And if I were not a king, I would be a university man. And if it were so that I must be a prisoner, if I might have my wish, I would desire to have no other prison then that library, and to be chained together with so many good authors.
King James 1 (1566-1625)
Read the story at The Guardian here
Figures of Babylon: oldest drawing of a ghost found in British Museum vault
A 3,500-year-old image tablet of a ‘miserable male ghost’ gives up its secret
A lonely spirit being led to eternal bliss by a lover on a Babylonian clay tablet. White line tracing © James Fraser and Chris Cobb for The First Ghosts, by Irving Finkel. Photograph: The British Museum
Sat 16 Oct 2021 13.00 EDT
Its outlines are faint, only discernible at an angle, but the world’s oldest drawing of a ghost has been discovered in the darkened vaults of the British Museum.
A lonely bearded spirit being led into the afterlife and eternal bliss by a lover has been identified on an ancient Babylonian clay tablet created about 3,500 years ago.
It is part of an exorcist’s guide to getting rid of unwanted ghosts by addressing the particular malaise that brought them back to the world of the living – in this case, a ghost in desperate need of a companion. He is shown walking with his arms outstretched, his wrists tied by a rope held by the female, while an accompanying text details a ritual that would to dispatch them happily to the underworld.
Dr Irving Finkel, curator of the Middle Eastern department at the British Museum, said the “absolutely spectacular object from antiquity” had been overlooked until now.
“It’s obviously a male ghost and he’s miserable. You can imagine a tall, thin, bearded ghost hanging about the house did get on people’s nerves. The final analysis was that what this ghost needed was a lover,” he said.
“You can’t help but imagine what happened before. ‘Oh God, Uncle Henry’s back.’ Maybe Uncle Henry’s lost three wives. Something that everybody knew was that the way to get rid of the old bugger was to marry him off. It’s not fanciful to read this into it. It’s a kind of explicit message. There’s very high-quality writing there and immaculate draughtsmanship.
“That somebody thinks they can get rid of a ghost by giving them a bedfellow is quite comic.”
As a world authority on cuneiform, a system of writing used in the ancient Middle East, Finkel realised that the tablet had been incorrectly deciphered previously. The drawing had been missed as the ghost only comes to life when viewed from above and under a light. Forgotten since its acquisition by the museum in the 19th century, the tablet has never even been exhibited.
Irving Finkel, a world authority on cuneiform script, tells the story of his ghostly discovery in The First Ghosts.
Finkel said: “You’d probably never give it a second thought because the area where the drawings are looks like it’s got no writing. But when you examine it and hold it under a lamp, those figures leap out at you across time in the most startling way. It is a Guinness Book of Records object because how could anybody have a drawing of a ghost which was older?”
While half the tablet is missing and it is small enough to fit in a person’s hand, the back bears an extensive text with the instructions for dealing with a ghost that “seizes hold of a person and pursues him and cannot be loosed”. The ritual involves making figurines of a man and a woman: “You dress the man in an everyday shift and equip him with travel provisions. You wrap the woman in four red garments and clothe her in a purple cloth. You give her a golden brooch. You equip her fully with bed, chair, mat and towel; you give her a comb and a flask.
“At sunrise towards the sun you make the ritual arrangements and set up two carnelian vessels of beer. You set in place a special vessel and set up a juniper censer with juniper. You draw the curtain like that of the diviner. You [put] the figurines together with their equipment and place them in position… and say as follows, Shamash [god of the sun and judge of the underworld by night].”
The text ends with a warning: “Do not look behind you!”
Finkel believes the tablet was part of a library of magic in the house of an exorcist or in a temple.
The ghost has appeared just in time for Halloween. Its discovery features in Finkel’s forthcoming book, The First Ghosts: Most Ancient of Legacies, to be published on 11 November by Hodder & Stoughton.
He himself has never seen a ghost, “even in the shadier vaults of the British Museum”, which is “riddled with ghosts”, he said. “In the King’s Library, more than one person has seen a head and shoulders moving along but at a peculiar height. That was dismissed by sceptics, but it turns out that the original floor under the present floor was actually low, which means that they were about right.”
He hopes to exhibit the Babylonian tablet, noting that such an artefact brings us closer to our ancestors: “All the fears and weaknesses and characteristics that make the human race so fascinating, assuredly were there in spades 3,500 years ago.
“I want people to know about this culture. Egypt always wins in Hollywood. If the Babylonian underworld is anything like it was described, then they’re all still there. So just remember that.”
Writes Alana Locke (for Professor Norrie Epstein’s Literary Traditions):
For this work, I decided to use watercolor and gouache with details done in colored pencil. I thought these mediums could create the dreamy, soft qualities of the poem. Sappho uses words such as “luminous” and “shine,” so I tried to make a glowy effect around the moon. I decided to put on the face on the moon to personify it as Sappho did. The phrase “when in her fullness she shines” conjured the image of the moon smiling in my mind. I decided to add a figure sitting on a cliff to interact with the moon.
Is the figure Sappho writing about the moon? Does the figure see their love’s face on the moon? Is the figure in love with the moon itself?
Click above to play this Gilgamesh quilt video.
Kurt Weil, Violin Concerto (Opus 12) 1924
Gregor had never had any practice in moving backwards and was only able to go very slowly. If Gregor had only been allowed to turn round he would have been back in his room straight away, but he was afraid that if he took the time to do that his father would become impatient, and there was the threat of a lethal blow to his back or head from the stick in his father’s hand any moment. Eventually, though, Gregor realized that he had no choice as he saw, to his disgust, that he was quite incapable of going backwards in a straight line; so he began, as quickly as possible and with frequent anxious glances at his father, to turn himself round. It went very slowly, but perhaps his father was able to see his good intentions as he did nothing to hinder him, in fact now and then he used the tip of his stick to give directions from a distance as to which way to turn. If only his father would stop that unbearable hissing!
The Friday Reading Group gathered to translate a Basho haiku from the Japanese. “Old pond…new frog…water jump-in sound” is how one translator renders it, but every rendering renews both poem and poet because the poem is the poem of poems. The readers rendered the haiku this way:
There is an old pond/A frog jumps in/spash (Ben Blum)
ice pond just melts ssssshhh/frog jumps ripple (circle) green/green (circle) green green (Lin Haire-Sargeant)
Ancient pond, ancient/ silence–until a frog leaps/ down and up leaps splash! (Debra San)
An old pond lies still./A springing frog awakens/Shattering water. (Josh Cohen)
A quiet old pond/Frog jumps into the water/The quiet pond sings (Hu Hohn)
A pond full of frogs;/A jumping and one goes in;/Kersplashing echoes. (Albert Lafarge)
To thousand sorts of change we subject see:
Yet are they chang’d (by other wondrous slights)
Into themselves, and lose their native mights:
The fire to aire, and th’ ayre to water sheere,
And water into earth: yet water fights
With fire, and aire with earth, approaching neere:
Yet all are in one body, and as one appeare.