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139
THE VITAL QUESTION
In 1984, two small clay tablets of vaguely rectangular shape were found in
Tell Brak, Siria, dating from the fourth millennium BC. They are in the
Archaeological Museum of Baghdad. They are simple, unimpressive objects, each
bearing a few discreet markings: a small indentation near the top and some sort of
stick-drawn animal in the centre. One of the animals may be a goat, in which case
the other is probably a sheep. The indentation, archeologists say, represents the
number ten. All our history begins with these two modest tablets. They are among
the oldest examples of writing we know.
There is something intensely moving in these tablets. Perhaps, when we
stare at these pieces of clay carried by a river which no longer exists, observing the
delicate incisions portraying animals turned to dust thousands and thousands of
years ago, a voice is conjured up, a thought, a message that tells us, “Here were ten
goats,” “Here were ten sheep,” something spoken by a careful farmer in the days
when the deserts were green. By the mere fact of looking at these tablets we have
prolonged a memory from the beginnings of our time, preserved a thought long
after the thinker has stopped thinking, and made ourselves participants in an act of
creation that remains open for as long as these images are seen, deciphered, read.
Like the Sumerian ancestor reading the two small tablets on that
inconceivably remote afternoon, we too are reading , here in our room, across
centuries and seas. Abstracted for a moment from the changing light outside and
the sounds that rise from the street, we are following a story, a description, an
argument. Nothing moves except our eyes and our hands occasionally turning the
pages. But how does this process take place?
Reading begins with the eyes. “The keenest of our senses is the sense of
sight,” wrote Cicero, noting that when we see a text we remember it better than
when we merely hear it. Saint Thomas Aquinas called sight “the greatest of the
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