“X” he accordingly read—D A R — — U SH = Darius
“Z” he read—G O SH T A S P = Hystaspes
— the Zend form of the name.
But “Y,” which on his hypothesis should be Xerxes, was not quite so easy to explain. He already knew the values of four or five of the seven signs composing group “Y,” and these known values occurred in the order he expected, but the first and third signs in the group remained to be dealt with. Grotefend observed that the first sign was the same as the first sign of the group correctly guessed by Münter to represent “king”: he ascertained that the Greek letter “x” was transliterated in the Zend by “kh,” and rightly inferred that the Greek “x” commencing the proper name Xerxes would be similarly transliterated by “kh” in old Persian, in other words that the first sign in the group should be read “Kh.” The result of Grotefend’s investigations was the discovery of the correct values for eight letters in the Persian cuneiform alphabet, the letter “a” having been already rightly read by Tychsen and Münter. His method of decipherment was proved to be correct by the quadrilingual vase-inscription already alluded to. The first version of this latter inscription is written in Egyptian hieroglyphics and was deciphered by Champollion as the name of Xerxes. The other three versions are written in cuneiform characters, the first of which, the old Persian, gave precisely the same group of signs as that which Grotefend read as Xerxes on the inscription from Persepolis. As Sayce[39] well says, the decipherment of cuneiform and all the far-reaching consequences resultant from it, depended upon a successful guess, but a guess made “in accordance with scientific method,” and it was upon Grotefend’s discovery that all subsequent attempts to decipher cuneiform—Persian, Median, or Assyrian—were based. But unfortunately, though Grotefend had thus given the clue, and scented the track for all future scholars, his own ignorance of eastern languages prevented him from reaping himself the full harvest of his brilliant commencement, and the work so nobly begun was not completed till a later day.
The next great step forward was taken by the French scholar Emile Burnouf in 1836; he discovered that one inscription contained a list of the satrapies, and as the names of the satrapies were known from the Greek writers he was able on the partial knowledge of the alphabet already attained, to fit in the names to the cuneiform signs, and as a result he produced an alphabet of thirty letters mostly correct. About the same time Lassen assigned the correct values to almost all the letters in the alphabet, and further demonstrated that the language of the inscriptions was akin to the language of the Zend and also to the Sanskrit, though identical with neither.
Meanwhile Rawlinson had entered the field, and being attached to the British Mission in Persia, he had opportunities which others lacked, his position making it possible for him to copy and on a subsequent occasion take squeezes[40] of the inscription on the sacred rock of Behistun, which is filled with proper names. The French traveller Otter was apparently the first European to draw attention to the inscribed rock of Behistun, about the year 1734, and it is also mentioned by Oliver, but the earliest reference to it is contained in the History of Diodorus Siculus who flourished in the first century A.D. Kinneir who saw it in 1810 states that it is clear that the figures portrayed there are of the same age and character as those from Persepolis. In 1818 Porter made a sketch of the figures, but did not attempt to copy the inscription in spite of the experience he had gained in copying the inscription at Persepolis. The copying of it was no easy task, for Rawlinson had to be lowered in a basket from the top, the ladders which he had with him not being long enough to reach the upper part of the inscription from below. He sent his copy[41] to Edwin Norris, the secretary of the Royal Asiatic Society, who carefully revised it, and in 1849 an analysis and commentary on the text was published. With Rawlinson and Norris must be mentioned the Irish clergyman Hincks, who with his unrivalled genius in the decipherment of inscriptions was the first to discover that the alphabet was not a true one, but that a vowel-sound was attached to each of the consonants; and also Beer Holtzman and Westergaard, all of whom contributed to the work of investigation and made discoveries in regard to both the grammar and lexicon. Rawlinson cannot indeed claim to have actually discovered the first clue which led to the decipherment of cuneiform, but his translation of the Behistun inscription was unquestionably the most valuable contribution ever made towards the unravelling of the old Persian language. His work was moreover at first quite independent of Grotefend’s, and without any assistance from the latter he had deciphered the names of Cyrus, Hystaspes and Darius on the inscriptions from Elvend and Hamadan as early as 1835. Thus the efforts of half a century resulted at length in the discovery of a new alphabet and the resurrection of an old language. The Persian texts on the inscriptions were accompanied by two other texts, which as Grotefend divined must have been the two other principal languages used in the Persian Empire. The third text closely resembling the inscriptions on bricks and cylinder seals found in Babylon was naturally and correctly assumed to be Assyrian.[42] The decipherment of this third transcript was fraught with difficulties of every description; there was such an endless variety of signs of a simple and complex order, and there was nothing whatever to indicate where a word or a sentence started or finished, and further the characters on the monuments from Persepolis differed very considerably from those found on the Babylonian monuments, which also varied among themselves very greatly. On the seal-cylinders they were especially complicated, and it was almost impossible to see any resemblance whatever between the characters on the latter and those of the Persepolitan inscriptions.
But light was to come from another quarter: in 1842 Botta, French Consul at Mosul, began excavating on the site of Nineveh, but not meeting with success he transferred his operations to Khorsabad further north, and there excavated a large palace which subsequently turned out to be that of Sargon. In 1845 Layard entered the field, and carried on most successful excavations at Nimrûd (the ancient Calah) and then at Kouyunjik, one of the mounds which represents the site of Nineveh.
Botta published the inscriptions he had found in 1846-50, and also classified the signs, which numbered 642, while he further demonstrated the identity of the cuneiform system of the Nineveh inscriptions with that of the third column on the Persepolitan monuments, but it was reserved for the incomparable Hincks to discover the fact that the Assyrian cuneiform system was syllabic and not alphabetic like the Persian.
The proper names in the Persian columns gave the first clue to the decipherment of the Assyrian columns. The values thus obtained for some of the Assyrian signs made it possible to read many of the words, their meanings being determined by a comparison with the Persian columns. It was then seen that Assyrian was a Semitic language and resembled Hebrew in particular; this was proved conclusively by De Saulcy in 1849. In 1850 Rawlinson submitted a translation of the inscription on the Black obelisk of Shalmaneser II to the Royal Asiatic Society, a translation which was in the main correct, and in the following year he published the text and translation of the Assyrian transcript on the Behistun inscription, and announced two facts, one already known, namely that the Assyrian signs can be used ideographically, i.e. to denote an object or idea, as well as to represent merely a syllable, the other fact was that the characters were polyphonous, i.e. could represent more than one syllable each: this was again proved to demonstration by the redoubtable Hincks. Both facts alike argued that the cursive Assyrian cuneiform had its origin in picture writing, for in the latest times when cuneiform was as it were fully stereotyped, the signs were still used alone singly to represent an object or an idea, and also the polyphonous character of the individual signs testified to the same origin, for example the picture of an arm would signify not merely an “arm” but also “strength,” “might,” “grasp,” etc., and thus though the sign would—at least originally—only have one general idea attached to it, it would have quite a number of phonetic values: these phonetic values would in the first be inseparably connected with the root idea, but in time when the sign had become cursive and developed and no longer resembled the original picture, the various phonetic values of the sign would not necessarily have anything whatever to do with the original root idea.
For example, a character with the meaning and phonetic value of the word “win,” would in later times come to represent the syllable “win” quite apart from the basis meaning of the word win, thus the sign could be used to represent the first syllable in the word win-ter.