“When they would signifie wrathe and fury, they set downe the image of a Lyon. When they would signifie talke, they set downe the figure of a toung. When they would signifie fleshly pleasure, they set down the number of XVI. When they would signifie lerning, they set down the picture of Dew dropping from the clowdes. By a Kat they meane destruction. By a Flye, they meane shamelesnes. By the Ant running into the Corne, they meane provision. By a man walking in water without a hed, they meane a thing unpossible. By a swarme of Bees following the maister Bee, they signifie obedient subjects. By a man hiding his privy members with his hands, they meane Temperance. By the floures of Poppy, they signifie sicknes. By an armed man shooting in a Bowe of steele, they meane Rebellion. By an Eagle flying against the Sun, they meane windy weather. By an Owle standing uppon a tree, they signifie death. By a Lace tyed in many knots, they meane mutual Love. By Bookes and Scrowles, they meane Auncientnes. By a Ladder set against a Castle wall, they meane a seedge about a Town or a Fortresse. By a Mule, they signifie a Woman with a barrain wombe. By a Mole, they meane blindnesse. By a Lapwing sitting uppon a Cluster of Grapes, they meane a plentiful Vintage. By a Sceptre and an eye on the top thereof looking downwarde, they meane power and polisie. By a Spindle ful of thred broken of from the Distaf, they mean the shortnes of mans life.”[e]
This is very absurd, yet nothing more rational was known of the subject in classical times. The very name which the Greeks supplied to the strange Egyptian script shows their ignorance of it. They called it hieroglyphics, from ἱερός, sacred, γλύφειν, to carve, implying their belief that this writing was purely of a sacred character, which, it is now well known, is by no means the case. It would seem as if in the later day, when, after the death of Alexander, Egypt came under the rule of the Macedonian Ptolemies, there must have been Greeks who acquired a knowledge of the Egyptian writing, just as there were undoubtedly Egyptians who learned Greek. Yet the number of these was probably more limited than one might suppose, for the Greeks were the Frenchmen of antiquity; imbued with a reverential love of their own language, they were little given to acquiring any other. Even so, it would seem that there must have been, here and there, an inquiring mind, which would take up the study of the hieroglyphics and ferret out their secrets under the guidance of Egyptian tutors; but if such there were, few records of their accomplishments have come down to us, and none at all that can serve to give the slightest clew to the true character of the strange inscriptions.
About the beginning of our era, Egypt having become a Roman province, all its personal life was stamped out. The hieroglyphic language was no longer written or read. Long before that, the language of the people had been greatly modified from its ancient purity, and in the day of Egypt’s greatness it was only the scholarly few, chiefly the priests, who could read and write the language. Now the speech became still further modified, until finally, through the slow mutations of time, modern Coptic has developed as its lineal descendant. In the early days, however,—probably before the time of the oldest extant records,—the original picture writing, or hieroglyphics proper, had been modified into a sort of running script, which the Greeks called hieratic; and this again had undergone another modification some four or five centuries before our era, in the development of a script, called enchorial or demotic, which in the day of the Ptolemies represented the language of the Egyptian people. But after the complete disruption of Egypt under the Romans, the hieratic and demotic forms of the writing, as well as the hieroglyphics proper, ceased to be employed; and presently, as has been said, all three forms became quite unintelligible to any person living. From that time on, until the early days of the nineteenth century, the records of Egypt, preserved so numerously on their monuments, on the papyrus rolls and mummy-cases, were a closed book. No man lived, during this period, in Egypt or out of Egypt, who did more than effect the crudest guess at the meaning of this strange writing.
For something like two thousand years the Egyptian language was a dead language in the fullest sense of the term, and the records, locked imperishably in the hieroglyphics, seemed likely to hold their mysterious secret from the prying minds of all generations of men. But then, in the early days of the nineteenth century, the key was unexpectedly found, and, to the delight of the scholarly world, the Egyptian Pandora box was opened.[a]
THE RIDDLE OF THE SPHINX
This came about through a study of the famous Rosetta stone, an Egyptian monument now preserved in the British Museum. On this stone three sets of inscriptions are recorded. The upper one, occupying about a fourth of the surface, is a pictured scroll, made up of chains of those strange outlines of serpents, hawks, lions, and so on, which are recognised, even by the least initiated, as hieroglyphics. The middle inscription, made up of lines, angles, and half-pictures, one might suppose to be a sort of abbreviated or shorthand hieroglyphic. It is called the enchorial or demotic character. The third, or lower, inscription is manifestly Greek. It is now known that these three inscriptions are renderings of the same message, and that this message is a “decree of the Priests of Memphis conferring divine honours on Ptolemy V, Epiphanes, King of Egypt, B.C. 195.”
“This stone was found by the French in 1798 among the ruins of Fort St. Julian, near the Rosetta mouth of the Nile. It passed into the hands of the British by the treaty of Alexandria, and was deposited in the British Museum in the year 1801.”
The value of the Rosetta stone depended on the fact that it gave promise, even when originally inspected, of furnishing a key to the centuries-old mystery of the hieroglyphics. For two thousand years the secret of these strange markings had been forgotten. Nowhere in the world—quite as little in Egypt as elsewhere—had any man the slightest clew to their meaning; there were even those who doubted whether these droll picturings really had any specific meaning, questioning whether they were not merely vague symbols of esoteric religious import and nothing more. And it was the Rosetta stone that gave the answer to these doubters, and restored to the world a lost language and a forgotten literature.
The trustees of the British Museum recognised that the problem of the Rosetta stone was one on which the scientists of the world might well exhaust their ingenuity, and they promptly published to the world a carefully lithographed copy of the entire inscription, so that foreign scholarship had equal opportunity with British to try to solve the riddle. How difficult a riddle it was, even with this key in hand, is illustrated by the fact that, though scholars of all nations brought their ingenuity to bear upon it, nothing more was accomplished for a dozen years than to give authority to three or four guesses regarding the nature of the upper inscriptions, which, as it afterwards proved, were quite incorrect and altogether misleading. This in itself is sufficient to show that ordinary scholarship might have studied the Rosetta stone till the end of time without getting far on the track of its secrets. The key was there, but to apply it required the inspired insight—that is to say, the shrewd guessing power—of genius.
The man who undertook the task had perhaps the keenest scientific imagination and the most versatile profundity of knowledge of his generation—one is tempted to say, of all generations. For he was none other than the extraordinary Dr. Thomas Young, the demonstrator of the vibratory nature of light.