 3500 B.C., and arched doors were common at Ur 2000 B.C.60 And these were true arches: i.e., their stones were set in full voussoir fashion—each stone a wedge tapering downward tightly into place.
The richer citizens built palaces, perched on a mound sometimes forty feet above the plain, and made purposely inaccessible except by one path, so that every Sumerian’s home might be his castle. Since stone was scarce, these palaces were mostly of brick. The plain red surface of the walls was relieved by terracotta decoration in every form—spirals, chevrons, triangles, even lozenges and diapers. The inner walls were plastered and painted in simple mural style. The house was built around a central court, which gave shade and some coolness against the Mediterranean sun; for the same reason, as well as for security, the rooms opened upon this court rather than upon the outer world. Windows were a luxury, or perhaps they were not wanted. Water was drawn from wells; and an extensive system of drainage drew the waste from the residential districts of the towns. Furniture was not complex or abundant but neither w
as it without taste. Some beds were inlaid with metal or ivory, and occasionally, as in Egypt, armchairs flaunted feet like lions’ claws.61
For the temples stone was imported, and adorned with copper entablatures and friezes inlaid with semiprecious material. The temple of Nannar at Ur set a fashion for all Mesopotamia with pale blue enameled tiles; while its interior was paneled with rare woods like cedar and cypress, inlaid with marble, alabaster, onyx, agate and gold. Usually the most important temple in the city was not only built upon an elevation, but was topped with a ziggurat—a tower of three, four or seven stories, surrounded with a winding external stairway, and set back at every stage. Here on the heights the loftiest of the city’s gods might dwell, and here the government might find a last spiritual and physical citadel against invasion or revolt.*62
The temples were sometimes decorated with statuary of animals, heroes and gods; figures plain, blunt and powerful, but severely lacking in sculptural finish and grace. Most of the extant statues are of King Gudea, executed resolutely but crudely in resistant diorite. In the ruins of Tell-el-Ubaid, from the early Sumerian period, a copper statuette of a bull was found, much abused by the centuries, but still full of life and bovine complacency. A cow’s head in silver from the grave of Queen Shub-ad at Ur is a masterpiece that suggests a developed art too much despoiled by time to permit of our giving it its due. This is almost proved by the bas-reliefs that survive. The “Stele of the Vultures” set up by King Eannatum of Lagash, the porphyry cylinder of Ibnishar,63, the humorous caricatures (as surely they must be) of Ur-nina,64 and above all the “Victory Stele” of Naram-sin share the crudity of Sumerian sculpture, but have in them a lusty vitality of drawing and action characteristic of a young and flourishing art.
Of the pottery one may not speak so leniently. Perhaps time misleads our judgment by having preserved the worst; perhaps there were many pieces as well carved as the alabaster vessels discovered at Eridu;65 but for the most part Sumerian pottery, though turned on the wheel, is mere earthenware, and cannot compare with the vases of Elam. Better work was done by the goldsmiths. Vessels of gold, tasteful in design and delicate in finish, have been found in the earliest graves at Ur, some as old as 4000 B.C.66 The silver vase of Entemenu, now in the Louvre, is as stocky as Gudea, but is adorned with a wealth of animal imagery finely engraved.67 Best of all is the gold sheath and lapis-lazuli dagger exhumed at Ur;68 here, if one may judge from photographs,* the form almost touches perfection. The ruins have given us a great number of cylindrical seals, mostly made of precious metal or stone, with reliefs carefully carved upon a square inch or two of surface; these seem to have served the Sumerians in place of signatures, and indicate a refinement of life and manners disturbing to our naïve conception of progress as a continuous rise of man through the unfortunate cultures of the past to the unrivaled zenith of today.
Sumerian civilization may be summed up in this contrast between crude pottery and consummate jewelry; it was a synthesis of rough beginnings and occasional but brilliant mastery. Here, within the limits of our present knowledge, are the first states and empires, the first irrigation, the first use of gold and silver as standards of value, the first business contracts, the first credit system, the first code of law, the first extensive development of writing, the first stories of the Creation and the Flood, the first libraries and schools, the first literature and poetry, the first cosmetics and jewelry, the first sculpture and bas-relief, the first palaces and temples, the first ornamental metal and decorative themes, the first arch, column, vault and dome. Here, for the first known time on a large scale, appear some of the sins of civilization: slavery, despotism, ecclesiasticism, and imperialistic war. It was a life differentiated and subtle, abundant and complex. Already the natural inequality of men was producing a new degree of comfort and luxury for the strong, and a new routine of hard and disciplined labor for the rest. The theme was struck on which history would strum its myriad variations.
III. PASSAGE TO EGYPT
Sumerian influence in Mesopotamia—Ancient Arabia—Mesopotamian influence in Egypt
Nevertheless, we are still so near the beginning of recorded history when we speak of Sumeria that it is difficult to determine the priority or sequence of the many related civilizations that developed in the ancient Near East. The oldest written records known to us are Sumerian; this, which may be a whim of circumstance, a sport of mortality, does not prove that the first civilization was Sumerian. Statuettes and other remains akin to those of Sumeria have been found at Ashur and Samarra, in what became Assyria; we do not know whether this early culture came from Sumeria or passed to it along the Tigris. The code of Hammurabi resembles that of Ur-engur and Dungi, but we cannot be sure that it was evolved from it rather than from some predecessor ancestral to them both. It is only probable, not certain, that the civilizations of Babylonia and Assyria were derived from or fertilized by that of Sumer and Akkad.69 The gods and myths of Babylon and Nineveh are in many cases modifications or developments of Sumerian theology; and the languages of these later cultures bear the same relationship to Sumeria that French and Italian bear to Latin.
Schweinfurth has called attention to the interesting fact that though the cultivation of barley, millet and wheat, and the domestication of cattle, goats and sheep, appear in both Egypt and Mesopotamia as far back as our records go, these cereals and animals are found in their wild and natural state not in Egypt but in western Asia—especially in Yemen or ancient Arabia. He concludes that civilization—i.e., in this context, the cultivation of cereals and the use of domesticated animals—appeared in unrecorded antiquity in Arabia, and spread thence in a “triangular culture” to Mesopotamia (Sumeria, Babylonia, Assyria) and Egypt.70 Current knowledge of primitive Arabia is too slight to make this more than a presentable hypothesis.
More definite is the derivation of certain specific elements of Egyptian culture from Sumeria and Babylonia. We know that trade passed between Mesopotamia and Egypt—certainly via the isthmus at Suez, and probably by water from the ancient outlets of Egyptian rivers on the Red Sea.71 A look at the map explains why Egypt, throughout its known history, has belonged to Western Asia rather than to Africa; trade and culture could pass from Asia along the Mediterranean to the Nile, but shortly beyond that it was balked by the desert which, with the cataracts of the Nile, isolated Egypt from the remainder of Africa. Hence it is natural that we should find many Mesopotamian elements in the primitive culture of Egypt.
The farther back we trace the Egyptian language the more affinities it reveals with the Semitic tongues of the Near East.72 The pictographic writing of the predynastic Egyptians seems to have come in from Sumeria.73 The cylindrical seal, which is of unquestionably Mesopotamian origin, appears in the earliest period of known Egyptian history, and then disappears, as if an imported custom had been displaced by a native mode.74 The potter’s wheel is not known in Egypt before the Fourth Dynasty—long after its appearance in Sumeria; presumably it came into Egypt from the Land between the Rivers along with the wheel and the chariot.75 Early Egyptian and Babylonian mace-heads are completely identical in form.76 A finely worked flint knife, found in predynastic Egyptian remains at Gebel-el-Arak, bears reliefs in Mesopotamian themes and style.77 Copper was apparently developed in western Asia, and brought thence to Egypt.78 Early Egyptian architecture resembles Mesopotamian in the use of the recessed panel as a decoration for brick walls.79 Predynastic pottery, statuettes and decorative motives are in many cases identical, or unmistakably allied, with Mesopotamian products.80 Among these early Egyptian remains are small figures of a goddess of evident Asiatic origin. At a time when Egyptian civilization seems to have only begun, the artists of Ur were making statuary and reliefs whose style and conventions demonstrate the antiquity of these arts in Sumeria.81*
Egypt could well afford to concede the priority of Sumeria. For whatever the Nile may have borrowed from the Tigris and the Euphrates, it soon flowered into a civilization specifically and uniquely its own; o
ne of the richest and greatest, one of the most powerful and yet one of the most graceful, cultures in history. By its side Sumeria was but a crude beginning; and not even Greece or Rome would surpass it.
CHAPTER VIII
Egypt
I. THE GIFT OF THE NILE
1. In the Delta
Alexandria—The Nile—The Pyramids—The Sphinx
THIS is a perfect harbor. Outside the long breakwater the waves topple over one another roughly; within it the sea is a silver mirror. There, on the little island of Pharos, when Egypt was very old, Sostratus built his great lighthouse of white marble, five hundred feet high, as a beacon to all ancient mariners of the Mediterranean, and as one of the seven wonders of the world. Time and the nagging waters have washed it away, but a new lighthouse has taken its place, and guides the steamer through the rocks to the quays of Alexandria. Here that astonishing boy-statesman, Alexander, founded the subtle, polyglot metropolis that was to inherit the culture of Egypt, Palestine and Greece. In this harbor Caesar received without gladness the severed head of Pompey.
As the train glides through the city, glimpses come of unpaved alleys and streets, heat waves dancing in the air, workingmen naked to the waist, black-garbed women bearing burdens sturdily, white-robed and turbaned Moslems of regal dignity, and in the distance spacious squares and shining palaces, perhaps as fair as those that the Ptolemies built when Alexandria was the meeting-place of the world. Then suddenly it is open country, and the city recedes into the horizon of the fertile Delta—that green triangle which looks on the map like the leaves of a lofty palm-tree held up on the slender stalk of the Nile.
Once, no doubt, this Delta was a bay; patiently the broad stream filled it up, too slowly to be seen, with detritus carried down a thousand miles;* now from this little corner of mud, enclosed by the many mouths of the river, six million peasants grow enough cotton to export a hundred million dollars’ worth of it every year. There, bright and calm under the glaring sun, fringed with slim palms and grassy banks, is the most famous of all rivers. We cannot see the desert that lies so close beyond it, or the great empty wadis—river-beds—where once its fertile tributaries flowed; we cannot realize yet how precariously narrow a thing this Egypt is, owing everything to the river, and harassed on either side with hostile, shifting sand.
