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The Historians' History of the World 01 [Prolegomena; Egypt, Mesopotamia]
- Автор: Gutenberg
- Год: 1905
- Язык: английский
- Жанр: История
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Young’s initial studies of the Rosetta stone were made in 1814; his later publications bore date of 1819. Champollion’s first announcement of results came in 1822; his second and more important one in 1824. By this time, through study of the cartouches of other inscriptions, he had made out almost the complete alphabet, and the “Riddle of the Sphinx” was practically solved. He proved that the Egyptians had developed a relatively complete alphabet (mostly neglecting the vowels, as early Semitic alphabets did also) centuries before the Phœnicians were heard of in history. What relation this alphabet bore to the Phœnician, we shall have occasion to ask in another connection; for the moment it suffices to know that these strange pictures of the Egyptian scroll are really letters.
Even this statement, however, must in a measure be modified. These pictures are letters and something more. Some of them are purely alphabetical in character, and some are symbolic in another way. Some characters represent syllables. Others stand sometimes as mere representatives of sounds, and again, in a more extended sense, as representatives of things, such as all hieroglyphics doubtless were in the beginning. In a word, this is an alphabet, but not a perfected alphabet such as modern nations are accustomed to; hence the enormous difficulties and complications it presented to the early investigators.
Champollion did not live to clear up all the mysteries of the hieroglyphics. His work was taken up and extended by his pupil Rosellini, and in particular by Richard Lepsius in Germany; followed by M. Renouf, and by Samuel Birch, of the British Museum, and more recently by such well-known Egyptologists as MM. Maspero, Mariette, and Chabas, in France; Drs. Brugsch, Meyer, and Erman in Germany; Dr. E. A. Wallis Budge, the present head of the Department of Oriental Antiquities at the British Museum, and Professor W. M. Flinders Petrie. But the work of later investigators has been largely one of exhumation and translation of records, rather than of finding methods.
Let us now turn more specifically to the writing itself. A glance shows that the objects delineated are, as might be expected, those which were familiar to the people that originated the writing. Here we see Egyptian hawks, serpents, ibises, and the like, and the human figure, depicted in the crude yet graphic way characteristic of Egyptian art. But in addition to these familiar figures there are numerous conventionalised designs. These also, there is reason to believe, were originally representations of familiar objects, but, for convenience of rendering, the pictures have been supplanted by conventionalised designs. It is now known that this writing of the Egyptians was of a most extraordinary compound character. Part of its pictures are used as direct representations of the objects presented. But let us examine some examples:
mat eye. maui eyes. pau birds.
But, again, the picture of an object may stand for some idea symbolised by that object, thus becoming an ideograph, as in the following instances:
net honey. ba soul. pet to see.
Here the sacred ibis or the sacred bull symbolises the soul. The bee stands for honey, the eyes for the verb “to see.”
Yet again the Egyptian pictures may stand neither as pictures of things, nor as ideographs, but as having the phonetic value of a syllable.
pa the. meh to fill. pet the sky or heaven. χu to protect. t´a male.
Such syllabic signs may be used either singly, as above, or in combination, as we shall see illustrated in a moment.
But one other stage of evolution is possible; namely, the use of signs with a purely alphabetical significance. The Egyptians made this step also, and their strangely conglomerate writing makes use of the following alphabet:
a ȧ ạ̄ i u b p f m n r and l h ḥ χ (kḥ) s ś (sh) k q ḳ t ṭ θ (th) t´ (tch)
In a word, then, the Egyptian writing has passed through all the stages of development, from the purely pictorial to the alphabetical, but with this strange qualification—that while advancing to the later stages it retains the use of the crude earlier forms. As Canon Taylor has graphically phrased it, the Egyptian writing is a completed structure, but one from which the scaffolding has not been removed.
The next step would have been to remove the now useless scaffolding, leaving a purely alphabetical writing as the completed structure. Looking at the matter from the modern standpoint, it seems almost incredible that so intelligent a people as the Egyptians should have failed to make this advance. Yet the facts stand, that as early as the time of the Pyramid Builders, say 4000 years B.C., the Egyptians had made the wonderful analysis of sounds without which the invention of an alphabet would be impossible. They had set aside certain of their hieroglyphic symbols and given them alphabetical significance. They had learned to write their words with the use of this alphabet; and it would seem as if, in the course of a few generations, they must come to see how unnecessary was the cruder form of picture writing which this alphabet would naturally supplant; but in point of fact they never did come to a realisation of this seemingly simple proposition. Generation after generation, and century after century, they continued to use their same cumbersome, complex writing, and it remained for an outside nation to prove that an alphabet pure and simple was capable of fulfilling all the conditions of a written language.
Thus in practice there is found in the hieroglyphics the strangest combination of ideographs, syllabic signs, and alphabetical signs or true letters, used together indiscriminately.
It was, for example, not at all unusual after spelling a word syllabically or alphabetically to introduce a figure giving the idea of the thing intended, and then even to supplement this with a so-called determinative sign or figure:
qeften monkey. qenu cavalry. temati wings. t´ātu quadrupeds.
Here qeften, monkey, is spelled out in full, but the picture of a monkey is added as a determinative; second, qenu, cavalry, after being spelled is made unequivocal by the introduction of a picture of a horse; third, temati, wings, though spelled elaborately, has pictures of wings added; and fourth, tatu, quadrupeds, after being spelled, has a picture of a quadruped, and then the picture of a hide, which is the usual determinative of a quadruped, followed by three dashes to indicate the plural number.
These determinatives are in themselves so interesting, as illustrations of the association of ideas, that it is worth while to add a few more examples. The word pet, which signifies “heaven,” and which has also the meaning “up” or “even,” is represented primarily by what may be supposed to be a conventionalised picture of the covering to the earth. But this picture used as a determinative is curiously modified in the expression of other ideas, as it symbolises “evening” when a closed flower is added, and “night” when a star hangs in the sky, and “rain or tempest” when a series of zigzag lines, which by themselves represent water, are appended.