power of Assyria, and the queen whose beauty and courage enchanted him, are known to Ctesias in their words and actions. He can mention by name the man who nurtured Semiramis as a girl, and her first husband. He knows the names of the princes of the Arabs, Medes, Bactrians, and Indians with whom Ninus and Semiramis had to do. The number of the forces set in motion against Bactria and India are given accurately according to the weapon used. The arrangements of the battle beyond the Indus, the progress of the fight, the wounds carried away by Semiramis, the exchange of prisoners, are related with the fidelity of an eye-witness. Weight is obviously laid on the fact that after Semiramis had conquered and traversed Egypt and Ethiopia, after her unbroken success, the last great campaign against the Indians fails because she attacked them without receiving any previous injury. The message which Stabrobates sends to her, the letter which he writes, the reproaches he makes upon her life, the minute details which Ctesias gives of the relation of Onnes to Semiramis, of the conspiracy of the sons by this marriage, who felt themselves dishonoured by the conduct of their now aged mother, of the letter of the Mede, whose fidelity discovered the plot to her, of the speeches which Semiramis made on this occasion, carry us back to a description at once vivid and picturesque. If we take these pictures together with the account of Ctesias about the decline of the Assyrian kingdom, in which also very characteristic details appear, if we consider the style and the whole tone of these accounts of the beginning and the end of the Assyrian kingdom, we cannot avoid the conclusion that Ctesias has either invented the whole narrative or followed a poetic source.

The first inference is untenable, because the whole narrative bears the colour and stamp of the East in such distinctness that Ctesias cannot have invented it, and, on the other hand, it contains so much poetry that if Ctesias were the author of these descriptions we should have to credit him with high poetic gifts. We are, therefore, driven to adopt the second inference—that a poetic source lies at the base of his account. If, as was proved above, neither Assyrian nor Babylonian traditions can be taken into consideration, Assyrian and Babylonian poems are by the same reasoning put out of the question. On the other hand, we find in Ctesias' history of the Medes episodes of at least equal poetic power with his narrative of Ninus and Semiramis. Plutarch tells us that the great deeds of Semiramis were praised in songs.[21] It is certain that they could not be the songs of Assyria, which had long since passed away, but we find, on the other hand, that there were minstrels at the court of the Medes, who sang to the kings at the banquet; it is, moreover, a Mede who warns Semiramis against Hyapates and Hydaspes; and the other names in the narrative of Ctesias bear the stamp of the Iranian language. Further, we find, not only in the fragments of Ctesias which have come down to us, but also in the narratives of Herodotus and other Greeks concerning the fortunes of the Medes and Persians down to the great war of Xerxes against the Hellenes, remains and traces of poems which can only have been sung amongst the Medes and Persians. We have, therefore, good grounds for assuming that it was Medo-Persian poems which could tell the story of Ninus and Semiramis, and that this part of the Medo-Persian poems was the source from which Ctesias drew. It was the contents of these poems recounted to him by Persians or Medes which he no doubt followed in this case, as in his further narratives of Parsondes and Sparethra, of the rebellion and struggle of Cyrus against Astyages, just as Herodotus before him drew from such poems his account of the rebellion of the Magi, the death of Cambyses, and the conspiracy of the seven Persians.

After severe struggles the princes and people of the Medes succeeded in casting down the Assyrian empire from the supremacy it had long maintained; they conquered and destroyed their old and supposed impregnable metropolis. If the tribes of the Medes had previously been forced to bow before the Assyrians, they took ample vengeance for the degradation. Hence the Median minstrels had a most excellent reason to celebrate this crowning achievement of their nation; it afforded them a most agreeable subject. If, in the earlier and later struggles of the Medes against Assyria, the bravery of individual heroes was often celebrated in song, these songs might by degrees coalesce into a connected whole, the close of which was the overthrow of the Assyrian empire. The Median poems which dealt with this most attractive material must have commenced with the rise of the Assyrian kingdom; they had the more reason for explaining and suggesting motives for this mighty movement, as it was incumbent on them to make intelligible the wreck of the resistance of their own nation to the onset of the Assyrians, and the previous subjection of Media. In these poems no doubt they described the cruelty of the conqueror, who crucified their king, with his wife and seven children (p. 3). The more brilliant, the more overpowering the might of Assyria, as they described it, owing to eminent sovereigns in the earliest times, the wider the extent of the empire, the more easily explained and tolerable became the subjection of the Medes, the greater the glory to have finally conquered. This final retribution formed the close; the striking contrast of the former exaltation and subsequent utter overthrow, brought about by Median power and bravery, formed the centre of these poems.

The prince of the Assyrians whose success is unfailing till he finds himself checked in Bactria, the woman of unknown origin found in the desert, fostered by herdsmen, and raised from the lowest to the most elevated position,[22] who in bravery surpasses the bravest, who outdoes the deeds of Ninus, whose charms allure to destruction every one who approaches her, who makes all whom she favours her slaves in order to slay them, who without regard to her years makes every youth her lover, and is, nevertheless, finally exalted to the gods—are these forms due to the mere imagination of Medo-Persian minstrels, or what material lay at the base of these lively pictures?

The metropolis of the Assyrians was known to the Greeks as Ninus; in the inscriptions of the Assyrian kings it is called Ninua. From this the name of Ninus, the founder of the empire, as well as Ninyas, is obviously taken. In Herodotus[23] and the chronographers Ninus is the son of Belus, i. e. of Bel, the sky-god already known to us (I. 265). The monuments of Assyria show us that the Assyrians worshipped a female deity, which was at once the war-goddess and goddess of sexual love—Istar-Bilit. Istar was not merely the goddess of battles—bringing death and destruction, though also conferring victory; she was at the same time the goddess of sensual love. We have already learned to know her double nature. In turn she sends life, pleasure, and death. If Istar of Arbela was the goddess of battle, Istar of Nineveh was the goddess of love (I. 270). As the goddess of love, doves were sacred to her. In the temples of Syria there were statues of this goddess with a golden dove on