173 BABYLONIAN TEXTS from the FOLIOS of SIDNEY SMITH, PART THREE: a COMMENTARY on a RITUAL of the MONTH NISAN A. R. George This
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Burn Your Way to Success Studies in the Mesopotamian Ritual And
Burn your way to success Studies in the Mesopotamian Ritual and Incantation Series Šurpu by Francis James Michael Simons A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of Classics, Ancient History and Archaeology School of History and Cultures College of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The ritual and incantation series Šurpu ‘Burning’ is one of the most important sources for understanding religious and magical practice in the ancient Near East. The purpose of the ritual was to rid a sufferer of a divine curse which had been inflicted due to personal misconduct. The series is composed chiefly of the text of the incantations recited during the ceremony. These are supplemented by brief ritual instructions as well as a ritual tablet which details the ceremony in full. This thesis offers a comprehensive and radical reconstruction of the entire text, demonstrating the existence of a large, and previously unsuspected, lacuna in the published version. In addition, a single tablet, tablet IX, from the ten which comprise the series is fully edited, with partitur transliteration, eclectic and normalised text, translation, and a detailed line by line commentary. -
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. -
Babylonian Sagittarius
It is now well known that the constellations of the Zodiac originated in the ancient land of Babylonia (modern day Iraq). Yet, despite more than a century and a half of scholarship, very little information on this subject has been made accessible to the non- specialist. We are very grateful to Gavin White for allowing us to reproduce excerpts of his recently published Babylonian Star-lore . Over the forthcoming months these articles will help to address this deficiency by presenting the lore and symbolism of the twelve Babylonian Zodiac constellations. The excerpts reproduced on this site are taken, with the author's permission, from the recently published book ' Babylonian Star-lore ' by Gavin White. THE WINTER SOLSTICE PERIOD The sacred cycle of the stars comes to a close with the appearance of the wintertime constellations. These stars depict the final stages of the stellar calendar when the sun once more descends to its lowest point in the skies drawing ever closer to the longest night. This is the time when the disembodied souls of mankind are spirited away from the environs of the earth and are driven up into the circumpolar regions of heaven to join their ancestors. The constellations in this part of the sky demonstrate that the ‘underworld’ is not actually located below the earth as common sense might dictate but is actually found among the stars. The evidence further indicates that the Milky Way itself was either directly envisioned as the pathway of the dead or that each of its myriad stars was thought to represent an individual soul on its journey to the afterlife. -
Cun Cuneiform
1159 Cun 1160 Cun represents an object or an idea. However, the signs Cun (Heb. kûn; Vg.: Chun). According to 1 Chr 18 : 8, could also be used with phonetic value, e.g., to help Cun is a Syrian town from which David seized a choose the correct reading of the word and indicate large amount of bronze which Solomon later used its pronunciation (phonetic complement), or as a for the temple. Josephus took the name of the town grammatical element helping to conjugate a verb or to be Μων, that is, reading the mem in Hebrew decline a noun. mkwn as part of the name rather than the preposi- From the first half of the 3rd millennium BCE, tion “from” (Ant. 7.105). The town is perhaps to be when writing Akkadian (a Semitic language), the identified with Berothai in 2 Sam 8 : 8. scribes maintained the cuneiform signs used in Su- Choon-Leong Seow merian, but retained only their phonetic value which generally corresponded to one syllable. For instance, the sign denoting “earth,” ki in Sumerian, Cuneiform was used in Akkadian to note down the sound ki in The term “cuneiform” literally means “wedge- all the words which contained it (like kittum, “jus- shaped” (from Lat. cuneus, “wedge”). First used tice,” which was written using the signs ki, it, and around 1700, the term originally denoted the char- tum). At the same time, the Akkadian language con- acters used in inscriptions at Persepolis, which, at served those ideograms inherited from Sumerian that time, were known in Europe through copies. -
Marten Stol WOMEN in the ANCIENT NEAR EAST
Marten Stol WOMEN IN THE ANCIENT NEAR EAST Marten Stol Women in the Ancient Near East Marten Stol Women in the Ancient Near East Translated by Helen and Mervyn Richardson ISBN 978-1-61451-323-0 e-ISBN (PDF) 978-1-61451-263-9 e-ISBN (EPUB) 978-1-5015-0021-3 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/ by-nc-nd/3.0/ Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. Original edition: Vrouwen van Babylon. Prinsessen, priesteressen, prostituees in de bakermat van de cultuur. Uitgeverij Kok, Utrecht (2012). Translated by Helen and Mervyn Richardson © 2016 Walter de Gruyter Inc., Boston/Berlin Cover Image: Marten Stol Typesetting: Dörlemann Satz GmbH & Co. KG, Lemförde Printing and binding: cpi books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Table of Contents Introduction 1 Map 5 1 Her outward appearance 7 1.1 Phases of life 7 1.2 The girl 10 1.3 The virgin 13 1.4 Women’s clothing 17 1.5 Cosmetics and beauty 47 1.6 The language of women 56 1.7 Women’s names 58 2 Marriage 60 2.1 Preparations 62 2.2 Age for marrying 66 2.3 Regulations 67 2.4 The betrothal 72 2.5 The wedding 93 2.6 -
Inanna: a Modern Interpretation
The University of Maine DigitalCommons@UMaine Honors College Spring 2019 Inanna: A Modern Interpretation Erin Butts University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Butts, Erin, "Inanna: A Modern Interpretation" (2019). Honors College. 485. https://digitalcommons.library.umaine.edu/honors/485 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. INANNA: A MODERN INTERPRETATION By Erin Butts A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications, Theatre) The Honors College The University of Maine May 2019 Advisory Committee: Elizabeth Neiman, Associate Professor of English and Women’s, Gender, and Sexuality Studies, Co-Advisor Mary Jean Sedlock, Lecturer in Theatre, Production Manager, and Technical Director, Co-Advisor Daniel Bilodeau, Chair of Theatre and Dance Julie Lisnet, Instructor of Theatre Jennie Woodard, Preceptor in the Honors College © 2019 Erin H. Butts All Rights Reserved ABSTRACT Sumer has a culture lost to history. Currently, the University of Maine offers no courses about ancient Mesopotamia, one of the first civilizations. Over the years, historians have been translating the cuneiform tablets containing their religion and history. There has been one adaptation of those translations, by Diane Wolkstein in 1983 to bring the stories to a wider audience through a collection of stories around the goddess Inanna. -
The Epic of Gilgamesh Ebook Free Download
THE EPIC OF GILGAMESH PDF, EPUB, EBOOK Andrew George,N. K. Sandars,Richard Pasco | 304 pages | 28 Sep 2015 | Penguin Books Ltd | 9780140449198 | English | London, United Kingdom The Epic of Gilgamesh PDF Book His mother explains that they mean that a new companion will soon arrive at Uruk. The Flood Tablet, 11th cuneiform tablet in a series relating the Gilgamesh epic, from Nineveh, 7th century bce ; in the British Museum, London. Donn has an excellent website that includes a section on Mesopotamia. He plans to use the flower to rejuvenate the old men of the city of Uruk and then to use it himself. An illustration of Gilgamesh from the Chaldean Account of Genesis advertisement. The story begins with the introduction of Gilgamesh , king of Uruk , two-thirds god and one-third human , blessed by the gods with strength, courage and beauty, and the strongest and greatest king who ever existed. Epic poem from Mesopotamia. The definitive modern translation is a two-volume critical work by Andrew George , published by Oxford University Press in Gilgamesh finally leaves with Urshanabi to return to Uruk. Humbaba then curses them both, and Gilgamesh finally puts an end to it. For other uses, see Epic of Gilgamesh disambiguation. The gods respond to the people's pleas by creating an equal to Gilgamesh who will be able to stop his oppression. The gods like the sacrifices so much that they regret having murdered the humans. Synopsis — Gilgamesh Summary Back to Top of Page The story begins with the introduction of Gilgamesh , king of Uruk , two-thirds god and one-third human , blessed by the gods with strength, courage and beauty, and the strongest and greatest king who ever existed. -
Lord of the Nether\Ųorld
6 that LORD OF THE NETHER\ØORLD also rela anc. À furt b.y coe: Giv dou the the mu wol Yet first draw near the lower halls of Dis I and through the lands ofdeep Avernus seek, for my son, a meeting with me. I am nor hin among sad Shades, in impious Tartarus; riat my home is in Elysium, among ent the gracious gatherings ofthe pious ones. to! Yirgil, Aeneid Y : 96 7-8' l .. ass( oU SLEEP THÂT YoU MAY VAKE; YoU DIE THAT YOU MAY LIVE'' SAY THE PYRAMID TEXTS \ ^T I formulating the Egyptian hope of regeneration in "archaic. brevity."' As Peter Kingsley thc Th puts it as well in discussing ritual death and descent and immortalization and ascent in early M( Greek philosoph¡ "one dies to be reborn; one descends into the depths in order to ascend."3 Mr In the Golden Ass or Metamorphoses of Apuleius, for example, "the initiation of Lucius into the tio mysteries of Isis at Kenchreai involves a free-will death, a dying of the old life, and a rebirth no culminating in his emergence in the likeness of the sun god."4 In this state of free-will death, cio the candidare is confronted by invisible powers of the netherworld in the shape of good and be evil genii. He identifies himself with them, which is the best method of getting to know them to and gaining power over rhem.t The Egyptian New Kingdom royal funerary text known as the tht Amduat,for instance, conrains formulaic sentences that emphasize a familiaricy with the beings del in the netherworld for a safe nocturnal journey.d In ancient Mesopotamia, the netherworld is usually described as a gloomy land of the ln dead. -
Writing (And Reading) As Material Practice: the World of Cuneiform Culture As an Arena for Investigation Roger Matthews University of Reading
Writing (and Reading) as Material Practice: The world of cuneiform culture as an arena for investigation Roger Matthews University of Reading Let me read the tablets in the presence of the king, my lord, and let me put down on them whatever is agreeable to the king; whatever is not acceptable to the king, I shall remove from them. The tablets I am speaking about are worth preserving until far-off days. (7th century bc cuneiform inscription on clay tablet from Nineveh, capital of the Neo- Assyrian empire, see Frame and George 2005: 278). In an age where ‘the death of the book’ is heralded almost daily (Ehrenreich 2011 poetically situates the debates), and where new modes of expression and consumption of the written word are freely elaborated, we are perhaps especially sensitised to the materiality of the writings, and the readings, that inhabit our world. In this chapter, following a brief review of current research, I consider some key questions in the materiality of writing, drawing on case-studies from the world of “cuneiform culture” that dominated the ancient Near East for more than 3000 years from its beginnings around 3200 bc (Radner and Robson 2011). Current Research into the Materiality of Ancient Near Eastern Texts Following a long and occasionally fraught relationship between archaeologists and historians of the ancient Near East (Liverani 1999; Matthews 2003; Zimansky 2005), the topic of textual materiality is increasingly considered in studies by Near Eastern epigraphists and archaeologists working together to achieve shared aims. It has long been appreciated that the shape and format of clay tablets bearing cuneiform script is frequently related to the content of those texts (e.g. -
Sumerian Liturgical Texts
UNIVERSITY OF PENNSYLVANIA THE UNIVERSITY MUSEUM PUBLICATIONS OF THE BABYLONIAN SECTION VOL. X No. 2 SUMERIAN LITURGICAL TEXTS BY g600@T STEPHEN LANGDON ,.!, ' PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM 1917 DIVINITY LIBRARY gJ-37 . f's- ". /o, ,7'Y,.'j' CONTENTS INTRODUC1'ION ................................... SUMERIAN LITURGICAL TEXTS: EPICALPOEM ON THE ORIGINOF SLIMERIANCIVILI- ZATION ...................................... LAMENTATIONTO ARURU......................... PENITENTIALPSALM TO GOD AMURRU............. LAMENTATIONON THE INVASION BY GUTIUM....... LEGENDOF GILGAMISH........................... LITURGICALHYMN TO UR-ENGUR............. .. .. LITURGICALHYMN TO DUNGI...................... LITURGICALHYMN TO LIBIT-ISHTAR(?)OR ISHME- DAGAN(?)................................... LITURGICALHYMN TO ISHME-DAGAN............... LAMENTATIONON THE DESTRUCTIONOF UR ........ HYMNOF SAMSUILUNA........................... LITURGYTO ENLIL.babbar-ri babbar.ri.gim. INCLUD- ING A TRANSLATIONOF SBH 39 .............. FRAGMENTFROM THE TITULARLITANY OF A LITURGY LITURGICALHYMN TO ISHME.DAGAN............... LITURGYTO INNINI ............................... INTRODUCTION Under the title SUMERIANLITURGICAL TEXTS the author has collected the material of the Nippur collection which belonged to the various public song services of the Sumerian and Babylonian temples. In this category he has included the epical and theological poems called lag-sal. These long epical compositions are the work of a group of scholars at Nippur who ambitiously planned to write a series -
Eridu, Dunnu, and Babel: a Study in Comparative Mythology
ERIDU, DUNNU, AND BABEL: A STUDY IN COMPARATIVE MYTHOLOGY by PATRICK D. MILLER, JR. Princeton Theological Seminary, Princeton, NJ 08542 This essay focuses on some themes in two quite different myths from ancient Mesopotamia, one known commonly as the Sumerian Deluge or Flood story, discovered at Nippur and published around the turn of the century by Poebel (I 9 I 4a and b ), the other published much more recently by Lambert and Walcot (1966) and dubbed by Jacobsen (1984) "The Harab Myth." The former myth was the subject of some attention at the time of its publication and extensive analysis by Poebel, par ticularly in King's Schweich Lectures (1918). As Jacobsen notes, it has not been the subject of much further work except for Kramer's transla tion (Pritchard, 1955, pp. 42-44) and Civil's translation and notes in Lambert and Millard (1969, pp. 138-147). More recently, Kramer has given a new translation of the text together with notes (Kramer, 1983). Both texts have now been the subject of major new treatments in the last three or four years by Jacobsen (1978 and 1984), and that is in a large sense the impetus for my turning to them. Indeed, I first became interested in the two texts when Jacobsen delivered a paper on them entitled "Two Mesopotamian Myths of Beginnings" at a symposium on mythology given at Sweetbriar College several years ago. His rationale for dealing with the two of them at that time was that each "in its own way stands apart and it seems to me, raises interesting questions of a more general nature-about composition, interpretation, and what hap pens when a myth is borrowed from one people to another" ( 1978, p. -
The Weeping Goddess: Sumerian Prototypes of the Mater Dolorosa Author(S): Samuel Noah Kramer Source: the Biblical Archaeologist, Vol
The Weeping Goddess: Sumerian Prototypes of the Mater Dolorosa Author(s): Samuel Noah Kramer Source: The Biblical Archaeologist, Vol. 46, No. 2 (Spring, 1983), pp. 69-80 Published by: The American Schools of Oriental Research . The Weeping Goddess: Sumerian Prototypes of the Mater Dolorosa by Samuel Noah Kramer Some time about 2000 B.c., a devasta- ting calamity befell Sumer, a disaster that well-nigh ended the existence of Sumer as a political entity. What made this catastrophe partic- Ur-Nammu, the founder of the ThirdDynasty, erected this stele at Ur. Only fragments of the stele werepreserved, but it has been restored to its original size of approximatelyten feet high ularly tragic, was and five feet wide. The top decorative zone shows the king pouring libations before an enthroned deity. The scene is repeated in the second zone with Ur-Nammu appearing the poignant fact twice-once before the moon-god Nanna and once before the goddess Ningal. The heavily damaged, lower zones of the stele originally depicted the king engaged in building that it marked operations. University Museum, University of Pennsylvania. BIBLICALARCHAEOLOGIST/SPRING 1983 69 the end of a Sumerian renaissance of at bay,but to no avail. They contin- Finally,in the twenty-fourth year political and economic power,a ued their inroads into Sumer dur- of his reign, the Elamites and their periodwhen learning, literature, and ing the reign of Ibbi-Sin,the last allies, the Su-people, overwhelmed music flourished throughout the king of the dynasty,who suc- and destroyedUr and led off Ibbi-Sin, land.