The World's Earliest Music: Traced to Its Beginnings in Ancient Lands by Collected Evidence of Relics, Records, History, and Musical Instruments from Greece, Etruria, Egypt, China, Through Asyria and Babylonia, to the Primitive Home, the Land of Akkad and SumerSmith, Hermann
History
The World's Earliest Music: Traced to Its Beginnings in Ancient Lands by Collected Evidence of Relics, Records, History, and Musical Instruments from Greece, Etruria, Egypt, China, Through Asyria and Babylonia, to the Primitive Home, the Land of Akkad and Sumer
Smith, Hermann
Music -- To 500 -- History and criticism
Like all others of her race, the Lady Maket was a fourfold personage.
All her notions of herself were of a tetrachordal state of being. Her
gold seal impressed with her name testified to all men that she was
a being of flesh and blood—really and truly human—and not at all a
mystery, unless to be feminine is so; and that she greatly loved her
burnished metal mirror, and delighted in the dark glory of her hair,
in the coral of her lips, in the flashing light of her eyes, and in
the deftness and musical skill of her almond tipped fingers—all that
is past question. She believed that, besides the bodily state of
her presence, she was possessed of another equally living, although
invisible form, a _double_ called _Ka_, which was as it were a less
solid duplicate of her corporeal being; and after the _double_ came
the _Soul_ (_Bi_ or _Ba_), and after the soul came the _Khoo_ or the
_luminous_, a spark from the fire divine. To keep the fourfold-unity
of being, to preserve it wholly pure and unblemished, and to secure
it against the possibility of separation or dissolution, was to her
the most anxious consideration of her life; and this belief gave the
essential reason for the assumption that the number four was of all
numbers the most sacred, and the idea thereof was ingrained into the
daily life of all her people.
Paying a visit to another mansion, I made enquiries for Lady Maket,
being much interested in her and her doings; but Mr. F. Petrie, who
then in charge, informed me that it is some three thousand years since
she was seen, and although I could not see the lady, yet he had many
of her belongings which told all that was known of her. I saw the
chair—the last, it was believed—upon which she sat, and the wooden
head-rest (the substitute for a pillow) by which her dark luxuriant
ringlets were preserved from becoming crushed or disordered. I saw the
silver scarab rings she wore, the earrings and bead necklaces, the
combs and perfume holders, the paint and pomade jars, and the bronze
mirror in which she last looked, confessing her delight in her own
beauty.
Here also were the flutes, the two slender flutes, that plaintively
wailed their music and accompanied her to her last home. Flutes! The
very word has magic in it. Egyptian double flutes, and thirty centuries
passed them by, and they are here. Adonais,—what a find!
Public-domain text, read in full here on John Shaqi.
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