those who marvelled at it claimed, a mirror of the world, then the reflection that it offered was one of social and ethnic hatred. It was not only priests and businessmen who were eager to collaborate with the Persian king. Babylon was also filled with the descendants of deportees, scattered throughout the suburbs. Few of these were willing to die in the cause of a Nebuchadnezzar. The cosmopolitanism of the great city, once the mark and buttress of its imperial might, now threatened it with anarchy. The Babylonians were bound to shrink from such a prospect, even at the cost of surrender to an alien master. Chaos, in Mesopotamia, had always been the ultimate nightmare. Men knew that in the beginning all the world had been under the sway of demons, uncontrollable and savage, until the gods, taking pity on mankind, had established order by giving them a king. Without a monarch, civilisation itself would cease to hold; the demons would surely return. 'To have authority, and possession, and strength, these are princely divine properties' So it had been anciently asserted, in a remote age when even Sargon and his empire lay in the future. 'You should submit to the strong man; you should humble yourself before the man who wields power.' 9 Not, perhaps, the most heroic of maxims, but practical, and sanctified by the habits of millennia. The Babylonians, seeing the Persian king ride victorious towards them, duly scrambled to prostrate themselves. Once again, as they had done to Cyrus, they opened up their gates.
Darius, passing through the brilliant glazed blue of the main gateway, took easy possession of the city. No getting sucked into the urban labyrinth for him. Symmetry as well as chaos were to be found in Babylon. Just as the gods had structured the formlessness of human society by gifting it the sacred institution of monarchy, so, across the seething ferment of the world's largest city, there had been laid an imperious grid of boulevards. Now, down the grandest of these, the Processional Way, Darius made his entry into Babylon.
'May-The-Arrogant-Not-Flourish', the Babylonians called the street, in memory of past triumphs; and to ride down its length as its master was to lay claim to the city's very proudest dreams. Display, in Babylon,was the essence of kingship. Far from empty pomp, it was seen as the blazing of a god-given order, one which could be imagined as rippling like a lightning charge throughout the city, suffusing mortal flesh and bone, and dust and limestone and brick. The architecture of the Processional Way gave stirring illustration to this metaphor. At the boulevard's far end, abutting it, and placing even the Esagila in shadow, was the most staggering of all Babylon's monuments, an immense stepped tower, formed out of seventeen million bricks, and looming almost a hundred metres high: the Etemenanki, or 'House that is the Frontier between the Heavens and the Earth'. Here, as the name of the temple implied, there dwelt a profound mystery, located, with portentous symbolism, in the precise centre of the city. But the Etemenanki was not its only incarnation. So too, in the opinion of the Babylonians, was the mortal person of their king; for he, according to the age-old traditions of Mesopotamia, was both the beating heart of society and a man set utterly apart. That this was no paradox could be illustrated by a simple visit to the Processional Way. Beside the city's main gates, open to the gaze of all who entered Babylon, there stood an immense palace, as visible, in its own way, as the Etemenanki at the opposite end of the boulevard; and yet such was the polychrome gorgeousness of its brickwork, inlaid as it was with gold and silver, and lapis lazuli, and ivory, and cedar, that those who viewed it could hardly help but lower their eyes to the ground. Opulence of such an order was not merely an expression of royal power, but was calculated, very precisely, to reinforce it. All were to feel submission and
Darius, passing through the brilliant glazed blue of the main gateway, took easy possession of the city. No getting sucked into the urban labyrinth for him. Symmetry as well as chaos were to be found in Babylon. Just as the gods had structured the formlessness of human society by gifting it the sacred institution of monarchy, so, across the seething ferment of the world's largest city, there had been laid an imperious grid of boulevards. Now, down the grandest of these, the Processional Way, Darius made his entry into Babylon.
'May-The-Arrogant-Not-Flourish', the Babylonians called the street, in memory of past triumphs; and to ride down its length as its master was to lay claim to the city's very proudest dreams. Display, in Babylon,was the essence of kingship. Far from empty pomp, it was seen as the blazing of a god-given order, one which could be imagined as rippling like a lightning charge throughout the city, suffusing mortal flesh and bone, and dust and limestone and brick. The architecture of the Processional Way gave stirring illustration to this metaphor. At the boulevard's far end, abutting it, and placing even the Esagila in shadow, was the most staggering of all Babylon's monuments, an immense stepped tower, formed out of seventeen million bricks, and looming almost a hundred metres high: the Etemenanki, or 'House that is the Frontier between the Heavens and the Earth'. Here, as the name of the temple implied, there dwelt a profound mystery, located, with portentous symbolism, in the precise centre of the city. But the Etemenanki was not its only incarnation. So too, in the opinion of the Babylonians, was the mortal person of their king; for he, according to the age-old traditions of Mesopotamia, was both the beating heart of society and a man set utterly apart. That this was no paradox could be illustrated by a simple visit to the Processional Way. Beside the city's main gates, open to the gaze of all who entered Babylon, there stood an immense palace, as visible, in its own way, as the Etemenanki at the opposite end of the boulevard; and yet such was the polychrome gorgeousness of its brickwork, inlaid as it was with gold and silver, and lapis lazuli, and ivory, and cedar, that those who viewed it could hardly help but lower their eyes to the ground. Opulence of such an order was not merely an expression of royal power, but was calculated, very precisely, to reinforce it. All were to feel submission and
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