The Indianapolis times. [volume], November 25, 1927, Home Edition, Page PAGE 10, Image 10

About The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965

Image provided by: Indiana State Library

                
PAGE 10
aaviLß&noN
9r —by DR.WILL DURANT
IT was against this primitive poly
theism and sacerdotal venality
that King Iknaton raised revolt. On
coming to power the young king
called himself, as tradition and his
lineage required, Amenhotep IV.; his
Very name involved allegiance to the
corrupt cult of Amon.
But he had the misfortune of be
ing a philosopher; and he lacked the
tried and patient wisdom which
Plato demanded of philosopher
kings.
*He saw the sordidness and absurd
ity of the Egyptian religion, the in
decent wealth and lavish ritual of
the temples# the growing hold of an
impious priesthood on the nation’s
life.
With royal audacity he threw all
compromise to the winds and an
nounced to his people that there was
but one god—Aton, the sun.
Like Akbar, in later India, he
saw divinity above all in the source
of all earthly life and light; he be
came high priest pf his own faith,
and worshipped the sun in simple
ceremony and splendid poetry.
His hymns are the most precious
things in all Egyptian literature—
precious not merely for their form
and feeling, but as the first ex
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pression of monotheism in the his
tory of man.
Had Iknaton been a mature mind
he would have realized that the
change which he proposed from a
superstitious prolytheism deeply
rooted in the needs and habits of
the pebple to a nturalistic mono
theism which subjected imagination
to intelligence was too profound to
be effected in a little time; he would
have* made haste slowly, and soft
ened the transition with many inter
vening steps.
But he was a poet rather than a
philosopher; and, like Shelley an
nouncing the death of Jehovah to
the bishops, Iknaton grasped for ab
solutes and brought the whole
esc of social and mental evolution
down upcr> his head. ♦
' tt tt
AT om-time he dispossessed the
entire priesthood of its wealth,
forbade the worship of the ancieht
deities, and erased their names from
all the monuments; even the word
gods Was mercilessly cmselled out.
His own name, Amenhotep IV.—
composed in part of the name of
Amon—was changed to Iknaton, or
Spirit of Aton. And as his father
had also been an Amenhotep, Ikna
ton, with fanatical consistency, had
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half the name hacked out wherever
it appeared.
To the mind of the young king his
revolution was complete; but to the
people it seemed that he had vio
lated the most sacred traditions of
filial piety.
For the Egyptian religion, like
every ancient faith, required above
all else the honoring of the ances
tral deatif—the cherishing of their
memory and the loving care of their
graves.
Iknaton had underestimated the
power'and pertinacity of the priest
hood; and of course he had exag
gerated the capacity of the people to
understand a natural religion.
Behind the scenes the priests
plotted and prepared; and in the se
clusion of their homes the populace
continued to worship their innumer
able gods.
The “First of the Prophets,” as
historians call him now, was named
by his people “The Criminal of
Ahketation;” and when he died,
broken-hearted at the failure of his
work, the nation rejoiced and fled
back to its temples, its magic and its
barbaric deities.
Two years after Iknaton died his
son-in-law ascended the throne
under the name of Tutenkhaton.
THE INDIANAPOLIS TIMES
One of the first acts of the new king
—as if to show the wind to which
he was trimming his sails—was to
change his name to Tutenkhamon.
Soon after, to assure his power, he
transferred the capital back to
Thebes, restored the worship of
Amon and made peace with the
priests.
The names which Iknaton had had
erased were carved in again and the
feast days which he had abolished
were renewed. Everything was as
before. '
tt tt
r T'HE temples became richer than
ever now, and the priesthood
more powerful; and in the end the
Pharaoh became only the servant
of the High Priest of Amon; the
High Priest ruled openly as
supreme; and the Empire de
generated into a stagnant theocracy.
Omens were arranged to give
divine sanction to every decisiop
of the priests.
Architecture flourished and super
stition grew; but all the other ele
ments in the national life decayed.
The most vital forces of the
people were sucked dry by the
thirst of the gods at the very time
when, in the East, the Assyrian
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wolf was making ready to leap
down hungrily upon the wealth of
these temples and the wealth of
these slaves.
u tt tt
x ARTISTS
WHAT redeemed this civiliza
tion was its art. Not the
pyramids, which are Egyptian art
to the general; these mounds, as we
have confessed, lack the magic of
beauty and have only such majesty
as may come from size.
It was not in these enormities
that the Egyptian artist found his
happiness; we see it rather in an
Old Kingdom painting which
pictures two workmen, carefully
fashioning vases of stone.
"This vase,” says one artisan, “is
very beautiful.” His comrade
answers, simply, “It is, indeed.”
Out of this spirit Egyptian art
arose.
Its first form was writing; for,
as everywhere, so here along the
Nile, writing began as pictures, and
this “ideographic” language sur
vived on the monuments and among
the priests (whence its Greek namtf
of heiroglyphics, or sacred carvings)
long after the weary scribes had
shortened pictures into phonetic
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signs repre.senting syllables, and at
last into tlie letters of the first
known alphabet.
The calendar of 4241 B. C. is the
earliest writing of which we have
arty record. The oldest alphabetic
writing appears about 3500 B. C.,
twenty-five centuries before its use
(so far as we know) by any other
people.
From Egypt this alphabet passed
to Phoenicia and Crete, as a mode
of facilitating commercial records;
from Phoenicia it passed to Greece,
from Greece to Rome, and from
Rome to modern Europe and Amer
ica. From Egypt, too, came the art
of making paper aheaply out of the
fibre of the papyrus plant; without
that art, lost by medieval Europe
and recaptured in the dawn of the
renaissance, writing could never
have passed into print.
tt tt tt
RECENT excavations have un
earthed fragments of Egyptian
libraries as old as 2000 B. C.—papyri
rolled and packed in jars, the jars
labelled and r anged on shelves.
In one of the jars was found the
first form of the story of Sinbad the
Sailor.
More remarkable is a document of
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the Middle Kingdom, in which a
prophet named Ipuwer is repre
sented as standing before the king,
predicting a social catastrophe in
which the poor will become rich and
the rich poor, and announcing, in
an almost Messianic oracle, the
coming of a Saviour who will restore
the land.
Nevertheless, there is in these
relics nothing to compare with the
depth and delicacy of the Greeks.
For the mind of the Egyptian, as
of the Roman, was unimaginative
and matter of fact; it found its
most congenial expression in archi
tecture and sculpture, where stone
might symbolize the strength of the
nation, and the permanence for
which it craved.
it tt it
THE pyramids were “houses of
eternity,” in which body and
soul might remain safe forever. The
tomb was made of the hardest stone,
and the sarcophagi had walls that
would discourage any worm.
The buried body was mummified
with a hundred embalming cloths
and preservative chemicals; to this
day the flesh and hair cling to some
royal skulls, more hideous than an
nihilation.
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.NOV. 25, 1927
Not till the days of the empire
was the architect left free to aim
at beauty as well as at duration.
Sometimes he produced peripteral
colonnaded structures of almost Hel
lenic loveliness, as in the temple
which Napoleon’s expedition found
upon the Isle of Elephantine, and
which a Turkish governor destroyed
in 1822.
But fir more often he concealed
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the most massive colums arid the
most magnificent ornamentation.
He developed the arch, the col
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the basis of all later architectural
forms; while the luxurious capitals
which he loved to mold in the
shape of the papyrus, the lotus
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characteristic and beautiful things
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(To Be Continued)
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