The name Barachiel, says Dr Oppert, is evidently that of a Jew. He is called “a slave of ransom;” that is to say, not a slave who has already purchased his freedom, but a slave who was allowed by special laws to employ his private fortune in the work of liberating himself. He professes to have been the “joiner” of the hands of bride and bridegroom at a wedding which must have taken place before the thirty-fifth year of Nebuchadnezzar’s reign, when he still belonged to the house of Akhi-nuri, “the seller of the slave,” as he is called at the end of the text.
The judges, after perusing all the evidence, do not find any proofs that Barachiel was a man of free birth, and accordingly say to him:—“Prove to us that you are the descendant of a noble ancestor.” Thereupon Barachiel confesses that he is not free-born, but has twice run away from the house of his master; as, however, the act was seen by many people, he was afraid, and said he was the son of a noble ancestor. “But I am not free-born,” he confesses, and then gives an account of the events of his life. The judges decided that Barachiel should be restored to his condition as a slave of ransom.[54]
Such a story as this serves to show what the life of many an Israelite may have been during the Captivity.
3. How the Writings were Read.
To the ordinary visitor to the British Museum, looking at the cuneiform inscriptions—nothing but arrowhead characters variously grouped—it seems wonderful that they should constitute a language, and incredible that they should be read. The question is often asked, “How can we trust the translations put before us? How do we know that they are any more than guesses?” It may be well, therefore, to relate how the key to the lost character was obtained, and how the decipherment proceeded until now the translation of narrative texts can be made with as much certainty as translations from the Hebrew of the Old Testament.
BEHISTUN SCULPTURE.
The clue was obtained from the Behistun inscriptions, through the energy of Sir Henry Rawlinson; and the records of the successive steps of the discovery will be found in the Journal of the Asiatic Society, in the Quarterly Review for March 1847, and in such popular works as Mr Vaux’s “Nineveh and Persepolis.” Edwin Norris and others had laboured, and the process of deciphering cuneiform texts was already well advanced when Sir Henry Layard and Mr Rassam discovered such abundant treasures in the mounds on the Tigris. The inscriptions which are now known to record the personal history of Darius, the son of Hystaspes, are almost always in three forms of the cuneiform character, which may be described as Persian, Median, and Assyrian, and were addressed to different races of his subjects. The most extensive monument of the kind is found on a rock escarpment at Behistun, on the frontiers of Persia, a place on the high road from Babylonia to the further east. The rock is almost perpendicular, and rises abruptly from the plain to the height of 1700 feet, an imposing object which must always have attracted the attention of travellers. It was known to the Greeks, who erected on the top of it a temple to Zeus; and it had probably been sacred to Ormazd, the supreme deity of the Persians. High up on the face of this rock, 300 feet above the plain, there are two tablets, one of them containing sculptured figures and nearly a thousand lines of cuneiform character. The sculptured portion of the rock represents a line of nine persons united by a cord tied round their necks, and having their hands bound behind their backs, who are approaching another of more majestic stature, who, holding up his right hand in token of authority, treads on a prostrate body. His countenance expresses the idea of a great king or conqueror, and behind the king stand two guards with long spears in their hands.
The reign of Darius was disturbed by many revolts, and the insurrectionary attempts of many impostors and pretenders. It is these impostors who are represented as prisoners in the sculpture, and over the head of each figure we find his name and description. The first one, the prostrate figure, is “Gomates, the Magian, an impostor,” who said, “I am Bartius, the son of Cyrus; I am the King,” and so on. The inscription is by far the largest and most important record which has been preserved of the greatness of Darius, and of the Persian state and system. The lines over the monarch himself would read in English as follows:—