The Seven Great Monarchies Of The Ancient Eastern World Volume II Part 13

[Ill.u.s.tration: PLATE 123]

In the chase of the ibex or wild goat, hors.e.m.e.n were employed to discover the animals, which are generally found in herds, and to drive them towards the sportsman, who waited in ambush until the game appeared within bowshot. [PLATE CXXIII., Fig. 3.] An arrow was then let fly at the nearest or the choicest animal, which often fell at the first discharge. [PLATE CXXIII., Fig. 4.] The sport was tame compared with many other kinds, and was probably not much affected by the higher orders.

The chase of the gazelle is not shown on the sculptures. In modern times they are taken by the grayhound and the falcon, separately or in conjunction, the two being often trained to hunt together. They are somewhat difficult to run down with dogs only, except immediately after they have drunk water in hot weather. That the a.s.syrians sometimes captured them, appears by a hunting scene which Mr. Layard discovered at Khorsabad, where an attendant is represented carrying a gazelle on his shoulders, and holding a hare in his right hand. [PLATE CXXIV., Fig. 1.]

As gazelles are very abundant both in the Sinjar country and in the district between the Tigris and the Zagros range, we may suppose that the a.s.syrians sometimes came upon them unawares, and transfixed them with their arrows before they could make their escape. They may also have taken them in nets, as they were accustomed to take deer; but we have no evidence that they did so.

[Ill.u.s.tration: PLATE 124]

The hare is seen very commonly in the hands of those who attend upon the huntsmen. It is always represented as very small in proportion to the size of the men, whence we may perhaps conclude that the full-grown animal was less esteemed than the leveret. As the huntsmen in these representations have neither nets nor dogs, but seem to obtain their game solely by the bow, we must presume that they were expert enough to strike the hare as it ran.

There is no difficulty in making such a supposition as this, since the a.s.syrians have left us an evidence of their skill as marksmen which implies even greater dexterity. The game which they princ.i.p.ally sought in the districts where they occasionally killed the hare and the gazelle seems to have been the partridge; and this game they had to bring down when upon the wing. We see the sportsmen in the sculptures aiming their arrows at the birds as they mount into the air [PLATE CXXIV., Fig. 21,]

and in one instance we observe one of the birds in the act of falling to the ground, transfixed by a well aimed shaft. Such skill is not uncommon among savage hunting tribes, whose existence depends on the dexterity with which they employ their weapons; but it is rarely that a people which has pa.s.sed out of this stage, and hunts for sport rather than subsistence, retains its old expertness.

Hunting the hare with dogs was probably not very common, as it is only in a single instance that the a.s.syrian remains exhibit a trace of it. On one of the bronze dishes discovered by Mr. Layard at Nimrud may be seen a series of alternate dogs and hares, which shows that coursing was not unknown to the a.s.syrians. [PLATE CXXIV., Fig. 3.] The dog is of a kind not seen elsewhere in the remains of a.s.syrian art. The head bears a resemblance to that of the wolf; but the form generally is that of a coa.r.s.e grayhound, the legs and neck long, the body slim, and the tail curved at the end; offering thus a strong contrast to the ordinary a.s.syrian hound, which has been already represented more than once.

Nets may sometimes have been employed for the capture of small game, such as hares and rabbits, since we occasionally see beaters or other attendants carrying upon poles, which they hold over their shoulders, nets of dimensions far too small for them to have been used in the deer-hunts, with b.a.l.l.s of string and pegs wherewith to extend them.

[PLATE CXXIV., Fig. 4.] The nets in this case are squared at the ends, and seem to have been about eight or nine feet long, and less than a foot in height. They have large meshes, and, like the deer nets, are bordered both at top and bottom with a strong cord, to which the net-work is attached. Like the cla.s.sical [evodia], they were probably placed across the runs of the animals, which, being baffled by then and turned from their accustomed tracks, would grow bewildered, and fall an easy prey to the hunters. Or, possibly, several of them may have been joined together, and a considerable s.p.a.ce may then have been enclosed, within which the game may have been driven by the beaters. The ease of these three weak and tinnier animals, the gazelle, the hare, and the partridge, was not regarded as worthy of the monarch. When the king is represented as present, he takes no part in it, but merely drives in his chariot through the woods where the sportsmen are amusing themselves.

Persons, however, of a good position, as appears from their dress and the number of their attendants, indulged in the sport, more especially eunuchs, who were probably those of the royal household. It is not unlikely that the special object was to supply the royal table with game.

[Ill.u.s.tration: PLATE 125]

The a.s.syrians do not seem to have had much skill as fishermen. They were unacquainted with the rod, and fished by means of a simple line thrown into the water, one end of which was held in the hand. [PLATE CXXV., Figs. 1, 2.] No float was used, and the bait must consequently have sunk to the bottom, unless prevented from so doing by the force of the stream. This method of fis.h.i.+ng was likewise known and practised in Egypt, where, however, it was far more common to angle with a rod.

Though a.s.syrian fish-hooks have not been found, there can be no doubt that that invention was one with which they were acquainted, as were both the Egyptians and the early Chaldaeans.

Fis.h.i.+ng was carried on both in rivers and in stews or ponds. The angler sometimes stood or squatted upon the bank; at other times, not content with commanding the mere edge of the water, he plunged in, and is seen mid-stream, astride upon an inflated skin, quietly pursuing his avocation. [PLATE CXXVI., Fig. 1.] Occasionally he improved his position by amounting upon a raft, and, seated at the stern, with his back to the rower, threw out his line and drew the fish from the water. Now and then the fisherman was provided with a plaited basket, made of rushes or flags, which was fastened round his neck with a string, and hung at his back, ready to receive the produce of his exertions.

[Ill.u.s.tration: PLATE 126]

It does not appear that angling was practised by the a.s.syrians the way that the monuments show it to have been practised in Egypt, as an amus.e.m.e.nt of the rich. The fishermen are always poorly clothed, and seem to have belonged to the cla.s.s which worked for its living. It is remarkable that do not anywhere in the sculptures see nets used for fis.h.i.+ng; but perhaps we ought not to conclude from this that they were never so employed in a.s.syria. The a.s.syrian sculptors represented only occasionally the scenes of common everyday life; and we are seldom justified in drawing a negative conclusion as to the peaceful habits of the people on any point from the mere fact that the bas-reliefs contain no positive evidence on the subject.

A few other animals were probably, but not certainly, chased by the a.s.syrians, as especially the ostrich and the bear. The gigantic bird, which remained in Mesopotamia as late as the time of Xenophon, was well known to the a.s.syrian artists, who could scarcely have represented it with so much success, unless its habits had been described by hunters.

The bear is much less frequent upon the remains than the ostrich; but its occurrence and the truthfulness of its delineation where it occurs, indicate a familiarity which may no doubt be due to other causes, but is probably traceable to the intimate knowledge acquired by those who hunted it. [PLATE CXXVI., Fig. 2.]

Of the other amus.e.m.e.nts and occupations of the a.s.syrians our knowledge is comparatively scanty; but some pages may be here devoted to their music, their navigation, their commerce, and their agriculture. On the first and second of these a good deal of light is thrown by the monuments, while some interesting facts with respect to the third and fourth may be gathered both from this source and also from ancient writers.

That the Babylonians, the neighbors of the a.s.syrians, and, in a certain sense, the inheritors of their empire, had a pa.s.sion for music, and delighted in a great variety of musical instruments, has long been known and admitted. The repeated mention by Daniel, in his third chapter, of the cornet, flute, harp sackbut, psaltery, dulcimer, and all kinds of music--or, at any rate, of a number of instruments for which those terms were once thought the best English equivalents--has familiarized us with the fact that in Babylonia, as early as the sixth century B.C., musical instruments of many different kinds were in use. It is also apparent from the book of Psalms, that a variety of instruments were employed by the Jews. And we know that in Egypt as many as thirteen or fourteen different kinds were common. In a.s.syria, if there was not so much variety as this, there were at any rate eight or nine quite different sorts, some stringed, some wind, some merely instruments of percussion.

In the early sculptures, indeed, only two or three musical instruments are represented. One is a kind of harp, held between the left arm and the side, and played with one hand by means of a quill or _plectrum_.

[PLATE CXXVI., Fig. 3.] Another is a lyre, played by the hand; while a third is apparently cymbal. But in the later times we see besides these instruments--a harp of a different make played with both hands, two or three kinds of lyre, the double pipe, the guitar or cithern, the tambourine, a nameless instrument, and more than one kind of drum.

The harp of the early ages was a triangular instrument, consisting of a horizontal board which seems to have been about three feet in length, an upright bar inserted into one end of the board, commonly surmounted by an imitation of the human hand, and a number of strings which crossed diagonally from the board to the bar, and, pa.s.sing through the latter, hung down some way, terminating in ta.s.sels of no great size. The strings were eight, nine, or ten in number, and (apparently) were made fast to the board, but could be tightened or relaxed by means of a row of pegs inserted into the upright bar, round which the strings were probably wound. No difference is apparent in the thickness of the strings; and it would seem therefore that variety of tone was produced solely by difference of length. It is thought that this instrument must have been suspended round the player's neck. It was carried at the left side, and was played (as already observed) with a quill or electrum held in the right hand, while the left hand seems to have been employed in pressing the strings so as to modify the tone, or stop the vibrations, of the notes. The performers on this kind of harp, and indeed all other a.s.syrian musicians, are universally represented as standing while they play.

The harp of later times was constructed, held, and played differently.

It was still triangular, or nearly so; but the frame now consisted of a rounded and evidently hollow, sounding-board, to which the strings were attached with the help of pegs, and a plain bar whereto they were made fast below, and from which their ends depended like a fringe. The number of strings was greater than in the earlier harp, being sometimes as many as seventeen. The instrument was carried in such a way that the strings were perpendicular and the bar horizontal, while the sounding-board projected forwards at an angle above the player's head. It was played by the naked hand, without a plectrum; and both hands seem to have found their employment in pulling the strings. [PLATE CXXVII., Fig. 1.]

[Ill.u.s.tration: PLATE 127]

Three varieties of the lyre are seen in the a.s.syrian sculptures. One of them is triangular, or nearly so, and has only four strings, which, being carried from one side of the triangle to the other, parallel to the base, are necessarily of very unequal length. Its frame is apparently of wood, very simple, and entirely devoid of ornament. This sort of lyre has been found only in the latest sculptures. [PLATE CXXVI., Fig. 4.]

Another variety nearly resembles in its general shape the lyre of the Egyptians. It has a large square bottom or sounding-board, which is held, like the Egyptian, under the left elbow, two straight arms only slightly diverging, and a plain cross-bar at top. The number of strings visible in the least imperfect representation is eight; but judging by the width of the instrument, we may fairly a.s.sume that the full complement was nine or ten. The strings run from the cross-bar to the sounding-board, and must have been of a uniform length. This lyre was played by both hands, and for greater security was attached by a band pa.s.sing round the player's neck. [PLATE CXXVII., Fig. 2.]

The third sort of lyre was larger than either of the others, and considerably more elaborate. It had probably a sounding-board at bottom, like the lyre just described, though this, being carried under the left elbow, is concealed in the representations. Hence there branched out two curved arms, more or less ornamented, which were of very unequal length; and these were joined together by a cross-bar, also curved, and projecting considerably beyond the end of the longer of the two arms.

Owing to the inequality of the arms, the cross-bar sloped at an angle to the base, and the strings, which pa.s.sed from the one to the other, consequently differed in length. The number of the strings in this lyre seems to have been either five or seven. [PLATE CXXVIII., Figs. 2, 3.]

[Ill.u.s.tration: PLATE 128]

The a.s.syrian guitar is remarkable for the small size of the hollow body or sounding-board, and the great proportionate length of the neck or handle. There is nothing to show what was the number of the strings, nor whether they were stretched by pegs and elevated by means of a bridge.

Both hands seen to be employed in playing the instrument, which is held across the chest in a sloping direction, and was probably kept in place by a ribbon or strap pa.s.sed round the neck. [PLATE CXXVIII., Fig. 1.]

It is curious that in the a.s.syrian remains, while the double pipe is common, we find no instance at all either of the flute or of the single pipe. All three were employed in Egypt, and occur on the monuments of that country frequently; and though among the Greeks and Romans the double pipe was more common than the single one, yet the single pipe was well known, and its employment was not unusual. The Greeks regarded the pipe as altogether Asiatic, and ascribed its invention to Marsyas the Phrygian, or to Olympus, his disciple. We may conclude from this that they at any rate learnt the invention from Asia; and in their decided preference of the double over the single pipe we may not improbably have a trace of the influence which a.s.syria exercised over Asiatic, and thus even over Greek, music. [PLATE CXXVIII., Fig. 1.]

The a.s.syrian double pipe was short, probably not exceeding ten or twelve inches in length. It is uncertain whether it was really a single instrument consisting of two tubes united by a common mouthpiece, or whether it was not composed of two quite separate pipes, as was the case with the double pipes of the Greeks and Romans.

The two pipes const.i.tuting a pair seem in a.s.syria to have been always of the same length, not, like the Roman "right" and "left pipes," of unequal length, and so of different pitches. They were held and played, like the cla.s.sical one, with either hand of the performer. There can be little doubt that they were in reality quite straight, though sometimes they have been awkwardly represented as crooked by the artist.

The tambourine of the a.s.syrian was round, like that in common use at the present day; not square, like the ordinary Egyptian. It seems to have consisted simply of a skin stretched on a circular frame, and to have been dest.i.tute altogether of the metal rings or b.a.l.l.s which produce the jingling sound of the modern instrument. It was held at bottom by the left hand in a perpendicular position, and was struck at the side with the fingers of the right. [PLATE CXXIX., Fig. 1.]

[Ill.u.s.tration: PLATE 129]

a.s.syrian cymbals closely resembled those in common use throughout the East at the present day. They consisted of two hemispheres of metal, probably of bronze, running off to a point, which was elongated into a bar or handle. The player grasped a cymbal in each hand, and either clashed theme together horizontally, or else, holding one cupwise in his left, brought the other down upon it perpendicularly with his right.

[PLATE Cx.x.x., Fig. 1.]

Two drums are represented on the a.s.syrian sculptures.

One is a small instrument resembling the _tubbul_, now frequently used by Eastern dancing girls. The other is of larger size, like the _tubbul_ at top, but descending gradually in the shape of an inverted cone, and terminating almost in a point at bottom. Both were carried in front, against the stomach of the player--attached, apparently, to his girdle; and both were played in the same way, namely, with the fingers of the open hands on the top. [PLATE Cx.x.x., Fig. 2.]

[Ill.u.s.tration: PLATE 130]

A few instruments carried by musicians are of an anomalous appearance, and do not admit of identification with any known species. One, which is borne by a musician in a processional scene belonging to the time of Sennacherib, resembles in shape a bag turned upside-down. By the manner in which it is held, we may conjecture that it was a sort of rattle--a hollow square box of wood or metal, containing stones or other hard substances which produced a jingling noise when shaken. But the purpose of the semicircular bow which hangs from the box is difficult to explain, unless we suppose that it was merely a handle by which to carry the instrument when not in use. Rattles of different kinds are found among the musical instruments of Egypt; and one of them consists of a box with a long handle attached to it. The jingling noise produced by such instruments may have corresponded to the sound now emitted by the side-rings of the tambourine.

Another curious-looking instrument occurs in a processional scene of the time of a.s.shur-bani-pal, which has been compared to the modern _santour_, a sort of dulcimer. It consisted (apparently) of a number of strings, certainly not fewer than ten stretched over a hollow case or sounding-board. The musician seems to have struck the strings with a small bar or hammer held in his right hand, while at the same time he made some use of his left hand in pressing them so as to produce the right note. It is clear that this instrument must have been suspended round the neck, though the a.s.syrian artist has omitted to represent the belt which kept it in place. [PLATE CXXIX., Fig. 2.]

In addition to all these various instruments, it is possible that the a.s.syrians may have made use of a sort of horn. An object is represented on a slab of Sennacherib's which is certainly either a horn or a speaking-trumpet. It is carried by one of the supervisors of the works in a scene representing the conveyance of a colossal bull to its destination. In shape it no doubt resembles the modern speaking-trumpet, but it is almost equally near to the tuba or military trumpet of the Greeks and Romans. This will appear sufficiently on a comparison of the two representations, one of which is taken from Mr. Layard's representation of Sennacherib's slab, while the other is from a sculpture on the column of Trajan. As we have no mention of the speaking-trumpet in any ancient writer, as the shape of the object under consideration is that of a known ancient instrument of music, and as an ordinary horn would have been of great use in giving signals to workmen engaged as the laborers are upon the sculpture, it seems best to regard the object in question as such a horn--an instrument of great power, but of little compa.s.s--more suitable therefore for signal-giving than for concerts. [PLATE Cx.x.x., Fig. 3.]

Pa.s.sing now from the instruments of the a.s.syrians to the general features and character of their music, we may observe, in the first place, that while it is fair to suppose them acquainted with each form of the triple symphony, there is only evidence that they knew of two forms out of the three--viz, the harmony of instruments, and that of instruments and voices in combination. Of these two they seem greatly to have preferred the concert of instruments without voices; indeed, one instance alone shows that they were not wholly ignorant of the more complex harmony. Even this leaves it doubtful whether they themselves practised it: for the singers and musicians represented as uniting their efforts are not a.s.syrians, but Susianians, who come out to greet their conquerors, and do honor to the new sovereign who has been imposed on them, with singing, playing, and dancing.

a.s.syrian bands were variously composed. The simplest consisted of two harpers. A band of this limited number seems to have been an established part of the religious ceremonial on the return of the monarch from the chase, when a libation was poured over the dead game. The instrument in use on these occasions was the antique harp, which was played, not with the hand, but with the _plectrum_. A similar band appears on one occasion in a triumphal return from a military expedition belonging to the time of Sennacherib. [PLATE CXXI.]

[Ill.u.s.tration: PLATE 131]

In several instances we find bands of three musicians. In one case all three play the lyre. The musicians here are certainly captives, whom the a.s.syrians have borne off front their own country. It has been thought that their physiognomy is Jewish, and that the lyre which they bear in their hands may represent that "kind of harp" which the children of the later captivity hung up upon the willows when they wept by the rivers of Babylon. There are no sufficient grounds, however, for this identification. The lyre may be p.r.o.nounced foreign, since it is unlike any other specimen; but its ornamentation with an animal head is sufficient to show that it is not Jewish. And the Jewish _kinnor_ was rather a harp than a lyre, and had certainly more than four strings.

Still, the employment of captives as musicians is interesting, though we cannot say that the captives are Jews. It shows us that the a.s.syrians, like the later Babylonians, were in the habit of "requiring" music from their prisoners, who, when transported into a "strange land," had to entertain their masters with their native melodies.

Another band of three exhibits to us a harper, a player on the lyre, and a player on the double pipe. A third shows a harper, a player on the lyre, and a musician whose instrument is uncertain. In this latter case it is quite possible that there may originally have been more musicians than three, for the sculpture is imperfect, terminating in the middle of a figure.

Bands of four performers are about as common as bands of three. On an obelisk belonging to the time of a.s.shur-izir-pal we see a band composed of two cymbal-players and two performers on the lyre. A slab of Sennacherib's exhibits four harpers arranged in two pairs, all playing with the _plectrum_ on the antique harp. Another of the same date, which is incomplete, shows us a tambourine-player, a cymbal-player, a player on the nondescript instrument which has been called a sort of rattle, and another whose instrument cannot be distinguished. In a sculpture of a later period, which is represented above, we see a band of four, composed of a tambourine-player, two players on two different sorts of lyres, and a cymbal-player.

It is not often that we find representations of bands containing more than four performers. On the sculptures. .h.i.therto discovered there seem to be only three instances where this number was exceeded. A bas-relief of Sennacherib's showed five players, of whom two had tambourines; two, harps of the antique pattern; and one, cymbals. Another, belonging to the time of his grandson, exhibited a band of seven, three of whom played upon harps of the later fas.h.i.+on, two on the double pipe, one on the guitar, and one on the long drum with the conical bottom. Finally, we have the remarkable scene represented in the ill.u.s.tration, a work of the sane date, where no fewer than twenty-six performers are seen uniting their efforts. Of these, eleven are players on instruments, while the remaining fifteen are vocalists. The instruments consist of seven harps, two double pipes, a small drum or tubbel, and the curious instrument which has been compared to the modern _santour_. The players are all men, six out of the eleven being eunuchs. The singers consist of six women and nine children of various ages, the latter of whom seem to accompany their singing, as the Hebrews and Egyptians sometimes did, with clapping of the hands. Three out of the first four musicians are represented with one leg raised, as if dancing to the measure. [PLATE Cx.x.xII., Fig. I.]