A Hurrian Passage to the Netherworld Marilyn Kelly-Buccellati
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General Introduction Hesiod and His Poems
General Introduction Hesiod and His Poems The Theogony is one of the most important mythical texts to survive from antiquity, and I devote the first section of this translation to it. It tells of the creation of the present world order under the rule of almighty Zeus. The Works and Days, in the second section, describes a bitter dispute between Hesiod and his brother over the disposition of their father’s property, a theme that allows Hesiod to range widely over issues of right and wrong. The Shield of Herakles, whose centerpiece is a long description of a work of art, is not by Hesiod, at least most of it, but it was always attributed to him in antiquity. It is Hesiodic in style and has always formed part of the Hesiodic corpus. It makes up the third section of this book. The influence of Homer’s poems on Greek and later culture is inestima- ble, but Homer never tells us who he is; he stands behind his poems, invisi- ble, all-knowing. His probable contemporary Hesiod, by contrast, is the first self-conscious author in Western literature. Hesiod tells us something about himself in his poetry. His name seems to mean “he who takes pleasure in a journey” (for what it is worth) but in the Works and Days he may play with the meaning of “he who sends forth song.” As with all names—for example, Homer, meaning “hostage,” or Herodotus, meaning “a warrior’s gift”—the name of a poet may have nothing to do with his actual career. -
Baal, Son of Dagan: in Search of Baal's Double Paternity Author(S): Noga Ayali-Darshan Source: Journal of the American Oriental Society, Vol
Baal, Son of Dagan: In Search of Baal's Double Paternity Author(s): Noga Ayali-Darshan Source: Journal of the American Oriental Society, Vol. 133, No. 4 (October-December 2013), pp. 651-657 Published by: American Oriental Society Stable URL: http://www.jstor.org/stable/10.7817/jameroriesoci.133.4.0651 Accessed: 28-02-2017 21:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms American Oriental Society is collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Oriental Society This content downloaded from 132.174.255.49 on Tue, 28 Feb 2017 21:36:59 UTC All use subject to http://about.jstor.org/terms Baal, Son of Dagan: In Search of Baal’s Double Paternity NOGA AYALI-DARSHAN THE HEBREW UNIVERSITY The Ugaritic expression “Baal, son of Dagan” has been the subject of several studies which attempt to resolve the contradiction between the depiction of Baal as El’s son on the one hand and the expression “Baal, son of Dagan” (bʿl bn dgn) on the other. Despite the paucity of literary evidence, the majority of scholars have identified Dagan with either El or Baal, consequently attributing a single “real” father to Baal. -
Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery
Ora Brison Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery This essay focuses on the role of Anatolian music in erotic and sexual contexts — especially of its function in mythological seduction scenes. In these scenes, music is employed as a means of enhancing erotic seduction. A number of cultic, sexual iconographic representations associated with musical instruments and performers of music will also be discussed. Historical Background Most of the data on the music culture of the Anatolian civilizations comes from the Old Hittite and Hittite Imperial periods, dating from 1750 to 1200 bce, though some data comes from the Neo-Hittite period, namely 1200 to 800 bce.1 The textual sources relate mainly to religious state festivals, ceremonies and rituals. It is likely that Hittite music culture reflected the musical traditions of the native Anatolian cultures — the Hattians2 — as well as the influences of other migrating ethnic groups, such as the Hurrians3 or the Luwians,4 who settled in Anatolia. Hittite music culture also shows the musical influence of and fusion with the neighboring major civilizations: Mesopotamia, Egypt and the Aegean (Schuol 2004: 260). Our knowledge of Anatolian music, musical instruments, musicians, singers and performers is based on extensive archaeological evidence, textual and visual, as well as on recovered pieces of musical artifacts. Much of the data has been collected from the corpus of religious texts and cultic iconographic representations. Nevertheless, we can assume that music, song and dance played a significant role not only in reli- gious practices, but also in many aspects of daily life (de Martino 1995: 2661). -
4. the Origins of the Gods 5. the Origins of Mortals 6. Zeus, Hera, Poseidon, and Hades 7
Content Chapters: 4. The Origins of The Gods 5. The Origins of Mortals 6. Zeus, Hera, Poseidon, and Hades 7. Apollo 8. Hermes, Pan, Hephaestus, and Ares 9. Aphrodite, Artemis, and Athena 10. Demeter and Related Myths 11. Dionysos 12. The Underworld 13. Introduction to Heroic Myth 14. Perseus 15. Heracles 16. Theseus 17. Myths of Crete 18. Oedipus and The Myths of Thebes 19. Jason and the Argonauts 20. The Trojan War 21. The Fall of Troy and its Aftermath 22. The Return of Odysseus 23. Aeneas 24. Legends of Early Rome CHAPTER 4 – The Origins of The Gods • Hesiod gave story of Gods as origin of universe • Cosmogony explains ‘origin of the world’ o Kosmos = world • Theogony explains “origin of the Gods” o Theos = gods • Hesiod believe cosmogony and theogony the same • Hesiod’s thousand-line poem “theogony” is hymn to Zeus o Greek version of Indo-European sky-god Children of Chaos • First came Chaos (chasm) → Gaea (mother earth) → Tartarus (bottommost) → Eros (sexual love) • From Chaos = Erebus (darkness) & Nyx (night) • Thought that the others were also children of Chaos Children of Gaea • Gaea bore Uranus (sky) & Pontus (sea) asexually • Gaea (earth) + Uranus (sky) = bore 6 male & 6 female Titans o Cronus (contends with Uranus for power) o Notable Gods = male Oceanus + female Tethys (give birth to all Gods) • Gaea bore 3 cyclopes (round eyes) o Brontes (thunderer), Steropes (flasher), Arges (brightener) • Hecatonchires (hundred-handers) o Cottus, Briareus, Gyes Hyperion’s Children • Hyperion (sun-god) father of: o Helius (sun-god), Selenê (the moon), Eos (the dawn) • Phaëthon (Oceanid), son of Helius and Clymenê o Mother married to king of Ethiopia, assured father was the sun • For confirmation journeyed to house of Helius • Helius would grant one wish to prove he was his father o Wanted to ride Helius’ chariot of the sun across the sky • Phaethon lost control bolted to earth almost setting it ablaze. -
MYTHS of CREATION the Rise of Zeus Y Hesiod Tells of the Origin
cHAPTER 4: MYTHS OF cREATION The Rise of Zeus y Hesiod tells of the origin of the universe through succeeding generations of gods. COSMOGONY: a story that explains the ³origin of the world´ THEOGONY: a story that explains the ³origin of the gods´ and their rise to power. y To explain Zeus¶s supremacy in the world Hesiod must go back to the beginning of all things, to the generations of chaos (chasm), Gaea (Earth), and Uranus (Sky). THE cHILDREN OF cHAOS y First came chaos and some understand it as the opening from which the other primordial beings arose. y After chaos came Gaea, the personification of the earth beneath us. y Tartarus is often confused in Greek Myth with the abode of Hades, but is personified by Hesiod as the primordial creature that Gaea has offspring with. y Eros also appears after chaos, the source of motion that brings sexual beings together to produce still more offspring. y Hesiod also believes that Erebus (darkness) and Nyx (night) came from chaos THE cHILDREN OF GAEA: THE TITANS AND THEIR cOUSINS y cyclopes and Hecatonchires had important roles to play in the world¶s early days. THE TITANS y Gaea first bore asexually Uranus y Then she bore her watery doublet Pontus y In sexual union with her son, Uranus, Gaea produced the six male and six female Titans, a word of unknown meaning. y cronus, who will contend with Uranus for power, is named as the last born. y Two notable Titans are the watery male Oceanus and female Tethys o Gave birth to all the gods o Oceanus is a river that encircles the world, where the domes of the sky touches the flat surface of the earth. -
The Birth of Athena Chikako Sugawara 3/8/18
Orientalizing in Ancient Greek Literature and Art: The Birth of Athena Chikako Sugawara 3/8/18 In the 19th century by the discoveries and decipherment of texts from the ancient Near Eastern and Egyptian literatures, in cuneiform and in hieroglyphic writing respectively, the influence of the ancient oriental civilizations on the Archaic/ early Greek culture began to be recognized more positively. Furthermore the apparent impact of ‘the oriental’ on Greek art between the Geometric and the Archaic periods was marked, that is, the existence of the orientalizing phase in the development of the Archaic Greek art was also recognized. From that time, scholars’ attention began to turn towards the ancient Near Eastern civilizations as the great inspiration and provider of cultural sources within the Archaic and early Classical periods in particular. Our present knowledge admits that the Greeks learned much from the Near East: the civilizations of the ancient Near East played a great part in the formation of ancient Greek culture. 1 We will briefly look at this Orientalizing phenomenon in early Greek literature and art for the subject of this thesis, starting with the new dimension of the impact of the Near East on the Archaic and early Classical Greece after the discovery and decipherment of the Hittite mythological text of the Kingship in Heaven. 2 Hurrian Kumarbi Myth and the Theogony of Hesiod ‘The old question as to what extent Greek mythology used oriental models can be now discussed in the light of fresh material.’ 3 ‘With the new texts, the relation of the history of Greek epic with the oriental world can now, I think, be regarded as well established.’ 4 Immediately after the decipherment of this text, the Kingship in Heaven, its similarity with Hesiod’s Theogony was recognized, and H. -
Search of HURRIAN URKESH
In Search of HURRIAN URKESH GIORGIO BUCCELLATI and MARILYN KE LLY-BUC C E LLAT I he thousands of mid-second-millennium B.C. documents unearthed at Boghazkoy, Turkey, the T site of the Hittite capital of Hattusha, include several collections of myths dealing with ancient heroes and gods. In the most important group of these myths, however, the heroes and gods are not Hittite; they are Hurrian, and their stories are set , not in Anatolia but in Syro-Mesopotamia, where ’ Hurrian-speaking people lived. These myths, the so- called Kumarbi Cycle, are Hittite translations of 7 Hurrian stories. Some of them are even inscribed on bilingual tablets in both Hittite and Hurrian. 16 MAY/JUNE 2001 I ODYSSEY 1 ‘I - -d. Preceding pages: Tish-atal, king of The Kumarbi Cycle consists of stories appeared on the antiquities market; the Urkesh, reads part of the Hurrian about one of the principal Hurrian gods, lions are inscribed with a text in which a inscription on this 5-inch-high bronze Kumarbi, and his family. (The fittites took kmg by the name of TEh-atal boasts of hav- foundation peg, now in the Louvre. Kumarbi’s son Teshub, the storm god, as ing bdt a temple in Urkesh. But since the About 5,000 years ago, the Hurrians their main god.)” Kumarbi rules over a city provenance of these lions is not known, the entered Mesopotamia, settling in location of the city until recently was also present-day northern Syria. They named Urkesh. In one story, Kumarbi’s son adapted cuneiform script to write their Silver is sent to live with his mother in the Unknown. -
Hera in the Homeric Hymns
Acta Ant. Hung. 57, 2017, 143–158 DOI: 10.1556/068.2017.57.2–3.2 ALBERTO BERNABÉ HERA IN THE HOMERIC HYMNS Summary: The paper deals with the features and functions of Hera in the Homeric Hymns. The corpus preserves a very short and trivial hymn to her (h.Hom. 12), two nearly identical references to her sleep during the birth of Hermes in the two Hymns devoted to him (h.Merc. 8 and h.Hom. 18. 8) and other minimal allusions (h.Ap. 95 and 99, h.Ven. 40). Especially interesting is the leading role played by Hera in two mythical episodes narrated in the Hymns: the binding and subsequent liberation of the goddess by Hephaistos in the the fragmentary Hymn to Dionysos (number 1 of the corpus) and the birth of Typhoeus, which was conceived as an act of revenge against Zeus for giving birth Athena (h.Ap. 305ss.). On the other hand, the myth of the Hymn to Apollo (305–338) is revisited attending to some striking Hittite parallels concerning the relationship between the oath by Heaven and Earth and the birth of a monstrous rival of the king of gods. Key words: epithets, extraordinary births, Hittite myths, Homeric Hymns, legitimization, oath, rival, throne 1. AIM It is something astonishing that, even though Hera is of great relevance to the Olympic pantheon, the collection of songs known as the Homeric Hymns dedicates to her only a hymn that is as brief as it is trivial (h.Hom. 12). The goddess is mentioned in others, some in passing or in a conventional manner, but in two of them her presence has a very interesting function. -
Hethitische Literatur Überlieferungsprozesse
Alter Orient und Altes Testament Band 391 Hethitische Literatur Überlieferungsprozesse, Textstrukturen, Ausdrucksformen und Nachwirken Akten des Symposiums vom 18. bis 20. Februar 2010 in Bonn Herausgegeben von Manfred Hutter und Sylvia Hutter-Braunsar 2011 Ugarit-Verlag Münster Hethitische Literatur. Überlieferungsprozesse, Textstrukturen, Ausdrucksformen und Nachwirken. Akten des Symposiums vom 18. bis 20. Februar 2010 in Bonn. Herausgegeben von Manfred Hutter und Sylvia Hutter-Braunsar Alter Orient und Altes Testament, Band 391 891'.99809 -- dc22 © 2011 Ugarit-Verlag, Münster www.ugarit-verlag.de Alle Rechte vorbehalten All rights preserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photo-copying, recording, or otherwise, without the prior permission of the publisher. Herstellung: Hubert & Co, Göttingen Printed in Germany ISBN 978-3-86835-063-0 Printed on acid-free paper Vorwort Die Diskussion über „Literatur“ in Kleinasien hat in den letzten Jahren neue Impulse erhalten, indem Fragen nach Überlieferungsgeschichte, Entstehung und Kompi- lation, aber auch nach Zweck und Trägerschaften solcher Texte aufgeworfen wurden. Genauso werden seit einiger Zeit auch literaturwissenschaftliche Theorie- bildungen in der Erschließung kleinasiatischer Texte stärker berücksichtigt. Solche Fragestellungen wurden daher – im lockeren Anschluss an zwei in den Jahren 2003 und 2005 veranstaltete Tagungen, die sich primär auf religiöse Thematiken der ana- -
HAAS, Volkert — Geschichte Der Hethitischen Religion. Sight of Îedammu.3) Since This Same Theme of Someone's (Handbuch Der Orientalistik: Abt
411 BIBLIOTHECA ORIENTALIS LIV N° 3/4, Mei-Augustus 1997 412 HETTITOLOGIE allusion to a period of famine. I wonder whether the behav- iour of Istar might be explained as the goddess's terror at the HAAS, Volkert — Geschichte der hethitischen Religion. sight of Îedammu.3) Since this same theme of someone's (Handbuch der Orientalistik: Abt. 1, Der Nahe und refusal of food and drink that is offered recurs in another Mittlere Osten, 15). (Handbook of Oriental Studies: passage of the Kumarbi cycle in a context which in my view The Near and Middle East, 15). E.J. Brill Publishers is similar to the previous one, this theme might be inter- N.V., Leiden, 1994. (25 cm, XXII, 1032, (2) + 50 Taf. preted as a literary topos. In a passage from the Song of + 1 Karte). ISBN 90-04-09799-6. ISSN 0169-9423. Ullikummi,4) in fact, it is narrated that the Sun, after having In this book of over a thousand pages, enriched with seen Ullikummi from the sky, seized by anger, rushes to detailed illustrative material, V. Haas examines the gods, the Tessob to inform him of the existence of this monstrous myths and the cults of the Hittites, gathering together and creature; the Sun-god, arriving before Tessob, refuses to sit carefully analyzing textual sources and archaeological down, to eat and to drink — most probably because he is sources not only from Anatolia, but more generally from all still upset by the sight of Ullikummi — and accepts the hos- over the ancient Near East. pitality offered to him only after much insistence on the part The geographical and chronological coordinates within of the Weather-god. -
BEYOND HATTI Gary M
BEYOND HATTI Gary M. Beckman BEYOND HATTI A TRIBUTE to GARY BECKMAN edited by Billie Jean Collins and Piotr Michalowski LOCKWOOD PRESS ATLANTA All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to Lockwood Press, P.O. Box 133289, Atlanta, GA 30333, USA. © 2013 by Lockwood Press ISBN: 978-1-937040-11-6 Library of Congress Control Number: Number: 2013901050 This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). contents Publications of Gary Beckman vii Preface xvii Abbreviations xix Alfonso Archi The West Hurrian Pantheon and Its Background 1 Mary R. Bachvarova Adapting Mesopotamian Myth in Hurro-Hittite Rituals at Hattuša: IŠTAR, the Underworld, and the Legendary Kings 23 Joel P. Brereton The R̥gvedic Ghosā Hymns and the Atirātra 45 Billie Jean Collins The Place of KBo 13.145 in the Hantitaššu Text Tradition 63 Marjorie Fisher A Diplomatic Marriage in the Ramesside Period: Maathorneferure, Daughter of the Great Ruler of Hatti 75 Benjamin R. Foster Albert T. Clay and His Babylonian Collection 121 Harry A. Hoffner, Jr. “The King’s Speech”: Royal Rhetorical Language 137 Stephanie W. Jamison A Sanskrit Riddle in Three Movements Rig Veda V.84 155 H. Craig Melchert Luvian Language in “Luvian” Rituals in HattuŠa 159 v vi Beyond Hatti: A Tribute to Gary Beckman Piotr Michalowski The Steward of Divine Gudea and His Family in Ur III Girsu 173 Alice Mouton Le rituel d’Allī d’Arzawa contre un ensorcellement (CTH 402): une nouvelle édition 195 Elizabeth E. -
Lecture 5 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 5 Good morning and welcome to LLT121 Classical Mythology. In our last class meeting, the god, Zeus came to power. The god Zeus, who, for all of the classical period of Greek history, was regarded as the supreme god. Zeus's wife, Hera, is regarded as the supreme goddess. Together, they are the third, if you will, royal couple of Greek mythology. I have very thoughtfully written up on the board here for you the three instances of the hieros gamos in Greek mythology. Hieros gamos is an ancient Greek term for holy marriage. It involves the sky god and the earth goddess. It originally is an aetiology, an explanation for the appearance of vegetation. In version number one, the oldest version, the animistic version, Uranus, the sky god, and his wife, Gaia, the earth goddess, make love. Rain takes place and vegetation grows. I know. That sounds pretty silly, but keep in mind that we're talking about a very ancient civilization, primitive as can be, and that they're trying to explain the world about them in terms they can understand; sex. In version number two, Cronus, the youngest child of Gaia and Uranus, deposes his father by cutting off his testicles. Cronus cuts off Uranus’s testicles. Now I know what you're thinking. Your name is? You're thinking, "How is it that the sky, all of a sudden, has sprouted male genitalia?" You were thinking that weren't you? Good. Good, good, good. The correct answer is, "I don't know." We start to see little scraps and pieces of anthropomorphic beliefs crawling even into the animistic level of the story.