Chapter 2

Perhaps Monsieur Bénédite is pressing his theme too far when he compares the close-cropped warriors on the handle with the shaven Sumerians and Elamites upon steles from Telloh and Susa, for their loin-girdles are African and quite foreign to the Euphrates Valley. And his suggestion that two of the boats, flat-bottomed and with high curved ends, seem only to have navigated the Tigris and Euphrates,(1) will hardly command acceptance. But there is no doubt that the heroic personage upon the other face is represented in the familiar attitude of the Babylonian hero Gilgamesh struggling with lions, which formed so favourite a subject upon early Sumerian and Babylonian seals. His garment is Sumerian or Semitic rather than Egyptian, and the mixture of human and bird elements in the figure, though not precisely paralleled at this early period, is not out of harmony with Mesopotamian or Susan tradition. His beard, too, is quite different from that of the Libyan desert tribes which the early Egyptian kings adopted. Though the treatment of the lions is suggestive of proto-Elamite rather than of early Babylonian models, the design itself is unmistakably of Mesopotamian origin. This discovery intensifies the significance of other early parallels that have been noted between the civilizations of the Euphrates and the Nile, but its evidence, so far as it goes, does not point to Syria as the medium of prehistoric intercourse. Yet then, as later, there can have been no physical barrier to the use of the river-route from Mesopotamia into Syria and of the tracks thence southward along the land-bridge to the Nile's delta.

(1) Op. cit., p. 32.

In the early historic periods we have definite evidence that the eastern coast of the Levant exercised a strong fascination upon the rulers of both Egypt and Babylonia. It may be admitted that Syria had little to give in comparison to what she could borrow, but her local trade in wine and oil must have benefited by an increase in the through traffic which followed the working of copper in Cyprus and Sinai and of silver in the Taurus. Moreover, in the cedar forests of Lebanon and the north she possessed a product which was highly valued both in Egypt and the treeless plains of Babylonia. The cedars procured by Sneferu from Lebanon at the close of the IIIrd Dynasty were doubtless floated as rafts down the coast, and we may see in them evidence of a regular traffic in timber. It has long been known that the early Babylonian king Sharru-kin, or Sargon of Akkad, had pressed up the Euphrates to the Mediterranean, and we now have information that he too was fired by a desire for precious wood and metal. One of the recently published Nippur inscriptions contains copies of a number of his texts, collected by an ancient scribe from his statues at Nippur, and from these we gather additional details of his campaigns. We learn that after his complete subjugation of Southern Babylonia he turned his attention to the west, and that Enlil gave him the lands "from the Upper Sea to the Lower Sea", i.e. from the Mediterranean to the Persian Gulf. Fortunately this rather vague phrase, which survived in later tradition, is restated in greater detail in one of the contemporary versions, which records that Enlil "gave him the upper land, Mari, Iarmuti, and Ibla, as far as the Cedar Forest and the Silver Mountains".(1)

(1) See Poebel, _Historical Texts_ (Univ. of Penns. Mus. Publ., Bab. Sect., Vol. IV, No. 1, 1914), pp. 177 f., 222 ff.

Mari was a city on the middle Euphrates, but the name may here signify the district of Mari which lay in the upper course of Sargon's march. Now we know that the later Sumerian monarch Gudea obtained his cedar beams from the Amanus range, which he names _Amanum_ and describes as the "cedar mountains".(1) Doubtless he felled his trees on the eastern slopes of the mountain. But we may infer from his texts that Sargon actually reached the coast, and his "Cedar Forest" may have lain farther to the south, perhaps as far south as the Lebanon. The "Silver Mountains" can only be identified with the Taurus, where silver mines were worked in antiquity. The reference to Iarmuti is interesting, for it is clearly the same place as Iarimuta or Iarimmuta, of which we find mention in the Tell el-Amarna letters. From the references to this district in the letters of Rib-Adda, governor of Byblos, we may infer that it was a level district on the coast, capable of producing a considerable quantity of grain for export, and that it was under Egyptian control at the time of Amenophis IV. Hitherto its position has been conjecturally placed in the Nile Delta, but from Sargon's reference we must probably seek it on the North Syrian or possibly the Cilician coast. Perhaps, as Dr. Poebel suggests, it was the plain of Antioch, along the lower course and at the mouth of the Orontes. But his further suggestion that the term is used by Sargon for the whole stretch of country between the sea and the Euphrates is hardly probable. For the geographical references need not be treated as exhaustive, but as confined to the more important districts through which the expedition passed. The district of Ibla which is also mentioned by Narâm-Sin and Gudea, lay probably to the north of Iarmuti, perhaps on the southern slopes of Taurus. It, too, we may regard as a district of restricted extent rather than as a general geographical term for the extreme north of Syria.

(1) Thureau-Dangin, _Les inscriptions de Sumer de d'Akkad_, p. 108 f., Statue B, col. v. 1. 28; Germ. ed., p. 68 f.

It is significant that Sargon does not allude to any battle when describing this expedition, nor does he claim to have devastated the western countries.(1) Indeed, most of these early expeditions to the west appear to have been inspired by motives of commercial enterprise rather than of conquest. But increase of wealth was naturally followed by political expansion, and Egypt's dream of an Asiatic empire was realized by Pharaohs of the XVIIIth Dynasty. The fact that Babylonian should then have been adopted as the medium of official intercourse in Syria points to the closeness of the commercial ties which had already united the Euphrates Valley with the west. Egyptian control had passed from Canaan at the time of the Hebrew settlement, which was indeed a comparatively late episode in the early history of Syria. Whether or not we identify the Khabiri with the Hebrews, the character of the latter's incursion is strikingly illustrated by some of the Tell el-Amarna letters. We see a nomad folk pressing in upon settled peoples and gaining a foothold here and there.(2)

(1) In some versions of his new records Sargon states that "5,400 men daily eat bread before him" (see Poebel, op. cit., p. 178); though the figure may be intended to convey an idea of the size of Sargon's court, we may perhaps see in it a not inaccurate estimate of the total strength of his armed forces.

(2) See especially Professor Burney's forthcoming commentary on Judges (passim), and his forthcoming Schweich Lectures (now delivered, in 1917).

The great change from desert life consists in the adoption of agriculture, and when once that was made by the Hebrews any further advance in economic development was dictated by their new surroundings. The same process had been going on, as we have seen, in Syria since the dawn of history, the Semitic nomad passing gradually through the stages of agricultural and village life into that of the city. The country favoured the retention of tribal exclusiveness, but ultimate survival could only be purchased at the cost of some amalgamation with their new neighbours. Below the surface of Hebrew history these two tendencies may be traced in varying action and reaction. Some sections of the race engaged readily in the social and commercial life of Canaanite civilization with its rich inheritance from the past. Others, especially in the highlands of Judah and the south, at first succeeded in keeping themselves remote from foreign influence. During the later periods of the national life the country was again subjected, and in an intensified degree, to those forces of political aggression from Mesopotamia and Egypt which we have already noted as operating in Canaan. But throughout the settled Hebrew community as a whole the spark of desert fire was not extinguished, and by kindling the zeal of the Prophets it eventually affected nearly all the white races of mankind.

In his Presidential Address before the British Association at Newcastle,(1) Sir Arthur Evans emphasized the part which recent archaeology has played in proving the continuity of human culture from the most remote periods. He showed how gaps in our knowledge had been bridged, and he traced the part which each great race had taken in increasing its inheritance. We have, in fact, ample grounds for assuming an interchange, not only of commercial products, but, in a minor degree, of ideas within areas geographically connected; and it is surely not derogatory to any Hebrew writer to suggest that he may have adopted, and used for his own purposes, conceptions current among his contemporaries. In other words, the vehicle of religious ideas may well be of composite origin; and, in the course of our study of early Hebrew tradition, I suggest that we hold ourselves justified in applying the comparative method to some at any rate of the ingredients which went to form the finished product. The process is purely literary, but it finds an analogy in the study of Semitic art, especially in the later periods. And I think it will make my meaning clearer if we consider for a moment a few examples of sculpture produced by races of Semitic origin. I do not suggest that we should regard the one process as in any way proving the existence of the other. We should rather treat the comparison as illustrating in another medium the effect of forces which, it is clear, were operative at various periods upon races of the same stock from which the Hebrews themselves were descended. In such material products the eye at once detects the Semite's readiness to avail himself of foreign models. In some cases direct borrowing is obvious; in others, to adapt a metaphor from music, it is possible to trace extraneous _motifs_ in the design.(2)

(1) "New Archaeological Lights on the Origins of Civilization in Europe," British Association, Newcastle-on- Tyne, 1916.

(2) The necessary omission of plates, representing the slides shown in the lectures, has involved a recasting of most passages in which points of archaeological detail were discussed; see Preface. But the following paragraphs have been retained as the majority of the monuments referred to are well known.

Some of the most famous monuments of Semitic art date from the Persian and Hellenistic periods, and if we glance at them in this connexion it is in order to illustrate during its most obvious phase a tendency of which the earlier effects are less pronounced. In the sarcophagus of the Sidonian king Eshmu-'azar II, which is preserved in the Louvre,(1) we have indeed a monument to which no Semitic sculptor can lay claim. Workmanship and material are Egyptian, and there is no doubt that it was sculptured in Egypt and transported to Sidon by sea. But the king's own engravers added the long Phoenician inscription, in which he adjures princes and men not to open his resting-place since there are no jewels therein, concluding with some potent curses against any violation of his tomb. One of the latter implores the holy gods to deliver such violators up "to a mighty prince who shall rule over them", and was probably suggested by Alexander's recent occupation of Sidon in 332 B.C. after his reduction and drastic punishment of Tyre. King Eshmun-'zar was not unique in his choice of burial in an Egyptian coffin, for he merely followed the example of his royal father, Tabnîth, "priest of 'Ashtart and king of the Sidonians", whose sarcophagus, preserved at Constantinople, still bears in addition to his own epitaph that of its former occupant, a certain Egyptian general Penptah. But more instructive than these borrowed memorials is a genuine example of Phoenician work, the stele set up by Yehaw-milk, king of Byblos, and dating from the fourth or fifth century B.C.(2) In the sculptured panel at the head of the stele the king is represented in the Persian dress of the period standing in the presence of 'Ashtart or Astarte, his "Lady, Mistress of Byblos". There is no doubt that the stele is of native workmanship, but the influence of Egypt may be seen in the technique of the carving, in the winged disk above the figures, and still more in the representation of the goddess in her character as the Egyptian Hathor, with disk and horns, vulture head-dress and papyrus-sceptre. The inscription records the dedication of an altar and shrine to the goddess, and these too we may conjecture were fashioned on Egyptian lines.

(1) _Corp. Inscr. Semit._, I. i, tab. II.

(2) _C.I.S._, I. i, tab. I.

The representation of Semitic deities under Egyptian forms and with Egyptian attributes was encouraged by the introduction of their cults into Egypt itself. In addition to Astarte of Byblos, Ba'al, Anath, and Reshef were all borrowed from Syria in comparatively early times and given Egyptian characters. The conical Syrian helmet of Reshef, a god of war and thunder, gradually gave place to the white Egyptian crown, so that as Reshpu he was represented as a royal warrior; and Qadesh, another form of Astarte, becoming popular with Egyptian women as a patroness of love and fecundity, was also sometimes modelled on Hathor.(1)

(1) See W. Max Müller, _Egyptological Researches_, I, p. 32 f., pl. 41, and S. A. Cook, _Religion of Ancient Palestine_, pp. 83 ff.

Semitic colonists on the Egyptian border were ever ready to adopt Egyptian symbolism in delineating the native gods to whom they owed allegiance, and a particularly striking example of this may be seen on a stele of the Persian period preserved in the Cairo Museum.(1) It was found at Tell Defenneh, on the right bank of the Pelusiac branch of the Nile, close to the old Egyptian highway into Syria, a site which may be identified with that of the biblical Tahpanhes and the Daphnae of the Greeks. Here it was that the Jewish fugitives, fleeing with Jeremiah after the fall of Jerusalem, founded a Jewish colony beside a flourishing Phoenician and Aramaean settlement. One of the local gods of Tahpanhes is represented on the Cairo monument, an Egyptian stele in the form of a naos with the winged solar disk upon its frieze. He stands on the back of a lion and is clothed in Asiatic costume with the high Syrian tiara crowning his abundant hair. The Syrian workmanship is obvious, and the Syrian character of the cult may be recognized in such details as the small brazen fire-altar before the god, and the sacred pillar which is being anointed by the officiating priest. But the god holds in his left hand a purely Egyptian sceptre and in his right an emblem as purely Babylonian, the weapon of Marduk and Gilgamesh which was also wielded by early Sumerian kings.

(1) Müller, op. cit., p. 30 f., pl. 40. Numismatic evidence exhibits a similar readiness on the part of local Syrian cults to adopt the veneer of Hellenistic civilization while retaining in great measure their own individuality; see Hill, "Some Palestinian Cults in the Graeco-Roman Age", in _Proceedings of the British Academy_, Vol. V (1912).

The Elephantine papyri have shown that the early Jews of the Diaspora, though untrammeled by the orthodoxy of Jerusalem, maintained the purity of their local cult in the face of considerable difficulties. Hence the gravestones of their Aramaean contemporaries, which have been found in Egypt, can only be cited to illustrate the temptations to which they were exposed.(1) Such was the memorial erected by Abseli to the memory of his parents, Abbâ and Ahatbû, in the fourth year of Xerxes, 481 B.C.(2) They had evidently adopted the religion of Osiris, and were buried at Saqqârah in accordance with the Egyptian rites. The upper scene engraved upon the stele represents Abbâ and his wife in the presence of Osiris, who is attended by Isis and Nephthys; and in the lower panel is the funeral scene, in which all the mourners with one exception are Asiatics. Certain details of the rites that are represented, and mistakes in the hieroglyphic version of the text, prove that the work is Aramaean throughout.(3)

(1) It may be admitted that the Greek platonized cult of Isis and Osiris had its origin in the fusion of Greeks and Egyptians which took place in Ptolemaic times (cf. Scott- Moncrieff, _Paganism and Christianity in Egypt_, p. 33 f.). But we may assume that already in the Persian period the Osiris cult had begun to acquire a tinge of mysticism, which, though it did not affect the mechanical reproduction of the native texts, appealed to the Oriental mind as well as to certain elements in Greek religion. Persian influence probably prepared the way for the Platonic exegesis of the Osiris and Isis legends which we find in Plutarch; and the latter may have been in great measure a development, and not, as is often assumed, a complete misunderstanding of the later Egyptian cult.

(2) _C.I.S._, II. i, tab. XI, No. 122.

(3) A very similar monument is the Carpentras Stele (_C.I.S._, II., i, tab. XIII, No. 141), commemorating Taba, daughter of Tahapi, an Aramaean lady who was also a convert to Osiris. It is rather later than that of Abbâ and his wife, since the Aramaic characters are transitional from the archaic to the square alphabet; see Driver, _Notes on the Hebrew Text of the Books of Samuel_, pp. xviii ff., and Cooke, _North Semitic Inscriptions_, p. 205 f. The Vatican Stele (op. cit. tab. XIV. No. 142), which dates from the fourth century, represents inferior work.

If our examples of Semitic art were confined to the Persian and later periods, they could only be employed to throw light on their own epoch, when through communication had been organized, and there was consequently a certain pooling of commercial and artistic products throughout the empire.(1) It is true that under the Great King the various petty states and provinces were encouraged to manage their own affairs so long as they paid the required tribute, but their horizon naturally expanded with increase of commerce and the necessity for service in the king's armies. At this time Aramaic was the speech of Syria, and the population, especially in the cities, was still largely Aramaean. As early as the thirteenth century sections of this interesting Semitic race had begun to press into Northern Syria from the middle Euphrates, and they absorbed not only the old Canaanite population but also the Hittite immigrants from Cappadocia. The latter indeed may for a time have furnished rulers to the vigorous North Syrian principalities which resulted from this racial combination, but the Aramaean element, thanks to continual reinforcement, was numerically dominant, and their art may legitimately be regarded as in great measure a Semitic product. Fortunately we have recovered examples of sculpture which prove that tendencies already noted in the Persian period were at work, though in a minor degree, under the later Assyrian empire. The discoveries made at Zenjirli, for example, illustrate the gradually increasing effect of Assyrian influence upon the artistic output of a small North Syrian state.

(1) Cf. Bevan, _House of Seleucus_, Vol. I, pp. 5, 260 f. The artistic influence of Mesopotamia was even more widely spread than that of Egypt during the Persian period. This is suggested, for example, by the famous lion-weight discovered at Abydos in Mysia, the town on the Hellespont famed for the loves of Hero and Leander. The letters of its Aramaic inscription (_C.I.S._, II. i, tab. VII, No. 108) prove by their form that it dates from the Persian period, and its provenance is sufficiently attested. Its weight moreover suggests that it was not merely a Babylonian or Persian importation, but cast for local use, yet in design and technique it is scarcely distinguishable from the best Assyrian work of the seventh century.

This village in north-western Syria, on the road between Antioch and Mar'ash, marks the site of a town which lay near the southern border or just within the Syrian district of Sam'al. The latter is first mentioned in the Assyrian inscriptions by Shalmaneser III, the son and successor of the great conqueror, Ashur-nasir-pal; and in the first half of the eighth century, though within the radius of Assyrian influence, it was still an independent kingdom. It is to this period that we must assign the earliest of the inscribed monuments discovered at Zenjirli and its neighbourhood. At Gerjin, not far to the north-west, was found the colossal statue of Hadad, chief god of the Aramaeans, which was fashioned and set up in his honour by Panammu I, son of Qaral and king of Ya'di.(1) In the long Aramaic inscription engraved upon the statue Panammu records the prosperity of his reign, which he ascribes to the support he has received from Hadad and his other gods, El, Reshef, Rekub-el, and Shamash. He had evidently been left in peace by Assyria, and the monument he erected to his god is of Aramaean workmanship and design. But the influence of Assyria may be traced in Hadad's beard and in his horned head-dress, modelled on that worn by Babylonian and Assyrian gods as the symbol of divine power.

(1) See F. von Luschan, _Sendschirli_, I. (1893), pp. 49 ff., pl. vi; and cf. Cooke, _North Sem. Inscr._, pp. 159 ff. The characters of the inscription on the statue are of the same archaic type as those of the Moabite Stone, though unlike them they are engraved in relief; so too are the inscriptions of Panammu's later successor Bar-rekub (see below). Gerjin was certainly in Ya'di, and Winckler's suggestion that Zenjirli itself also lay in that district but near the border of Sam'al may be provisionally accepted; the occurrence of the names in the inscriptions can be explained in more than one way (see Cooke, op. cit., p. 183).