The Religion of Babylonia and Assyria

by Morris Jastrow

Large as the material is, it is far from being exhausted, and, indeed, far from sufficient for illustrating all the details of the religious life. This will not appear surprising, if it be remembered that of the more than one hundred mounds that have been identified in the region of the Tigris and Euphrates as containing remains of buried cities, only a small proportion have been explored, and of these scarcely more than a half dozen with an approach to completeness. The soil of Mesopotamia unquestionably holds still greater treasures than those which it has already yielded. The links uniting the most ancient period—at present, c. 4000 B.C.—to the final destruction of the Babylonian empire by Cyrus, in the middle of the sixth century B.C., are far from being complete. For entire centuries we are wholly in the dark, and for others only a few skeleton facts are known; and until these gaps shall have been filled, our knowledge of the religion of the Babylonians and Assyrians must necessarily remain incomplete. Not as incomplete, indeed, as their history, for religious rites are not subject to many changes, and the progress of religious ideas does not keep pace with the constant changes in the political kaleidoscope of a country; but, it is evident that no exhaustive treatment of the religion can be given until the material shall have become adequate to the subject.

III.

Before proceeding to the division of the subject in hand, some explanation is called for of the method by which the literary material found beneath the soil has been made intelligible.

The characters on the clay tablets and cylinders, on the limestone slabs, on statues, on altars, on stone monuments, are generally known as cuneiform, because of their wedge-shaped appearance, though it may be noted at once that in their oldest form the characters are linear rather than wedge-shaped, presenting the more or less clearly defined outlines of objects from which they appear to be derived. At the time when these cuneiform inscriptions began to be found in Mesopotamia, the language which these characters expressed was still totally unknown. Long previous to the beginning of Botta's labors, inscriptions also showing the cuneiform characters had been found at Persepolis on various monuments of the ruins and tombs still existing at that place. The first notice of these inscriptions was brought to Europe by a famous Italian traveler, Pietro della Valle, in the beginning of the seventeenth century. For a long time it was doubted whether the characters represented anything more than mere ornamentation, and it was not until the close of the 18th century, after more accurate copies of the Persepolitan characters had been furnished through Carsten Niebuhr, that scholars began to apply themselves to their decipherment. Through the efforts chiefly of Gerhard Tychsen, professor at Rostock, Frederick Münter, a Danish scholar, and the distinguished Silvestre de Sacy of Paris, the beginnings were made which finally led to the discovery of the key to the mysterious writings, in 1802, by Georg Friedrich Grotefend, a teacher at a public school in Göttingen. The observation was made previous to the days of Grotefend that the inscriptions at Persepolis invariably showed three styles of writing. While in all three the characters were composed of wedges, yet the combination of wedges, as well as their shape, differed sufficiently to make it evident, even to the superficial observer, that there was as much difference between them as, say, between the English and the German script. The conclusion was drawn that the three styles represented three languages, and this conclusion was strikingly confirmed when, upon the arrival of Botta's finds in Europe, it was seen that one of the styles corresponded to the inscriptions found at Khorsabad; and so in all subsequent discoveries in Mesopotamia, this was found to be the case. One of the languages, therefore, on the monuments of Persepolis was presumably identical with the speech of ancient Mesopotamia. Grotefend's key to the reading of that style of cuneiform writing which invariably occupied the first place when the three styles were ranged one under the other, or occupied the most prominent place when a different arrangement was adopted, met with universal acceptance. He determined that the language of the style which, for the sake of convenience, we may designate as No. 1, was Old Persian,—the language spoken by the rulers, who, it was known through tradition and notices in classical writers, had erected the series of edifices at Persepolis, one of the capitols of the Old Persian or, as it is also called, the Achaemenian empire. By the year 1840 the decipherment of these Achaemenian inscriptions was practically complete, the inscriptions had been read, the alphabet was definitely settled, and the grammar, in all but minor points, known. It was possible, therefore, in approaching the Mesopotamian style of cuneiform, which, as occupying the third place, may be designated as No. 3, to use No. 1 as a guide, since it was only legitimate to conclude that Nos. 2 and 3 represented translations of No. 1 into two languages, which, by the side of Old Persian, were spoken by the subjects of the Achaemenian kings. That one of these languages should have been the current speech of Mesopotamia was exactly what was to be expected, since Babylonia and Assyria formed an essential part of the Persian empire.

The beginning was made with proper names, the sound of which would necessarily be the same or very similar in both, or, for that matter, in all the three languages of the Persepolitan inscriptions.[11] In this way, by careful comparisons between the two styles, Nos. 1 and 3, it was possible to pick out the signs in No. 3 that corresponded to those in No. 1, and inasmuch as the same sign occurred in various names, it was, furthermore, possible to assign, at least tentatively, certain values to the signs in question. With the help of the signs thus determined, the attempt was made to read other words in style No. 3, in which these signs occurred, but it was some time before satisfactory results were obtained. An important advance was made when it was once determined, that the writing was a mixture of signs used both as words and as syllables, and that the language on the Assyrian monuments belonged to the group known as Semitic. The cognate languages—chiefly Hebrew and Arabic—formed a help towards determining the meaning of the words read and an explanation of the morphological features they presented. For all that, the task was one of stupendous proportions, and many were the obstacles that had to be overcome, before the principles underlying the cuneiform writing were determined, and the decipherment placed on a firm and scientific basis. This is not the place to enter upon a detailed illustration of the method adopted by ingenious scholars,—notably Edward Hincks, Isidor Löwenstern, Henry Rawlinson, Jules Oppert,—to whose united efforts the solution of the great problems involved is due;[12] and it would also take too much space, since in order to make this method clear, it would be necessary to set forth the key discovered by Grotefend for reading the Old Persian inscriptions. Suffice it to say that the guarantee for the soundness of the conclusions reached by scholars is furnished by the consideration, that it was from small and most modest beginnings that the decipherment began. Step by step, the problem was advanced by dint of a painstaking labor, the degree of which cannot easily be exaggerated, until to-day the grammar of the Babylonian-Assyrian language has been clearly set forth in all its essential particulars: the substantive and verb formation is as definitely known as that of any other Semitic language, the general principles of the syntax, as well as many detailed points, have been carefully investigated, and as for the reading of the cuneiform texts, thanks to the various helps at our disposal, and the further elucidation of the various principles that the Babylonians themselves adopted as a guide, the instance is a rare one when scholars need to confess their ignorance in this particular. At most there may be a halting between two possibilities. The difficulties that still hinder the complete understanding of passages in texts, arise in part from the mutilated condition in which, unfortunately, so many of the tablets and cylinders are found, and in part from a still imperfect knowledge of the lexicography of the language. For many a word occurring only once or twice, and for which neither text nor comparison with cognate languages offers a satisfactory clue, ignorance must be confessed, or at best, a conjecture hazarded, until its more frequent occurrence enables us to settle the question at issue. Such settlements of disputed questions are taking place all the time; and with the activity with which the study of the language and antiquities of Mesopotamia is being pushed by scholars in this country, in England, France, Austria, Germany, Italy, Norway, and Holland, and with the constant accession of new material through excavations and publications, there is no reason to despair of clearing up the obscurities, still remaining in the precious texts that a fortunate chance has preserved for us.

IV.

A question that still remains to be considered as to the origin of the cuneiform writing of Mesopotamia, may properly be introduced in connection with this account of the excavations and decipherment, though it is needless to enter into it in detail.

The "Persian" style of wedge-writing is a direct derivative of the Babylonian, introduced in the times of the Achaemenians, and it is nothing but a simplification in form and principle of the more cumbersome and complicated Babylonian. Instead of a combination of as many as ten and fifteen wedges to make one sign, we have in the Persian never more than five, and frequently only three; and instead of writing words by syllables, sounds alone were employed, and the syllabary of several hundred signs reduced to forty-two, while the ideographic style was practically abolished.

The second style of cuneiform, generally known as Median or Susian,[13] is again only a slight modification of the "Persian." Besides these three, there is a fourth language (spoken in the northwestern district of Mesopotamia between the Euphrates and the Orontes), known as "Mitanni," the exact status of which has not been clearly ascertained, but which has been adapted to cuneiform characters. A fifth variety, found on tablets from Cappadocia, represents again a modification of the ordinary writing met with in Babylonia. In the inscriptions of Mitanni, the writing is a mixture of ideographs and syllables, just as in Mesopotamia, while the so-called "Cappadocian" tablets are written in a corrupt Babylonian, corresponding in degree to the "corrupt" forms that the signs take on. In Mesopotamia itself, quite a number of styles exist, some due to local influences, others the result of changes that took place in the course of time. In the oldest period known, that is from 4000 to 3000 B.C., the writing is linear rather than wedge-shaped. The linear writing is the modification that the original pictures underwent in being adapted for engraving on stone; the wedges are the modification natural to the use of clay, though when once the wedges became the standard method, the greater frequency with which clay as against stone came to be used, led to an imitation of the wedges by those who cut out the characters on stone. In consequence, there developed two varieties of wedge-writing: the one that may be termed lapidary, used for the stone inscriptions, the official historical records, and such legal documents as were prepared with especial care; the other cursive, occurring only on legal and commercial clay tablets, and becoming more frequent as we approach the latest period of Babylonian writing, which extends to within a few decades of our era. In Assyria, finally, a special variety of cuneiform developed that is easily distinguished from the Babylonian by its greater neatness and the more vertical position of the wedges.

The origin of all the styles and varieties of cuneiform writing is, therefore, to be sought in Mesopotamia; and within Mesopotamia, in that part of it where culture begins—the extreme south; but beyond saying that the writing is a direct development from picture writing, there is little of any definite character that can be maintained. We do not know when the writing originated, we only know that in the oldest inscriptions it is already fully developed.