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The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
Gilgamesh's superiority. They hugged and became best friends. Name Always eager to build a name for himself, Gilgamesh wanted to have an adventure. He wanted to go to the Cedar Forest and slay its guardian demon, Humbaba. Enkidu did not like the idea. He knew The Epic of Gilgamesh Humbaba from his days running wild in the forest. He tried to talk his best friend out of it. But Gilgamesh refused to listen. Reluctantly, By Vickie Chao Enkidu agreed to go with him. A long, long time ago, there After several days of journeying, Gilgamesh and Enkidu at last was a kingdom called Uruk. reached the edge of the Cedar Forest. Their intrusion made Humbaba Its ruler was Gilgamesh. very angry. But thankfully, with the help of the sun god, Shamash, the duo prevailed. They killed Humbaba and cut down the forest. They Gilgamesh, by all accounts, fashioned a raft out of the cedar trees. Together, they set sail along the was not an ordinary person. Euphrates River and made their way back to Uruk. The only shadow He was actually a cast over this victory was Humbaba's curse. Before he was beheaded, superhuman, two-thirds god he shouted, "Of you two, may Enkidu not live the longer, may Enkidu and one-third human. As king, not find any peace in this world!" Gilgamesh was very harsh. His people were scared of him and grew wary over time. They pleaded with the sky god, Anu, for his help. In When Gilgamesh and Enkidu arrived at Uruk, they received a hero's response, Anu asked the goddess Aruru to create a beast-like man welcome. -
1 Inanna Research Script
INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the -
The Epic of Gilgamesh: Tablet XI
Electronic Reserves Coversheet Copyright Notice The work from which this copy was made may be protected by Copyright Law (Title 17 U.S. Code http://www4.law.cornell.edu/uscode/17/) The copyright notice page may, or may not, be included with this request. If it is not included, please use the following guidelines and refer to the U.S. Code for questions: Use of this material may be allowed if one or more of these conditions have been met: • With permission from the rights holder. • If the use is “Fair Use.” • If the Copyright on the work has expired. • If it falls within another exemption. **The USER of this is responsible for determining lawful uses** Montana State University Billings Library 1500 University Drive Billings, MT 59101-0298 (406) 657-1687 The Epic of Gilgamesh: Tablet XI The Story of the Flood Tell me, how is it that you stand in the Assembly of the Gods, and have found life!" Utanapishtim spoke to Gilgamesh, saying: "I will reveal to you, Gilgamesh, a thing that is hidden, a secret of the gods I will tell you! Shuruppak, a city that you surely know, situated on the banks of the Euphrates, that city was very old, and there were gods inside it. The hearts of the Great Gods moved them to inflict the Flood. Ea, the Clever Prince(?), was under oath with them so he repeated their talk to the reed house: 'Reed house, reed house! Wall, wall! O man of Shuruppak, son of Ubartutu: Tear down the house and build a boat! Abandon wealth and seek living beings! Spurn possessions and keep alive living beings! Make all living beings go up into the boat. -
Namzitara FS Kilmer
Offprint from STRINGS AND THREADS A Celebration of the Work of Anne Draffkorn Kilmer Edited by WOLFGANG HEIMPEL and GABRIELLA FRANTZ - SZABÓ Winona Lake, Indiana EISENBRAUNS 2011 © 2011 by Eisenbrauns Inc. All rights reserved Printed in the United States of America www.eisenbrauns.com Drawing on the cover and beneath the title on p. iii by Cornelia Wolff, Munich, after C. L. Wooley, Ur Excavations 2 (1934), 105. Library of Congress Cataloging-in-Publication Data Strings and threads : a celebration of the work of Anne Draffkorn Kilmer / edited by Wolfgang Heimpel and Gabriella Frantz-Szabó. p. cm. Includes bibliographical references and index. ISBN 978-1-57506-227-3 (hardback : alk. paper) 1. Kilmer, Anne Draffkorn. 2. Music—Middle East—History and criticism. 3. Music archaeology— Middle East. I. Kilmer, Anne Draffkorn. II. Heimpel, Wolfgang. III. Frantz-Szabó, Gabriella. ML55.K55S77 2011 780.9—dc22 2011036676 The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. †Ê Contents Preface .............................................................. vii Abbreviations ......................................................... ix GUITTY AZARPAY The Imagery of the Manichean ‘Call’ on a Sogdian Funerary Relief from China ................ 1 DOMINIQUE COLLON Chinless Wonders ................................ 19 JERROLD S. COOPER Puns and Prebends: The Tale of Enlil and Namzitara. 39 RICHARD L. CROCKER No Polyphony before A.D. 900! ...................... 45 DANIEL A. FOXVOG Aspects of Name-Giving in Presargonic Lagash ........ 59 JOHN CURTIS FRANKLIN “Sweet Psalmist of Israel”: The Kinnôr and Royal Ideology in the United Monarchy .............. 99 ELLEN HICKMANN Music Archaeology as a Field of Interdisciplinary Research ........................ -
Chapter X LAMASTU, DAUGHTER of ANU. a PROFILE
Chapter X LAMASTU, DAUGHTER OF ANU. A PROFILE F.A.M. Wiggermann Introduction and sources Outstanding among all supernatural evils defined by the ancient Mesopotamians is the child snatching demoness called Dimme in Sumerian, and Lamastu in Akkadian. I Whereas all other demons remain vague entities often operating in groups and hardly distinct from each other, DimmelLamastu has become a definite personality, with a mythology, an iconography, and a recognizable pattern of destructive action. The fear she obviously inspired gave rise to a varied set of counter measures, involving incantation rituals, herbs and stones, amulets, and the support of benevolent gods and spirits. These counter measures have left their traces in the archaeological record, the written and figurative sources from which a profile of the demoness can be reconstructed. Often the name of a demon or god gives a valuable clue to his (original) nature, but both Dimme and Lamastu have resisted interpretation. The reading of the Sumerian logogram dOiM(.ME) as Dim(m)e is indicated by graphemics: the ME wich is usually (but not always) added to the base doiM does not change the meaning, and must be a phonetic indicator. The presumed gloss' gab ask u (YOS 11 90:4, see Tonietti 1979:308) has been collated and reinterpreted (A. Cavigneaux, Z4 85 [1995] 170). The word may be identical with the Sumerian word for "corpse", "figurine", but this is far from certain, and does not clarify the behaviour of the demoness. Lamastu should be and could be a Semitic word, but the Akkadian lexicon does not offer a suitable root to derive it from. -
ANIMAL SACRIFICE in ANCIENT MESOPOTAMIAN RELIGION The
CHAPTER FOURTEEN ANIMAL SACRIFICE IN ANCIENT MESOPOTAMIAN RELIGION JOANN SCURLOCK The relationship between men and gods in ancient Mesopotamia was cemented by regular offerings and occasional sacrifices of ani mals. In addition, there were divinatory sacrifices, treaty sacrifices, and even "covenant" sacrifices. The dead, too, were entitled to a form of sacrifice. What follows is intended as a broad survey of ancient Mesopotamian practices across the spectrum, not as an essay on the developments that must have occurred over the course of several millennia of history, nor as a comparative study of regional differences. REGULAR OFFERINGS I Ancient Mesopotamian deities expected to be fed twice a day with out fail by their human worshipers.2 As befitted divine rulers, they also expected a steady diet of meat. Nebuchadnezzar II boasts that he increased the offerings for his gods to new levels of conspicuous consumption. Under his new scheme, Marduk and $arpanitum were to receive on their table "every day" one fattened ungelded bull, fine long fleeced sheep (which they shared with the other gods of Baby1on),3 fish, birds,4 bandicoot rats (Englund 1995: 37-55; cf. I On sacrifices in general, see especially Dhorme (1910: 264-77) and Saggs (1962: 335-38). 2 So too the god of the Israelites (Anderson 1992: 878). For specific biblical refer ences to offerings as "food" for God, see Blome (1934: 13). To the term tamid, used of this daily offering in Rabbinic sources, compare the ancient Mesopotamian offering term gimi "continual." 3 Note that, in the case of gods living in the same temple, this sharing could be literal. -
SUMERIAN LITERATURE and SUMERIAN IDENTITY My Title Puts
CNI Publicati ons 43 SUMERIAN LITERATURE AND SUMERIAN IDENTITY JERROLD S. COOPER PROBLEMS OF C..\NONlCl'TY AND IDENTITY FORMATION IN A NCIENT EGYPT AND MESOPOTAMIA There is evidence of a regional identity in early Babylonia, but it does not seem to be of the Sumerian ethno-lingusitic sort. Sumerian Edited by identity as such appears only as an artifact of the scribal literary KIM RYHOLT curriculum once the Sumerian language had to be acquired through GOJKO B AR .I AMOVIC educati on rather than as a mother tongue. By the late second millennium, it appears there was no notion that a separate Sumerian ethno-lingui stic population had ever existed. My title puts Sumerian literature before Sumerian identity, and in so doing anticipates my conclusion, which will be that there was little or no Sumerian identity as such - in the sense of "We are all Sumerians!" outside of Sumerian literature and the scribal milieu that composed and transmitted it. By "Sumerian literature," I mean the corpus of compositions in Sumerian known from manuscripts that date primarily 1 to the first half of the 18 h century BC. With a few notable exceptions, the compositions themselves originated in the preceding three centuries, that is, in what Assyriologists call the Ur III and Isin-Larsa (or Early Old Babylonian) periods. I purposely eschew the too fraught and contested term "canon," preferring the very neutral "corpus" instead, while recognizing that because nearly all of our manuscripts were produced by students, the term "curriculum" is apt as well. 1 The geographic designation "Babylonia" is used here for the region to the south of present day Baghdad, the territory the ancients would have called "Sumer and Akkad." I will argue that there is indeed evidence for a 3rd millennium pan-Babylonian regional identity, but little or no evidence that it was bound to a Sumerian mother-tongue community. -
The Lost Book of Enki.Pdf
L0ST BOOK °f6NK1 ZECHARIA SITCHIN author of The 12th Planet • . FICTION/MYTHOLOGY $24.00 TH6 LOST BOOK OF 6NK! Will the past become our future? Is humankind destined to repeat the events that occurred on another planet, far away from Earth? Zecharia Sitchin’s bestselling series, The Earth Chronicles, provided humanity’s side of the story—as recorded on ancient clay tablets and other Sumerian artifacts—concerning our origins at the hands of the Anunnaki, “those who from heaven to earth came.” In The Lost Book of Enki, we can view this saga from a dif- ferent perspective through this richly con- ceived autobiographical account of Lord Enki, an Anunnaki god, who tells the story of these extraterrestrials’ arrival on Earth from the 12th planet, Nibiru. The object of their colonization: gold to replenish the dying atmosphere of their home planet. Finding this precious metal results in the Anunnaki creation of homo sapiens—the human race—to mine this important resource. In his previous works, Sitchin com- piled the complete story of the Anunnaki ’s impact on human civilization in peacetime and in war from the frag- ments scattered throughout Sumerian, Akkadian, Babylonian, Assyrian, Hittite, Egyptian, Canaanite, and Hebrew sources- —the “myths” of all ancient peoples in the old world as well as the new. Missing from these accounts, however, was the perspective of the Anunnaki themselves What was life like on their own planet? What motives propelled them to settle on Earth—and what drove them from their new home? Convinced of the existence of a now lost book that formed the basis of THE lost book of ENKI MFMOHCS XND PKjOPHeCieS OF XN eXTfCXUfCWJTWXL COD 2.6CHXPJA SITCHIN Bear & Company Rochester, Vermont — Bear & Company One Park Street Rochester, Vermont 05767 www.InnerTraditions.com Copyright © 2002 by Zecharia Sitchin All rights reserved. -
Mami Wata Arts for Water Spirits in Africa and Its Diasporas
exhibition preview Mami Wata Arts for Water Spirits in Africa and Its Diasporas Henry John Drewal “EEH, IF YOU SEE MAMI WATA, NEVER YOU RUN AWAy…” with contributions by Marilyn (SIR VICTOR UWAIFO, GUITAR BOY, 1967) Houlberg, Bogumil Jewsiewicki, John W. Nunley, and Jill Salmons ami Wata: Arts for Water Spirits in Africa and Its Diasporas” explores the visual cultures and histories of African and African Atlantic water deities and reveals the power and potency of images and ideas to shape the lives of people, communities, and societies. The exhibition has several sections: The first introduces Mami Wata, her person- Mality, attributes, and visual culture. The next offers a broad his- Fowler Museum at UCLA torical overview of the sources and currents that constitute her Los Angeles visual history. This is followed by a series of case studies that April 6–August 10, 2008 demonstrate specific cultural, historical and artistic forces that have shaped Mami Wata and water spirit imagery in different Chazen Museum of Art places on the African continent, while the next part treats a simi- lar theme for some of Mami Wata’s spirit sisters in the African University of Wisconsin, Madison Atlantic world. The final section considers Mami Wata as the October 18, 2008–January 11, muse that has inspired contemporary artists from Africa, the 2009 Caribbean and the United States. Here, a condensed introduc- tion and art historical overview are followed by a selection of National Museum of African Art objects from the other parts of the exhibition. Smithsonian Institution Washington DC INTRODUCING MAMI WATA At once beautiful, protective, seductive, and potentially April 1, 2009–July 26, 2009 deadly, the water spirit Mami Wata (Mother Water) is celebrated throughout much of Africa and the African Atlantic worlds. -
Nissinen2001.Pdf
THE MELAMMU PROJECT http://www.aakkl.helsinki.fi/melammu/ ÐAkkadian Rituals and Poetry of Divine LoveÑ MARTTI NISSINEN Published in Melammu Symposia 2: R. M. Whiting (ed.), Mythology and Mythologies. Methodological Approaches to Intercultural Influences. Proceedings of the Second Annual Symposium of the Assyrian and Babylonian Intellectual Heritage Project. Held in Paris, France, October 4-7, 1999 (Helsinki: The Neo-Assyrian Text Corpus Project 2001), pp. 93-136. Publisher: http://www.helsinki.fi/science/saa/ This article was downloaded from the website of the Melammu Project: http://www.aakkl.helsinki.fi/melammu/ The Melammu Project investigates the continuity, transformation and diffusion of Mesopotamian culture throughout the ancient world. A central objective of the project is to create an electronic database collecting the relevant textual, art-historical, archaeological, ethnographic and linguistic evidence, which is available on the website, alongside bibliographies of relevant themes. In addition, the project organizes symposia focusing on different aspects of cultural continuity and evolution in the ancient world. The Digital Library available at the website of the Melammu Project contains articles from the Melammu Symposia volumes, as well as related essays. All downloads at this website are freely available for personal, non-commercial use. Commercial use is strictly prohibited. For inquiries, please contact [email protected]. NISSINEN A KKADIAN R ITUALS AND P OETRY OF D IVINE L OVE MARTTI N ISSINEN Helsinki Akkadian Rituals and Poetry of Divine Love haš adu išakkan u irrub u b it ru ’a mi They perform the ritual of love, they enter the house of love. K 2411 i 19 1. -
Adam and Adapa: Two Anthropological Characters
Andrews University Seminary Studies, Autumn 1981, Vol. 19, No. 3, 179-194 Copyright @ 1981 by Andrews University Press. ADAM AND ADAPA: TWO ANTHROPOLOGICAL CHARACTERS NIELS-ERIK ANDREASEN Loma Linda University Riverside, California Because of the enormous impact of the Bible upon both the Jewish and Christian communities, any ancient Near Eastern literary discovery that may offer a parallel to some segment of biblical literature is greeted with interest. One such literary discovery is the Adapa myth. Its early discoverers and investigators claimed it as a true Babylonian parallel to the biblical story of Adam. ' However, after the initial flush of excitement, other voices arose to point out the differences between Adam and Adapa, claiming that no parallels exist between them.' This position is retained in some of the more recent examinations of the material, but with the provision that some of the issues raised in the Adapa myth also occur in the biblical material.' Finally, renewed attempts at showing an essential parallel between Adam and Adapa (with due allowances for functional shifts in the material) have been made.4 Such a "seesaw effect" of ancient Near Eastern parallels to the Bible is quite typical and suggests that the word "parallel," 'see conveniently the discussion by A. T. Clay, The Origin of Biblical Traditions, Yale Oriental Series 12 (New Haven, Conn., 1923), pp. 108-116. *This reaction is well illustrated by A. Heidel, The Babylonian Genesis, 2d ed. (Chicago, 1951), p. 124: "The Adapa legend and the Biblical story (of Adam) are fundamentally as far apart as antipodes." This general conclusion had been anticipated by G. -
Asher-Greve / Westenholz Goddesses in Context ORBIS BIBLICUS ET ORIENTALIS
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources Asher-Greve, Julia M ; Westenholz, Joan Goodnick Abstract: Goddesses in Context examines from different perspectives some of the most challenging themes in Mesopotamian religion such as gender switch of deities and changes of the status, roles and functions of goddesses. The authors incorporate recent scholarship from various disciplines into their analysis of textual and visual sources, representations in diverse media, theological strategies, typologies, and the place of image in religion and cult over a span of three millennia. Different types of syncretism (fusion, fission, mutation) resulted in transformation and homogenization of goddesses’ roles and functions. The processes of syncretism (a useful heuristic tool for studying the evolution of religions and the attendant political and social changes) and gender switch were facilitated by the fluidity of personality due to multiple or similar divine roles and functions. Few goddesses kept their identity throughout the millennia. Individuality is rare in the iconography of goddesses while visual emphasis is on repetition of generic divine figures (hieros typos) in order to retain recognizability of divinity, where femininity is of secondary significance. The book demonstrates that goddesses were never marginalized or extrinsic and thattheir continuous presence in texts, cult images, rituals, and worship throughout Mesopotamian history is testimony to their powerful numinous impact. This richly illustrated book is the first in-depth analysis of goddesses and the changes they underwent from the earliest visual and textual evidence around 3000 BCE to the end of ancient Mesopotamian civilization in the Seleucid period.