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1328 BIOR 2008/3-4 01 in Mempriam

1328 BIOR 2008/3-4 01 in Mempriam

1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 309

319 AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 320

ENKI AND NINÎURSAGA, PART TWO: THE STORY OF ENKI AND NINÎURSAGA1)

Dina KATZ

3.0 The first part of this study, “The story of Dilmun” (BiOr 49, 5-6 (2007):539-589) drew the attention to texts that incorporate two self-sufficient stories. There I proposed that the meaning and objective of the seemingly one narra- tive is hidden in the relation of these stories to one another. The first of the two stories that make ENH was treated in Part I. Its aim to credit Enki for the creation of sweet water sources in Dilmun, gains a deeper meaning against the back- ground of the second story. It seems that Enki’s major divine manifestation as sweet water is also the ultimate objective of the second story and it complements the message of the first story.

3.1 The second story: Enki and NinÌursaga The second story is more complicated than the first; it holds more participants and more dramatic episodes. Each of these episodes is worthy of an individual tale.2) In addition, Enki is not the sole great god, next to him acts a goddess of equal rank: NinÌursaga. A detailed analysis shows that the intricate plot develops along their personal relationship, but thereby it also reflects social values relating to the family and marriage institute. The story takes place in the marshes of southern and can be summarised as follows: Enki, still unmarried, tries to seduce Nintud (NinÌursaga), and after she refuses him he marries her. She becomes pregnant and within nine days gives a smooth birth to Ninnisig. Then, in a chain of inces- tuous relations with his daughters the following goddesses are born: Ninnisig > Ninkura > (var: Ninkura > Ninima > Uttu). When Uttu’s turn comes NinÌursaga advises her first. The following events imply that Uttu tried to deceive Enki. She made a promise, surely false, to marry him under given conditions. Enki is not deceived, he complied but returned disguised as a gardener. Not knowing who he really

1) Citations follow the standard list of abbreviations (on-line): http://cdli.ucla.edu/Tools/abbrev.html, and the Bibliographical Abbrevi- ations in Part One: BiOr 49(2007):589. For the editions of literary text the reader is referred to the on-line Oxford Electronic Corpus of Sumer- ian Literature, ETCSL: http://etcsl.orinst.ox.ac.uk. Only passages of par- ticular importance or different reading were quoted here. For the full text see ETCSL 1.1.1. Grant Frame collated some difficult passages of the copy in Philadelphia and Jeremie Peterson made some photos, I am grateful to both. 2) It is not impossible that a couple of these episodes originated elsewhere. E.g. the episode of the fox was probably based on a fable. TCL 16, 62, an excerpt with a slightly different version of the incest scene could represent an independent tale about Uttu and Enki that did not survive. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 310

321 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 322

was Uttu marries Enki.3) When Uttu becomes pregnant Nin- “By the life of heaven I adjure you. Ìursaga reacts swiftly, she aborts Enki’s , throws it to Lying8) down in the marsh, lying down in the marsh, that is joyous.” the ground and grows eight sorts of new plants from it. Enki 9 spots the unknown plants, eats them and decides their fate. Enki, his mouth uttered “Oh Damgalnuna” ) Consequently, NinÌursaga curses him with a life threatening A thematic unity defines ll. 63-71 as a literary unit. Line curse and Enki dies. , in panic, asks the services of the 72 links this episode with the next and can belong with each cunning fox to convince NinÌursaga to undo her curse and of the two.10) The formal parallel to the first scene in the first save Enki’s life. NinÌursaga returns, undo the curse, places story (ll. 5-6), setting off with dili-ni and ending with the verb Enki in her womb and gives birth to eight deities, one for nú, suggests that ll. 63-71 make a complete episode. This each plant. Their fate is decides and harmony is restored. time, however, the account is more detailed and functional The plot develops in a linear sequence but three of its and the scene is not an isolated instance; the relations of Enki episodes are particularly distinct literary units: the incestu- and “his wife” are the axis of the plot. dili-ni (l. 63) defines ous relations of Enki and his daughters (ll. 88-187),4) the list Enki’s status as a single and initiates a gradually developing of plants that grow from Enki’s semen (ll. 190-197), and the scene, in which he fails to seduce Nintud and ends up mar- birth of the deities in the order of Enki’s body parts (ll. 254- rying her. (l. 71). Later, in a series of episodes, Enki would 271). The rest of the literary units are dependent on those. follow his sexual appetite and come into escalating conflicts The list of plants and body parts are close to lexical lists, and with NinÌursaga. Thus this episode lays the foundations of the source for the minor deities was probably god list.5) the plot and sets the tone of the second story. The linkage of Enki and NinÌursaga seems like an ideo- 3.1.1 Lines 63-71-72: Overture logical background to a bond of the marshes area with the 6 d mountain ranges or, perhaps, the underground water sources 63. dili-niTAR gestúg-ge ) tuku-a -tud ama kalam--sè d d 64. En--ke4 gestúg-ge tuku-a nin-tud with the rivers that stream down the hills. Be that as it may, 65. gìs-a-ni ég-a ba-an-si-in-dun-e in the mythological reality Enki and NinÌursaga were not gi 66. gìs-a-ni a-gir5-gir5-e ba-an-si-gir5-gir5-e married to one another. Each was the chief deity of a city, 67. gìs-a-ni bar-sè maÌ-Ìe sa-ba-ra-an-zi-zi Enki of Eridu was married to Damgalnuna and the husband 68. gù bí-in-dé ambar-ra lú nu-mu-un-dab-bé of NinÌursaga of Kes was Sulpae. Therefore, this supposed d 69. en-ki-ke4 gù bí-in-dé marriage indicates that the objective of the narrative demands 70. zi an-na ì-pàd that against Enki would act a goddess of NinÌursaga’s mag- 71. nú-a ambar-ra nú-a ambar-ra giri17-zal d d nitude. Only NinÌursaga matches Enki in rank, power and 72. en-ki-ke4 a dam-gal-nun-na ka-ni mi-ni-in-dug4 Alone, the wise one, for Nintud - the mother of the land, authority. Their coming conflicts are best explained as mar- Enki, the wise one, for Nintud < the mother of the land>, ital problems and, therefore, she should appear as his wife. was digging his phallus in the dyke, The deviation from the mythological tradition was masked sliding his phallus into the reed. by the single reference to ddam-gal-nun-na, Enki’s real The great one (Nintud) pulled his phallus aside,7) wife.11) The meaning of her name “the great wife of the saying: “No one will take in the marsh.” prince” makes believe that the vow indeed signifies marriage. (So) Enki called: Therefore, her mention must have been a conscious decision. In a wider perspective, a history of conflicts between them, in which NinÌursaga gives in to Enki, marks an intention to 3) Vanstiphout 1987 investigates a literary model that describes a promote his status in the Babylonian pantheon and his cult. process of courting towards marriage. I think that this model applies here, with adaptations, but I differ on the interpretation of the episode. 3.1.2 Lines 73-87: Consummation of the marriage 4) The excerpt TCL 16, 62 includes only the episode with Ninima (born to Ninkura) and Uttu and is the only source for the intercourse of Uttu and Whether Enki sighed of heart full love or frustration, the Enki. The Nippur version is slightly different in order and refrain which suggests that the source of the excerpt was not the Nippur version. A new single reference to Damgalnuna signifies a marriage bond. copy of TCL 16, 62: J.-M. Durand, RA 71, p. 171. This was actualized by a sexual intercourse. 5) The cult of most of these deities ceased after the III period. As for the plants, some of them are attested only here or only from the OB period. 6 8 ) The suffix -e (also in en-ki-ke4) marks the ergative, connected with ) Attinger and Jacobsen translated imperative. I prefer the participle for the verb dun “to dig” in line 65. That is to say: “The wise one was dig- two reasons: first, the imperative implies a rape which is not the case, ging etc.” because the reference to Enki’s true wife, Damgalnuna in l. 72 is a delib- 7) Who is maÌ-e, “the great one”, Enki or Nintud? According to erate indication of marriage, although the female protagonist is NinÌursaga. Attinger, who reconstructed l. 69 as a repetition of l. 68, it is Enki, who Secondly, since the participle is neutral with regard to number, it also is, therefore, the only one who talks in l. 68-71 and the sole actor in this includes Enki in the action. The imperative requires adding “for me” (as scene (ll. 63-71). In that case one should ask what was the purpose of dig- Jacobsen did, otherwise Enki would remain outside the bed). ging the phallus in the dyke and then remove it and what is the function 9) dam-gal-nun-na is a genitival compound, and therefore the transla- of the mother goddess in the scene if she plays no role? Also, if Enki is tions of ETCSL and Attinger require a double genitive: a-ddangalnun-ak- alone there (dili), what is the sense and purpose of the declaration that no ak-ani. We cannot exclude a scribal mistake. Although the words order is one will pass him in the marsh and how does it link with his demand odd, and ka — dug4 has no parallel I suggest that ka-ni — dug4 is a sigh (according the Attinger’s translation) that she will lie in the marsh. Struc- that escaped Enki’s mouth. turally, if “the great one” is Enki then the verbal form of l. 67 should par- 10) I prefer the end of the first episode for two reasons: l. 73 is the first allel the forms of ll. 65-6, but this is not the case. A better solution is of a repeated formula (ll. 100 and 120), and the name Damgalnuna indi- Jacobsen’s, who linked l. 67 with 68 as in the formula “x did y, saying: cates that the oath in ll. 70 signifies Enki’s marriage vows. etc”, and took the agent as the mother goddess. Thus, this passage 11) The deviation from the theological convention may be the reason for describes the first in a series of encounters between Enki and the mother the indistinct marriage scene and, perhaps, for the varying names: Nintud, goddess: she refuses his advances without an official act of marriage and NunÌursaga and the epithet maÌ. Some examples for Damgalnuna in the moves his phallus aside saying that no one would have sex with her in the literature: Eridu lament A:15 and B:7 (ETCSL 2.2.6); Hammurabi C:7 marshes. In addition, the epithet maÌ strongly suggests the name NinmaÌ, (ETCSL 2.8.2.3); LSUr:246-7 (ETCSL 2.2.3); Samsuiluna B:34 (ETCSL one of NinÌursaga’s names. 2.8.3.2); Isme-Dagan D:14 (ETCSL 2.5.4.4). 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 311

323 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 324

d d 17 73. nin-Ìur-sag-gá-ke4 a sag4-ga ba-ni-in-ri 90. sukkal-a-ni isimud4-dè ) gù mu-na-dé-e d 74. a sag4-ga su ba-ni-in-ti a- en-ki-kà-ka 91. lú-tur-sag9-ga-e ne nu-mu-un-su-ub-bé d 75. ud 1-àm itud 1-a-ni 92. nin-nisig sag9-ga-e ne nu-mu-un-su-ub-bé 18 He poured semen into NinÌursaga's womb. (var: TCL 16, 62:7 lú-tur-sag9-ga-gin7 gá-e nam-in-su-[ub] ) d She conceived the semen in the womb, the semen of TCL 16, 62:8 nin-ìmma-sag9ga-gin7 gìs nam-in-dù) d Enki. 93. sukkal-a-ni isimud4-dè mu-na-ni-ib-gi4-gi4 19 The first day was her first month (The second day etc… 94. lú-tur sag9-ga-e ne nu-mu-un-su-ub-bé ) d ll. 76-82) 95. nin-nisig sag9-< ga-e ne nu-mu-un-su-ub-bé> 20 ------96. -gu10 im-dirig ga-ri im-dirig ga-ri ) 83. [ud] 9- àm itud 9-a-ni itud nam-munus-a-ka 97. gìri-ni dis-a gismá-a bí-in-gub ?! ?!12 21 84. [ì-li -gi]n7 ì-li )-gin7 ì-Ìe-nun-na-gin7 98. min-kam-ma bar-rim4-ma nam-mi-in-gub ) 85. [dnin-tud] ama kalam-ma-ka 99. gaba im-ma-an-tab22) ne im-ma-an-su-ub !? 86. [ì-li -gin7] (var: TCL 16, 62:13. gaba su im-mi-in-dab5 úr-ra-na nú-a d 87. [ nin-nisig] in-tu-ud TCL 16, 62:14. lú-tur gìs im-mi-in-dug4 ne im-ma-ni-in- The ninth day was her ninth month. In the month of su-[ub]23)) d womanhood, 100. en-ki-ke4 a sag4-ga ba-ni-in-ri Li[ke a juniper oil, like a juniper oil], like oil of abun- 101-105 = ll. 74-84 13 d dance, ) 106. [nin-nisig ì l]i- Nintud, mother of the land, 107. dnin-[kur-ra] in-tu-ud [like juniper oil] Ninnisig went out to the riverbank. gave birth to [Ninnisig]. In the marsh Enki stretched out24) he stretched out, he A formulaic description, lines 73b-87 = 100-107 = 120- TCL:4 Enki, towing the boat stretched, [he stretched] 126, narrates the three divine pregnancies and births. The TCL:5 He [watched] Ninimma at the bank of the river reiterated description is a formal and thematic binding mate- He said to his minister Isimud: rial, that links the consecutive scenes into a meaningful “Is the nice girl not to be kissed? episode. Yet, ll. 73-87 divert from the rest in a significant Is the nice Ninnisig not to be kissed?” detail which defines its boundaries: Enki and NinÌursaga are TCL:7 “I should kiss a nice girl like this; not related by birth but by marriage as opposed to the future TCL:8 I should make love to this nice Imma”. chain of relations between Enki and his daughters. Thus, this His minister Isimud answered him: “Is this nice girl not to be kissed? unit narrates the consummation of their marriage. A mytho- Is this nice Ninnisig not to be kissed? logical short period of pregnancy, a day for a month, and a My master is drifting, let me steer, he is drifting, let me very easy delivery, as smooth as fine oil, describe the birth steer.” of Ninnisig.14) He stepped in the boat first, and next he stepped on dry land. 3.1.3 Lines 88-187: Enki seducing his daughters He embraced her and kissed her, TCL:13 He seized her breast, lying in her lap. About 100 lines of text recount incestuous relations of Enki TCL:14 He made love to the girl and kissed her. with his daughters, (being also grand daughter and great-grand Enki poured semen into the womb, daughter). Each of the three episodes reiterates the previous [Ninnisig, like] jun[iper oil], , gave birth to Ninkura. third episode adds three scenes, one before the encounter and ------two between the encounter and the pregnancy. Thus the plot develops dramatically, expanding in actors, actions and 17) TCL 16, 62:6 has the expected Isimud-ra, 18 st themes. Since this section deals with incest (and adultery), and ) Note: 1) equative -gin7 2) personal pronoun 1 person gá-e and 3) change of verbs ne-sub to gìs-dù. Attinger, 1984:19 and Jacobsen, 1987:195 the three episodes are constructed of repetitions, they belong l. 132-3 translated the verbal forms, which is 1st person sgl. as negative, together although as sub-units. The account is comparable to like the Nippur version. But the prefix /na-/ in the 1st person can only be Enlil and ll. 24-5 and 35-53.15) the affirmative (cf. Falkenstein, ZA 47(1942):181-223). From a literary point of view the affirmative “I should kiss / make love to a nice youth like st this” makes a good sense. Perhaps we should reconstruct: nam-in- 3.1.3.1 1 episode: lines 88-107 - Enki and Ninnisig sub (compar l. 98 and see Falkenstein, op.cit p. 205-218). The version of d TCL 16, 62 is preferable also in view of Isimud's answer, which in the Nip- 88. nin-nisig gú íd-da-ke4 sè-mi-ni-ib-è d pur version repeats Enki’s question verbatim. Nippur: lú-tur-sag9-ga-e as 89. en-ki-ke4 ambar-ra im-da-lá e-ne im-da-lá e-ne < im-da- opposed to TCL: lú-tur-sag -ga-gin gá-e suggests that Nippur’s version lá> 9 7 d differs in the division of the signs in the line. (var: TCL 16, 62:4. en-ki-ke4 má-ta im-ta-gíd-dè im-da-lá 19) Line 94-95 have no parallel in TCL 16, 62. [e]-[ne im-da-lá] 20) Jacobsen translated the line as a construct state: “With a downstream d TCL 16,62:5. nin-ìmma gú íd-da-kam igi -ma-ni- wind (im-dirig-a[k]) blowing (ri) for my master (lugal-gu10).” TCL 16, in-[lá?]16)) 62:10 has i-im-dirig, indicating that it was read as a verb, he is drifting. ga- ri cohortative “let me steer away” is a reaction to dirig — to drift. 21 ) TCL 16, 62:12 has min-kam-ma-àm bar-rim4-ma ù--gub “After he stepped in the boat first, he then stepped on dry land”. The use of ordinal 12) Collated. The reconstruction /li/ phonetic for lí seems reasonable. numbers and verb in the prospective should be mutually exclusive. Jacob- 13 ) Jacobsen’s translation suggests that he read: ì-du10-nun-a(k) — a sen 1987:192 fn. 19 refers to this couplet as a proverb. prince’s sweet butter. The extended repetition suggests the reading ì — oil 22) tab - tamahu, gaba + tab - grasp to the breast = to embrace. rather than butter. 23) Nippur combines a version of l. 13a with l. 14b. 14) The division according to the nature of the relations is confirmed by 24) Note that PSD quotes this text under lá - hang. But lá - Akk. taraÒu TCL 16, 62, which contains only the incestuous relations. Note that Jacob- to stretch our is preferable. In l. 89 Enki stretched himself further from sen inserted this version between Ninkura and Uttu. where he was in order to see the girl, comparable to má-ta im-ta-gíd-dè of 15) See also Vanstiphout 1987. TCL 16, 62:4, and therefore, lá + ablative rather than comitative: ta>da, 16) Note that in the Nippur version this or a similar phrase in missing. (cf. Thompson, 1984:230). 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 312

325 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 326

3.1.3.2 2nd episode: lines 108-126 - Enki and Ninkura the act of incest, an accomplice. The version from Nippur is d less explicit also about Enki’s encounter with his daughter, 108. nin-kur-r[a gú íd-da-ke4 sè-mi-ni-ib-è] Ninkura went out to the riverbank. minimizing the account to just hag and kiss(l. 99). Compared 109-113 = ll. 89-93 to TCL 16, 62 the version of Nippur is economical in details 114. lú-tur sag9-ga-e ne su-ub-bu-ma-ni that compromise Enki’s glory. What does the different attitude d 115. nin-kur-ra say about the purpose of TCL 16, 62? Is it possible that it is His minister Isimud answered him: not an excerpt of ENH but of another narrative, perhaps about “Kiss the nice girl! Uttu, which reflects a less flattering view of Enki? Ninkura” Who are Enki’s daughters? Very little is known about Nin- 116-124=96-105 d d 29 d nisig ( nin-SAR/mú), Ninkura and Ninimma ( nin-ìmma). ) 125. nin-kur-ra ì-li- 126. duttu munus-NI-bùlug in-[tu-ud] 25) Their obscure identity is in sharp contrast with the reputation Ninkura, like juniper oil,

327 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 328

But how was Uttu supposed to handle Enki, and whether Nin- 160-163 - missing tud was concerned about incest or adultery or both, is not ------known. A lacuna of about 10 lines after l. 131 interrupts the tale. 164-166 - the gardener fills Enki’s lap with the produce that Considering that incest is taboo, marriage advice is Uttu demanded. unthinkable. Hence, NinÌursaga must have come to prevent ------the third case of incest. Presumably, Uttu was advised either The gardener’s joy indicates that Enki did him a great ser- to refuse Enki, or to deceive him with a trick. The subsequent vice. Presumably, therefore, he had no water for irrigation, events suggests that Uttu tried to trick Enki with a marriage perhaps a drought. Enki, the god of sweet water, had the abil- promise, probably false. ity to bring water ex nihilo, as demonstrated by the Dilmun story. In return to water the grateful gardener supplied Enki 2nd scene: lines 143? - 151 - The trick - Uttu demands mar- with the necessary fruit and vegetables. riage gifts. The 2-kam-ma cannot mean that Enki watered the garden When the text resumes Uttu tells Enki that if he would twice and that the account of first time was omitted, because bring her fruit and vegetables, he will become the lord of her one may expect that the gardener would show his surprise house. and happiness immediately after the first time. More likely “second” signifies “next” in the sequence of the scenes, i.e. 147. [úkus sur-ra-x] de6-um “first” he met Uttu and “second” (next/then) he watered the gis 148. [ Ìas]Ìur gu ul-ul-ba de6-um garden. gis 32 149. gestin ga-ra-an-ba ) de6-um 150. -a sáman-gu10 Ìé-dab5 th d 4 scene: lines 167- 172 - Enki tricks Uttu. 151. en-ki-ke4 sáman-gu10 Ìé-bí-in-dab5 (Uttu:) “Bring [cucumbers in ……]! Enki fulfils Uttu’s demand, but he returns disguised as the Bring apples with their branch in blossom!33) gardener, obviously a trick. Uttu cannot not recognize him Bring grapes in their clusters! and she happily lets him in. Then in the house you will indeed have hold of my halter, d O Enki, you shall hold of my halter.” 167. en-ki-ke4 igi-ni im-ma-an-sig7-sig7 gidru su bí-in-du8 d d 168. en-ki-ke4 uttu-ra gìri im-ma-an-gub The previous cases of incest, and NinÌursaga appearing 169. é-na al-dúb-dúb-e gál-ù [gál-ù] with advice, rules out the possibility that Uttu seriously 170. a-ba-me-en za-e-me-en gis gis gis 35 promised herself to her father. Rather, her demand for mar- 171. ge26-e nu- kiri6 úkus ÌasÌur [ gestin] Ìé-àm-sè ) ga- riage gifts must have been a trick. Most likely she planned mu-ra-ab-súm d to make Enki sweat a bit and then expose him when he comes 172. uttu sag4 Ìúl-la-ni-ta é-e gál ba-an-taka4 back. The objective is twofold: for the first time Enki would ------have to work for his conquests and the chain of incest and 173-176 - Enki gives Uttu, the mature woman, the produce that she demanded. family disgrace would come to an end. ------36 gi rd 177. ) kas ba-an gu-la im-ma-ab-[…] 3 scene: lines 152-166: Enki deceives the gardener and 178. duttu munus NI-bùlug gábu mu-na-ab--ge su mu-na- obtains the requested fruits sàg-ge37) 38 d d 179. ) en-ki-ke4 uttu-ra ul im-ma-ni-in-ti The next scene finds Enki busy watering a garden, intend- Enki painted his face green and took a staff in his hand. ing to fulfill Uttu’s demand. The gardener was overjoyed, but Enki directed his step to Uttu, did not recognize him. knocked at her house (saying): “Open up, open up.” 152. min-kam-ma a si-si-da-ni (Uttu):”Who are you?” 153. ég a bí-in-si (Enki:) “I am the gardener. For your ‘Yes’ let me give you cucumbers, apples, and [grapes].” 154. pa5 a bí-in-si 155. kislah a bí-in-si In her joy Uttu opened the house. gis He poured for her in a large ban measure. 156. nu- kiri6 sahar-ra húl-a-na bí-[zig/íl?] 39 157. gú-ni gú-da im-si-in-lá-[e-dè] Uttu, the mature woman, turned ) to the left and waved gis the hands for him. 158. a-ba-me-en kiri6 […] d gis Enki gave Uttu pleasure. 159. en-ki-ke4 nu- kiri6-[…] When, next, he was filling with water, Apparently, Enki did not want Uttu to recognize him, he filled the dykes with water, which indicates that NinÌursaga indeed warned her, and that he filled the canals with water, 40 he filled (even) uncultivated plot with water. the marriage promise was a false. ) But Enki, notorious for In his joy, the gardener [rose?] from the dust34) his cunning, was not fooled and, therefore, he returned in dis- and embraced him: guise and tricked Uttu. Having brought the traditional mar- “Who are you who [watered] the garden?” riage gifts, Uttu could not refuse the “gardener”. Enki [answered] the gardener:

32) garan - cluster, bunch, particularly in connection with fruit. 35) hé-àm-sè — literally, “for your ‘let it be’”, namely for her consent 33) The translation “blossom” is uncertain, ul - fruit. But cf. DI B:28 to marry him. (ETCSL 4.8.2). In parallel to l. 149 perhaps a bunch of apples on a branch. 36) Only TCL 16, 62 r.11, Nippur omitted. Alternatively, “apple, in its branch full of fruit.” 37) TCL 16, 62 r. 12’. gábu si-ge su mu-un-[ ] 34) The locative in sahar-ra is difficult. In the context of the gardener’s 38) The version of TCL 16, 62 until l. 187. 39 sudden joy it seems to signify rising from mourning, but then we should ) si-ig, sig9, sig10 - to place, sakanu, the translation is a guess. expect sahar-ta. Note that in the opposite situation l. 222 has sahar-ta. where 40) In l. 151, their first meeting she recognized Enki calling him by we expect the locative sahar-ra. name. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 314

329 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 330

Thus, the episode holds two tricks that balance one 190. [ú-gis im-ma-an-mú]45) another.41) The tricks serve a literary purpose: they give the She grew the wood plant, ------plot a new impetus, open up a new possibility to continue the 46 47 story and, in addition, they are fun. Without the tricks, Uttu 191-197: She grew the honey plant, ) garden plant, ) esparto grass,48) Atutu plant,49) astaltal plant,50) … plant and would refuse directly and the story would end inharmoniously, amÌaru plant.51) leaving Enki humiliated and NinÌursaga victorious. This is ------contrary to the prevalent concept of Enki, and rather unlikely. d 198. en-ki-ke4 ambar-ra im-da-lá e-ne im-da-lá e-ne < im-da- lá> th d 5 scene: lines 180-185: Enki consummate his second mar- 199. sukkal-a-ni isimud4-dè gù mu-na-dé-e 52 riage 200. ú gá-e nam-bi li-bí-ku5-de ) 201. a-na-àm ne-e a-na-àm ne-e Letting Enki in and accepting his gifts signify that Uttu d 202. sukkal-a-ni isimud4-dè mu-na-ni-íb-gi4-gi4 agreed to the marriage. At this point the storyteller turns back 203. [lugal]-gu10 ú-gis mu-na-ab-bé to the formulaic description of Enki’s intercourses with his 204. mu-na-kud-dè ba-g[u7-e] daughters, ll. 180-185 = 119-121 (TCL 16, 62: obv. 13-16 = In the marsh Enki stretched out, he stretched out, he rev. 15’-18’). Even the epithet lú-tur of the previous girls was not changed into Uttu’s epithet munus NI-bùlug, mature He said to his minister Isimud: woman. This last use of the formula serves as a closure of a lit- “I did not decide the destiny of these plants, What is this one? What is that one?” erary framework for the incest episodes. In a wider perspective His minister Isimud answered him. the marriage to Uttu rounds the subject of Enki’s intra-family “My master, the ‘tree’ plant,” he said to him. sexual journey, which began with marriage to NinÌursaga. He cut it off for him and Enki ate it. ------6th scene: lines 186-187 - NinÌursaga performs an abortion 205 – 218 - The formulaic description: Isimud names a plant, cuts or pulls it out, and Enki eats it. By tricking Uttu, Enki actually tricked NinÌursaga as well, ------so at this phase the plot calls for a stronger reaction. d 186. uttu munus sag9-ga á Ìás-gu10 im-me á ba[r-g]u10 á sà- 45 ba-gu10 im-[me] ) Reconstructed according to the formula. im-ma-an-nú – i-ba-n-mú – 187. dnin-Ìur-sag-gá a Ìás-ta ba-an-tag-tag she made it grow. ú-gis, delivered in bundles or loads, is attested several Uttu, the beautiful woman, cried out “Woe, my thighs. times in administrative text recording commodities for construction works Woe, my body, woe, my heart” she cried. and maintenances of cultic installations. Most of the attestation are in Ur 42 III texts. ENH is the only literary source known to me. NinÌursaga removed ) the semen from the thighs. 46) ú-làl, honey plant is attested in literary texts in connection with the Uttu, like a human woman, is in pain and NinÌursaga takes habitat of the Suhur or Estub fish. These sources indicate that it was a water- 43 plant. According to Urnamma D:27-28 it was planted in canals, probably action again, she terminates the pregnancy. ) Did NinÌur- as fish-food. According to birth incantations women chewed it in labour, saga abort the semen to relieve Uttu of her pains, to put an which suggests a sedative property (van Dijk, OrNS 44(1975) 53:5 trans- end to Enki’s incestuous relations, or to exterminate the fruit lates liquorice). In late second millennium and first millennium texts, it of incest? This scene is in parallel to her interference before appears as a medical plant, Akkadian asqulalu. MSL 10, 82:146 and 111:100-101 (Ras Shamra) and CAD A/II, p. 452-453. It stands to reason Uttu met Enki, but now she takes action herself. The two that the section with ú-làl has not been preserved in the few OB fragments. interferences suggest that stopping Enki was the purpose. Surprisingly, ú-làl is not attested in the thousands administrative texts pub- Since NinÌursaga’s dialectic relationship with Enki is the lished on-line in BDTS (http://bdts.filol.csic.es/) and CDLI central axis of the plot, her reaction is vital for its progress. (http://www.cdli.ucla.edu). 47) ú-sar-ra is attested only in this text. Its absence from the lexical texts NinÌursaga’s reaction takes the plot to the next episode: raises doubts about the reading of the word, especially since the only Enki’s semen survived but changed its nature. remains in l. 207 are ú-[x-r]a. Another possibility is ú-ebur – disu – grass (Hh 17:2, MSL 10, 82). In this list ú-sár-ra (Hh 17:4) is followed by ú- 3.1.4 Lines 190-221: Enki and the engendered plants gug4 , ú-númun and ú-a-numun. Both were not preserved in the OB fore- runners. 48 ú ) e-PSD gives several readings: 1) A,ZI&ZI (A.GUG4) sisnu and sup- NinÌursaga made eight plants grow from the aborted ú patu both mean grass, rush. gug4 is attested in Ur III administrative texts, semen of Enki. From his place in the marsh Enki spotted the but no reference to literary sources is given. 2) A.NÚMUN new unfamiliar creations and ate them in order to determine (A.ZI&ZI.LAGAB) “esparto grass”. 3) a-númun (A.ZI&ZI.LAGAB) “rush their nature. As a result, NinÌursaga cast upon him a curse water”; 4) úNÚMUN – elpetu – the same meaning. The term is found in of death.44) sources from the third millennium. 49) a-tu-tu is attested in the medical plants list Uruana I:193, described as a thorny plant, see CAD A/II, 522 s.v. atutu. 41) Compare ID: first Ereskigal tricks Inana by gradually underessing 50)as-tal-tal – attested in ED III plant list: 124 and Late OB list MSL her until she reached the netherwold fully naked and, therefore, powerless. 10, 117:13 and 120:15. In literary texts: ENH and The heron and the tur- Then Ereskigal is tricked by Enki, allowing the Kurgala and the Galatur to tle l. 11, according to which it spreads its seeds from the reed beds. Akka- take Inana with them, and thereby bring her back to life. With the scene at dian ardadillu, a medical plant, see CAD A/II 241. the gardener we count three tricks. 51)amÌaru – a medical plant, attested in plant lists from late OB 42) The meaning “remove” is suggested by the context and the ablative Hh 17 (MSL 10, 117:16 and 120:16) until first millennium MSL 10, in hás-ta. The reading sub6 for TAG was already suggested by Attinger 84:50. 52 (sux). hás - tag-tag was also used to describe Enki caressing Uttu. ) The last sign is clearly DE, and cannot be mistaken for RE. There- 43) This condition sets her apart from her predecessors, including fore the verb seems to be kud rather than tar. However, it is certainly not NinÌursaga, but enhances her image of the typical wife. the compound nam-kud - to curse. The same sign DE is found at the end 44) This episode and other involving the impregnating of a male- of l. 219 where we should expect ZU. Line 219 which mirrors our line 200, god or gods swallowing their children were discussed in Kirk 1970:96-98 has the compound verb nam-tar. Therefore, either we correct the text and and 214 ff. Since the tale originated in the OB school and the motif was read RE! instead of DE, or perhaps split the compound and read kud — to reused for the given context, the genuine “original” mythological message decide, as in li-bí-ku5-de with the same translation. /li-/ = negative indica- may have been contaminated. tor equal to /nu/ in OB period. See Edzard 2003:113. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 315

331 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 332

d ! 219. [ enki]-ke4 ú-nam-bi bí-in-tar sà-ba ba-ni-in-zu plot. Lines 198-199, where Enki spots his prey, reiterate the d d 53 220. nin-Ìur-sag-gá-ke4 mu en-ki nam-érim ba-an-kud ) formula which typifies the incest episodes. This formula cor- 221. i-bí na-ág-ti-la en-na ba-ug5-ge-a i-bí ba-ra-an-bar-re-en relates the plants’ with the incest’s episodes and signifies that Enki decided the destiny of these plants, had them know Enki behaved according to the same fixed pattern. Thus, after it in their heart. committing incest, Enki has eaten the product of his own NinÌursaga has sworn an oath by the name Enki: “Until his dying day, I will never look upon him with a semen, actually his off-spring, a significant deviation from life-giving eye.” the traditional social norms. In addition, by deciding the nature of each plant, Enki deprived NinÌursaga of the influ- Two missing lines linked the abortion with the list of ence on their nature and purpose, although she made them plants that NinÌursaga made grow from the semen of Enki. grow. Thus, he added extra reason for her anger. The emergence of the plants indicates that the semen of the By now the relationship of Enki and NinÌursaga looks like creation god is not wasted nor perished. In the womb it a contest between two powerful gods, in which Enki repeat- results in a pregnancy and a deity is born, while inside the edly outwitted NinÌursaga, and she became increasingly ground a plant grows of it. Whether the transformation of angry. Eating the plants brings about a dramatic turn in their the semen was anchored in a simple reasoning, practical or relations, NinÌursaga uses the decisive means to stop Enki - literary, or bears a deep mythological meaning cannot be death! It seems that the belief in the immortality of the gods established because of the missing link. A symbolic mytho- was no barrier for the Mesopotamian storyteller.55) The death logical relations of womb, mother goddess (NinÌursaga), and of Enki may be compared to the death of (ID), and mother earth comes to mind but remains speculative. The likewise the meaning of his death can be explained in mytho- role of NinÌursaga in the creation of the plants suggests that logical terms. Enki is the god of underground sweet water their initiation still involved the participation of a male and sources. As his presence generated sweet water sources in a female. Dilmun, his death signifies the drying up of the living water Obviously, the newly generated plants were unknown to sources in Sumer. In other words, his death represents Enki. Since, in principle, things become actual only after drought. Thus, the curse of NinÌursaga had wider conse- their nature and name were determined, Enki decided their quences than just for Enki himself, it endangered all forms destiny and established their existence as real. This hap- of life in Sumer. pened in a bizarre scene: after Enki spotted each plant and inquired what it is, Isimud named the plant whose destiny 3.1.5 Lines 222-241: The fox brings NinÌursaga back and name had not yet been decided and Enki ate it. The logic of the description is obscure, perhaps it did not deem The Anuna gods were mourning Enki when the fox relevant. offered his help, in return to a reward. The interference of The list of plants is interesting in itself. Most of the plant the fox leads the plot to the last major turning point. This are attested only in lexical or literary texts, and some only episode would create the conditions for a reconciliation here. Some names were popular etymology.54) This situa- between NinÌursaga and Enki. It consists of two sub-unit: tion suggests that most of these plants were not known out- the first narrates the meeting of the fox with Enlil, and the side the scribal circles. Number 1, “wood plant”, is the only second – his meeting with NinÌursaga. Due to breaks in the one mentioned also in administrative text (Ur III), and ENH text, however, we do not know how the fox convinced is the only attestation in a literary source. gis is also the NinÌursaga to help. generic term “tree”, so perhaps it was meant literally. The same may be true for number 3 “garden plant.” Numbers 3.1.5.1 Lines 222-230: The fox accept the mission d 5: ú-a-tu-tu, 6: ú-as-tál-tál and 8: ú-am-Ìa-ru are medical 222. a-nun-na-ke4-ne saÌar-ta im-mi-in-durunx-ne-es d plants, 5 and 8 are attested only here, and 6 in two more 223. ka5-a en-líl-ra mu-na-da-ab-bé d sources. Numbers 2 “honey plant” and 4: ú-A.NÚMUN are 224. ge26-e nin-Ìur-sag-gá mu-e-si-túm-mu-un a-na-àm níg- widespread in OB literary texts but not found elsewhere. ba-gu10 d 225. en-líl-le ka5-a mu-na-ni-íb-gi4-gi4 Since most of these plants are rare, and in the lexical texts d they are not listed together, the storyteller must have had a 226. za-e nin-Ìur-sag-gá mu-e-túm-mu-un-nam good knowledge of literary and lexical sources, and com- 227. iri-gá 2 gis-gána ga-ri-dù mu-zu Ìé-pàd-dè 228. ka5-a su-ni 1-àm im-ma-an-pes5-pes5 piled the list especially for this episode. Therefore, the sig- 229. siki-ni 1-àm im-ma-an-búr-búr nificance of this list of plants must be in the internal logic 230. igi-ni 1-àm sembi bí-in-gar of the episode. The plot requires that Enki would define the The Anuna were sitting down in the dust56) nature of newly generated plants, that he never saw before and the fox was speaking with Enlil: and, therefore, the plants must be real but unknown. The “If I bring NinÌursaga to you, what will be my reward?” choice of rare names seems like a compromise between Enlil answered the fox: actual and fictitious realities. “If you bring NinÌursaga to me, The literary function of the episode is obvious. Eating the plant and deciding their nature caused the ultimate clash between NinÌursaga and Enki, but later the plants in Enki’s 55) The slaughtering of god in AtraÌasis demonstrates the issue as the belly would be instrumental for uniting them in cooperation. spirit which derived from the flesh of the god, e†emmu, made the immortal The structure of the passage serves the thematic needs of the component in the human being. Note that Enki and the mother goddess had the central role in the event. That in ENH Enki is the victim explains why the goddess next to him must have been Ninhursaga, not just an equal in rank but also a creation goddess. 53) Note the word play, Attinger 1984:44. 56)saÌar-ta – compare l. 156 and the first elegy of Pushkin Museum l. 54) Since the scribes compiled and edited the lexical and the literary 19. The mourning gesture is best described by the locative or commitative, texts, perhaps ENH was the sources for the plants that are attested only here. rather than the ablative. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 316

333 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 334

I shall erect two kiskanû for you in my city and make is the most suitable helper for Enki, who is himself the mas- your name known.”57) ter of cunning. But Enki’s current situation is the opposite of The fox anointed58) his body once, 59 his traditional position: usually Enki is the one who comes Loosen out his fur once ), to the rescue and he helps by scheming and tricking. Put kohl on his eyes once. (End of col. v) As expected of the fox, his meeting with Enlil is about his reward,63) and Enlil’s response meets the expectations. Enlil The narrator who repeatedly described Enki lying idly in appeals to his vanity, promising the fox to make him famous. the marsh, consulting his minister about girls and plants, is He would commemorate the name of the fox, erecting for silent about his death. A laconic remark that the Anuna are him two kiskanû trees. This is an obvious allusion, probably mourning Enki (l. 222) directly follows NinÌursaga’s curse. conscious, to the white and black kiskanû trees, sacred cultic The brevity of the remark is in no proportion to the signifi- objects associated with the and the cult of Enki. Indeed, cance of the event. In theological terms the death of a god is the serious situation demanded taking serious measures. But the ultimate inadequacy. In actual reality the death of Enki the manifest holiness of the kiskanû as opposed to the image means that sweet water sources dried up. Since the very exis- of the fox, greedy vain and dishonest, instills Enlil’s promise tence of the Anuna is in danger, sitting in mourning is under- with a sense of a joke.64) The fox prepares for the mission by standable,60) but one expects a quick action. The image of the beautifying himself. These preparations highlight his vanity Anuna sitting in the dust for Enki is an antithetical parallel and ridicule him as is his reward of kiskanû trees. to the gardener who rose from the dust because Enki watered his garden (l. 156-7). Enki’s role in these scenes is, therefore, 3.1.5.2 Lines 231- 241: The fox persuades NinÌursaga also parallel: Enki is water, and his death signifies a drought. The great gods come out of this description as helpless This sub-unit is too fragmentary, so we do not know how beings,61) but their weakness leads the story to the beginning the fox convinced NinÌursaga to return and heal Enki. of the solution: the intervention of the fox. The choice of the 235. [nibruki-sè mu]-gen-ne-en den-líl […] fox as the carrier of the solution indicates that the tale aimed [The fox said to NinÌursaga”] to entertain. It seems to me that rather than a reflection of “I went [to Nibru], Enlil [did not…]65) theological deliberations, the unflattering representation of ------the Anuna is a literary means to achieve a dramatic effect. 236-238. I went t[o Ur], Nanna [….], I went to [Larsa], [….], I went to [Unug], Inana [….] The death of Enki is the climax of the power struggle ------between Enki and NinÌursaga. For the first time, since she 239. [X] X ì-me-a zi?-gu10 mu-X-túm-mu-[un?] forced him into marriage, NinÌursaga is more powerful than 240. X X X […] d Enki, and makes a worthy opponent of the god of wisdom, 241. nin-Ìur-sag-gá-ke4 inim!? im-[sár-sár-re] magic and cunning. Historically, however, NinÌursaga was Him who is [ ] I / you will save my life. an older and more prominent deity than Enki and, therefore, [ x x x ] his rescue would promote his status and present him as her NinÌursaga deliberated the matter66) equal. The shift of focus to saving Enki signifies that objec- Four broken lines at the beginning of the column wiped tive. out the movements of the fox after he improved his looks. The appearance of the fox adds to the story a popular lit- When the text resumes the fox tells NinÌursaga about his 62 erary motif. ) The fox is universally characterized as cun- fruitless attempts to find help by certain gods. The list of the ning, greedy and arrogant, who takes advantage of the weak- gods that the fox visited in their temples is reminiscent of the nesses of his opponents. These characteristics raise the appeals of Ninsubur on behalf of Inana.67) This model implies expectation for tricks and promise amusing nuances. The fox that the fox appealed to the gods on behalf of Enki. But the compound zi-gu10 túm in l. 239 indicates that the fox acted to save his own life. Knowing the fox, one may expect from 57) Two gis-gána, probably one black and one white. Compare: Nana- him a false plea, but how his argument is related to Enki’s Suen Journy to Nippur.(NJN) ll. 28-29. “My Nibru, where black gis-gána death so that NinÌursaga would change her mind remains grows (mú-a) in a good place, my sanctuary Nibru, where white gis-gána grows (mú-a) in a pure place”. For black and white gis-gána see also Hymn unknown. I assume that in line 240 he asked for her help and to Kusu A:10. In the Sumerian sources the gis-gána tree is connected with in l. 241 NinÌursaga is considering his appeal. the cult of Enki, Gudea Cyl.: 587 describes the Eninu like a gis-gána tree The death of Enki signifies the drying up of underground over the Abzu. The same image is found in the bilingual incantation of Enki, water sources. Yet, a drought endangers all life, including CT 16, 46:183-184. Note that NJN has mú – to grow, so also the mentioned bilingual incantation of Enki. The use of dù in connection with the promise to make the fox famous suggests that Enlil means to erect, as a monument, rather than plant the trees. 63) The act of the fox is reminiscent of the tradition of the bilingual fable 58 )pes5 -pasasu — Diri V:88 (MSL 15, 170). One example in the ePSD, of the fox (source A), in which the fox complains to Enlil that the rain is compared to 14 with sés. withheld. Unfortunately the part of the fox is too fragmentary to be safely 59) búr-búr — to loosen the hair-do, PSD B, p. 194a. connected with any of the known fox fables. See Lambert, BWL p. 190- 60) The analogy to ID is striking. Inanna was sentenced to death by the 191 and Vanstiphout, op.cit. 196 and fn. 24. great gods, i.e. the Anuna, and it was Enki who brought her back to life. 64) Attinger 1984:44 ad. 225 wonders how would the fox profit from Incidentally, these two elements indirectly point to the difference between the kiskanû, and suggests “magic powers”. But the tale is very clear about the divine values of Enki and Inana. it: his benefit is fame. Yet, the real issue it not the benefit of the fox, but 61) There are more descriptions of the Anuna, the great gods, as fright- how the story benefits from the idea that Enlil would erect kiskanû for a ened creatures, in contrast to their powerful position. See especially Lugal- fox! banda and the Anzu bird ll. 82-3 (ETCSL 1.8.2.2); The return of 65) The translation assumes that he told Ninhursaga that these gods l. 127 (ETCSL 1.6.1); Ninurta’s exploits:184-7 (ETCSL 1.6.2). refused to help him. 62) For the fox in Sumerian and Akkadian literature: B. Alster, Wisdom 66) The reconstruction is a pure guess. of Ancient (CDL 2005) 346-350; H. Vanstiphout, “The tale 67) Compare Inana’s Descent: 50-58 and 182-210 and Gilgames of the fox” ASJ 10(1988) 191-227. and the Netherworld: 222-238. In both Enki came to the rescue. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 317

335 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 336

NinÌursaga’s who caused Enki’s situation. If this was the 257. ses-gu10 a-na-zu a-ra-gig decisive argument of the fox then he did not use a trick but 258. pa siki-gu10 ma-gig the fact. In that case the involvement of the fox did not add 259. dnin-siki-lá im-ma-ra-an-tu-ud75) 260. ses-gu10 a-na-zu a-ra-gig giri17-gu10 ma-gig meaning to the plot, only prolonged the story with an enter- d 76 taining episode. Be that as it may, the return of NinÌursaga 261. nin-giri17-ù-tud ) im-ma-ra-an-tu-ud 262. ses-gu10 a-na-zu a-ra-gig ka-gu10 ma-gig indicates that Enki is indispensable, that there is no life with- 263. dnin-ka-si77) im-ma-ra-an-tu-[ud] out him and, thus, that he is superior to her. 264. ses-gu10 a-na-zu a-ra-gig zi-gu10 ma-gig 265. dna-zi78) im-ma-ra-an-[t]u-[ud] 3.1.6 - Lines 247-251: The curse dispelled 266. ses-gu10 a-na-zu a-ra-gig á-gu10 ma-[gi]g 267. dá-zi-mú-a79) im-ma-ra-an-/tu\-[ud] NinÌursaga came back running, and performed the neces- 268. ses-gu10 a-na-zu a-ra-gig ti-gu10 ma-[gig] sary ritual to undo the power of the curse. 269. dnin-ti80) im-ma-ra-an-[tu-ud] d 270. ses-gu a-na-zu a-ra-gig zag-gu [ma-gig] 247. nin-Ìur-sag-gá-ke4 é kas4 im-ma-an-dug4 10 10 d 271. den-sa -ak im-ma-ra-an-[tu-ud] 248. a-nun-[n]a-[ke4]- túg-ga-ni ba-an-dab5-bé-es 6 249. DUN?68) im-ma!-an-ak-es NinÌursaga seated Enki in her vagina 250. nam im-ma-an-tar-es ([She… ] the hand on its face [ ] on its outside) 251. su-sar!69) im-ma-an-búr-ru-us “My brother, what part of you hurts you?” NinÌursaga run to the temple. “The top of my head hurts me.” The Anuna seized her garment, She gave birth to Ab’u (father plant) out of it. (and) made a warp.70) “My brother, what part of you hurts you?” They decided its destiny “The locks of my hair hurt me.” (and) loosened the rope.71) She gave birth to Ninsikila (lady bearing hair) out of it. “My brother, what part of you hurts you?” “My nose The readings DUN (l. 249) and su-sar (l.251) propose that hurts me.” the ritual involved the use of a rope, which can be knotted She gave birth to Ningiriutud (lady born of nose) out of and then loosened, to symbolise the curse. The proposed it. readings are supported by attestations of a magic formula to “My brother, what part of you hurts you?” “My mouth hurts me.” unravel curses: su-sar-gin7 Ìé-en-búr-re / kima pitilty lip- 72 She gave birth to (lady filling the mouth) out of pasir. ) Presumably, that rope was made from NinÌursaga’s it. garment, which the Anuna seized, and it actualized her part in the ritual. After the Anuna wrapped the garment into a rope, they decided its future and then loosened it, the act that d dispelled the curse. a secondary pun on the god-name Abba, written ab-ba6 were probably taken into consideration (dab-ú or Abba, see Selz 1995:17-18 and Richter 1999:173-4). For the verbal form see Attinger 1984:46 and Edzard 3.1.7 Lines 252-271: Gods are born and Enki is revived 2003:106 12.8.2.44. ETCSL translates “She gave birth to Ab’u out of it” which vests the ablative of the verb with the notion that the deity was born With Enki inside her womb, NinÌursaga gave birth to eight from the particular painful part of Enki’s body, and also that it came out of deities and, thereby, removed the source of the problem from the womb of Ninhursaga, who now cooperated with Enki. Enki’s body. A rigid formula narrates the birth of the gods. 75) In an=anum III:203 dnin-siki follows dlahar, ewe, thus, “Lady wool” is the divine sheep and dnin-siki-lá “lady bearing wool” (so the Ur ms.). d d d 252. nin-Ìur-sag-gá-ke4 en-ki gal4-la-na ba-ni-in-tus Nippur’s version nin-siki-la is obviously an attempt to sound like Nin-sikil- 253. Ur only: su mùs-b[a] […] bar-ba bí-x […]73)) la of the first story and create the impression that the two are the same god- 254. ses-gu10 a-na-zu a-ra-gig dess. 76) giri – nose, “Lady born of a nose” is a play on the name Ningirida, 255. ugu-dílim-gu10 ma-gig 17 256. dab-ú im-ma-ra-an-tu-ud74) written nin-gìri-da (or gírida), the wife of . Since her cult did not exist in the OB period her name must have been known to the Babylonian scribe from god lists and literary texts. 77) ka – mouth, “Lady filling the mouth.” Ninkasi is the goddess of beer, 68) Collation shows traces of a sign that could be DUN. The first sign RlA 9, pp. 442-444. She is mentioned in the remains of an OB offering list in l. 249 and the second in l. 251 are not the same and neither is LI. from Nippur, PBS 13, no. 60 (CBS 8359), and in the Instruction of Surup- 69) The collation shows traces of a sign generally similar to SAR. pak l. 86, a popular school texts. Hymn to Ninkasi (A, ETCSL 4.23.1) 70) The context favours the interpretation warp, or perhaps a cord. I names Enki and Ninti as her parents, and Ninhursaga as the one who cared assume that after the Anuna removed the garment of Ninhursaga they for her, probably her mother. A link of the hymn to ENH is not obvious, twisted it into a sort of a cord which was then the subject of the ritual. The both were authored in the OB school. idea of a cord depends on the reading of the same sign in l. 251 as SAR! 78) Na-zi is a variant of Nanse, RlA 9, p. 152 and Selz 1995:181 fn. in su-sar — pitiltu, palm fibre, thread, cord. The symbolism in using a cord 825. Outside our text this variant is found only in the god lists. This form is obvious. This translation for which I suggest the reading DUN, is already of Nanse was chosen because of the component zi - throat. in Jacobsen’s translation. Yet, dun is a verb, while we need a substantive. 79) “Who grows a good arm.” Her name is usually, but not exclusively, Therefore, this suggestion compromises the grammar. written with the sign a “water” (Nin-)A-zi-mú-a: cf. in god lists TCL 15, 71) Compare Death of Gilgames l. 193. 10:304, SLT 122 iii:5, 124 iii:28. Gudea statue M and Ur III offering lists: 72) Death of Gilgames l. 192. (ETCSL 1.8.1.3, Me-Turan segment UET 3, 69:4, 93:9, 267 r.ii:6, 931:’1 and 3, 1022:4. The OB literary F:153) has su-sar-gin7 Ìé-búr sum-gin7 Ìé-AK-e. May (your anger) be sources are inconsistent. In LSUr:212 one source has á- and two sources loosen like a cord, peeled? like a garlic.” The use of this image, with su.sar have a-. Note, however, that in the narrative Ningiszida and Ninazimua, the and súm, in 1st millennium rituals suggests that it was standard. See Surpu Ur source, UET 6, 26:4 has –á- “arm” whereas the Nippur source, TuMHF V-VI:52-56 (E. Reiner, AfOBeih. 6); Lipsur Litanies, E. Reiner JNES 4, 4:72 (r.i:2) has a, “water”. 15(1956) 136:80; Maqlu V:58 (G. Meier, AfOBeih. 2). 80) Ninti – “Lady rib”. RlA 9, pp. 504-5. Since here Ninti is a daugh- 73) This line in Ur only. ter of Enki Attinger wants to set her apart from Nin-ti the wife of Enki in 74) Outside ENH ugu-dílim is attested only in the lexical list ugu-mu, An=Anum II:179. However, the names here were not selected for theolog- MSL 9, p. 52:3 and Susa version p. 63:2. The term and the divine name ical reasons but to suit body parts, like the choice of Nazi, and the play on were treated by M. Civil in JNES 32(1973) 57-8. The name of the born god the names Ningirida and Ninazimua. The role allotted to her at the end, Ab’u is a play on the Akkadian word – abbuttu. But the Sumerian word for Nin-iti, “lady Month” playing on the name Nin-ti indicates that the author abbuttu is not ugu-dílim but gàr, so the meaning of the name and, perhaps, was not interested in her religious background. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 318

337 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 338

“My brother, what part of you hurts you?” “My throat the head, comparable to nose, hair and mouth. Be that as it hurts me.” may, this name shows that the author was an Akkadian She gave birth to Nazi (zi - throat) out of it. speaker, well versed in the lexical lists. “My brother, what part of you hurts you?” “my arm The image of Enki inside NinÌursaga’s womb is readily hurts me.” She gave birth to Azimua (who grows a good arm) out interpreted in mythological terms as underground water of it. sources. This interpretation binds the story of Enki and Nin- “My brother, what part of you hurts you?” “My rib Ìursaga with the story of Dilmun. It is not certain, however, hurts me.” that this particular image was created to actualize that mytho- She gave birth to Ninti (lady rib) out of it. logical meaning. Natural-like birth may have been an ad hoc “My brother, what part of you hurts you?” “My flank solution, practical and realistic, to the complicated situations. hurts me.” It involves both male and female gods, restores the state of She gave birth to Ensag81) out of it. the semen, removes the cause of the problem, and it ends the After a chain of conflicts Enki and NinÌursaga unite again. conflicts between Enki and NinÌursaga in cooperation. A nat- NinÌursaga with Enki in her womb gives a seemingly natural ural birth also signifies a new beginning. Intentionally or not, birth to eight deities.82) Apparently, the eight plant inside the literary purpose coincides with mythological themes. Enki’s belly resumed their original purpose, the reproduction of gods. 3.1.8 Lines 272-281: The happy end The recovery through a birth process links each god name Each of the new born is now given a divine role, a pur- to a body part rather than a plant-name, and it follows an pose in the world, and in this positive mood the tale ends. order from top to bottom, as in the lexical lists. The names 85 272. di4-di4-lá-lá ba-tud-dè-en-na-as níg-ba n[am-x] ) are so obviously fabricated that the list cannot have a theo- d logical significance. Most of these deities were no longer 273. ab-ú lugal-ú Ìé-a 274. dnin-siki-lá en má-gan-na Ìé-a worshipped in the cult and, therefore, the names must have d d 275. nin-giri17-ù-tud nin-a-zu Ìa-ba-an-tuku-tuku been chosen from the school material, particularly god lists. d 276. nin-ka-si níg sag4 si Ìé-a Each name was slightly twisted in a way that preserved the 277. dna-zi ù-mu-un-dar-a Ìa-ba-an-tuku-tuku original sound but gave it a different, desired, meaning. The 278. dá-zi-[mú-a] [dnin]-gis-zid-da Ìa-ba-an-tuku-tuku handling of the names, the small distortions, exhibit good 279. dnin-[ti] nin iti-e Ìé-a d command of the language and the script and a sense of 280. [ en-sa6]-ak en dilmun-na Ìé-a humour. The proposed etymologies indicate that the names 281. [den-ki] zà-mí were governed by the plot and that they also intended to “For the little ones to whom I have given birth [I shall entertain. All these features suggest that the value of this give] a gift Ab’u (father plant) shall be king of the plants, episode is intellectual and literary. Ninsikila shall be the lord of Magan, The first name on the list, Ab-ú, “father plant” demon- Ningiriutud shall marry Ninazu, strates the complexity involved in the compilation of the list. Ninkasi shall be the thing that satisfies the heart, “Father Plant” is a good choice for the first name because it Nazi shall marry Nindara, evokes the previous form of these deities as plants, and pre- Azimua shall marry Ningiszida, serves the memory of the event. Moreover, in the OB period Ninti shall be the lady of the month (nin-iti), Ab-ú was related to the healing goddess Gula, and since some Ensag shall be lord of Dilmun.” of the plants had medical use he is a good choice also in Enki be praised terms of the subject matter.83) The intricacy underlies the The identity of the speaker that made the decision is not relation of the rare term ugu-dílim, to the obvious sound like- self evident. All the translations assume that it was NinÌur- ness Ab’u - abbuttu. It seems that first chosen was abbuttu saga. But when Enki was sitting in her womb with the semen (in Akkadian) which was than translated into Sumerian. How- in his body he was also birthing. Since the tale seems to ever, abbuttu is not the Sumerian ugu-dílim, but gàr,84) so it favour Enki we cannot exclude the possibility that it was him. could not have been translated from Akkadian but a con- The offices allotted to the new born, like their names, scious choice. The use of the rare term ugu-dílim - scalp, demonstrate a creative scholarly effort. For example, the rather than the common term sag is an additional marker of function assigned to Nin-ti “lady rib” was nin-iti - “lady of sophistication. Presumably, the author looked for a part of the month” (ti⇒ iti ). This function indicates that the author did not intend to adhere to theological traditions but to enter- tain. The same applies to “Father plant” who became the 81) Ensak, written in dedication inscriptions Inzak was the god of Dil- king of the plants. The chief deity of Magan was Ninzaga, mun. For the sources see Alster, 1983:43. References to Mesopotamian 1st not Nin-siki-la.86) A remote sound similarity siki ⇔ zaga may millennium sources in RlA 2, 404, s.v.Enzag. 82) The mythological significance of the method, placing Enki inside the have played a role. Marriage was the lot of three goddesses: womb as a natural birth, was extensively treated by others. See especially Ningirida, (Nin)azimua and Nazi. Presumably, the author Alster 1978, Frymer-Kensky 1991:72, Kirk 1970:97. Kirk explains the used the god lists as a source, because the literary texts of the mythological symbolism of the pregnancy and birth in terms of irrigation. Although water is surely the central issue, his suggestion that it is about widening the irrigation further into dry areas seems to undermine the the- ological - cultic - political implications of the text. 85) níg-ba is quite clear but the verb is uncertain. I assume that it is the 83) According to an=anum V:54-5, Ab-ú was husband of Gula. See also 1st p. sg. and because the “gift” is actually the destiny of these deities, the the balag e-lum gu4-sún, Cohen, CLAM, 284:210-11. The name is attested fundamental condition for their existence, I reconstruct nam- for the affir- in fields and personal names from ED III and Ur III, and he received offer- mative 2 /na-/. ings together with , Ninsuna, Dumuzi, and Gestinana in Nin- 86) RlA 9, p. 531, s.v. Ninzag. Gudea Cyl. A vx:11, about the contri- suna’s temple in Ku’ara (e.g. TCL 2, 5482 r.i:9; 5514:21). bution of Magan and Meluhha to the E-ninnu. Note that it names Nin-sikil- 84) CAD A/I, 48-9. a as the goddess of Meluhha (xv:15), not Dilmun! 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 319

339 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 340

OB period are more informative about these goddesses.87) their marriage and the following episodes delineate Enki’s Ninkasi the beer goddess has her real divine property, she offensive behavior as a husband and father, and NinÌursaga’s was probably known and popular enough outside the school increasingly irritated reactions, until she uses the curse to stop material. Ensak ends the list and the story. He was born from him. But when the lack of water endangers the life in Sumer, zag but was not associated with Nin-zag because the latter is she dispels the curse. Eventually, Enki emerges of the tale as the god of Magan, and therefore of no use to the story. Ensak indispensable and superior to NinÌursaga. In historical terms, became the god of Dilmun as he was in reality. Thus, he links the return of to heal Enki symbolizes the superi- the story of Enki and NinÌursaga to the story of Dilmun ority of Enki’s cult and priesthood.88) inside a literary framework of the whole text. In view of this literary function his place as the last cannot be coincidental. 4. The last episode concludes the complicated dialectic rela- Summary: towards an interpretation of the text tions of Enki and NinÌursaga in a productive relaxed coop- 4.1 eration. The linear sequence of the episodes, ending with syn- The components thesis, must have been a deliberate process towards this The divine properties of Enki link events that took place harmonious finale. in Dilmun and Sumer. Each of the two locations is the arena of a complete and meaningful story. These stories were con- 3.2 The meanings and functions of the second story. nected by literary and thematic means. Lines 1-2 point to Dil- mun and Sumer, being an introduction to the complete text. The second story is far more complicated than the first. It Line 280, the last, states Ensag’s future as the god of Dilmun holds more episodes and involves more participants, although (i.e. next to Ninsikila) and thereby it links up the second story mostly minor deities whose identity and function are vague. with the first. Together, ll. 1-2 and 280 form a geographical The narrative reflects typical literary and scholarly values of and thematic framework for the whole text. The relation of the OB scribal school. The axis of the plot is the relative sta- the stories to one another define the meaning and the purpose tus of Enki and NinÌursaga, described as dialectic relations of the text as a whole. The first story concentrates on the and evolve in a thematic and structural logic. On the level of emergence of water sources in Dilmun. Enki’s death signi- the story Enki’s sexual activity takes the central place. Since fies a lack of water, which now appears as the ultinate objec- he is the god of fresh water it was interpreted in terms of irri- tive of the second plot. Thus, both stories deal with Enki as gation and fertility. But the complex episodes, all based on the divine manifestation of sweet water. The second story is social-family values, suggest more levels of significance. longer than the first, more complex in the number episodes Enki’s repeated behavior have an obvious dramatic function. and participants, and for reason. To describe the creation of water sources as the manifestation of Enki is easy, but for the 3.2.1 The significance of NinÌursaga opposite, for a drought Enki must be killed first, and that is A close reading of the first episode suggests that NinÌur- difficult to explain. It demands a complicated plot which saga refused Enki’s advances in the marshes and that he mar- would narrate serious offences to justify Enki’s death. And ried her. This reading opens new channels of meaning for two this can be done only by an higher ranking god, as NinÌur- reasons. First, it signifies from the outset that sexual relations saga. The staging of NinÌursaga as Enki’s wife suggests that outside the marriage institution are improper. This social the second story have a theological-political horizon. It is value, like a scarlet thread, underlies each episode, propels quite possible that first was the intention to promote Enki’s the plot and defines the course of the story. Second, in actual rank and cult, then the idea about the suitable the theme that cultic terms NinÌursaga was not Enki’s wife. Therefore, their demonstrates it, and lastly the stories were authored. The marriage signifies that the function as Enki’s wife is crucial treatment of the theme in the stories lacks balance, but the for the meaning and purpose of the plot, and that she must meaning and purpose are clear. Two stories that depict con- be equal to Enki in rank and authority. Thus, family values trasting situations demonstrate the essential bipolarity of were consciously chosen as the vehicle to build up the story. Enki’s divine manifestation as water. The metamorphosis of The deliberate balance forecasts a power struggle between Dilmun from a lifeless into a prosperous island was actual- the two gods, with the marriage institution at the background. ized by the appearance of Enki who is water sources. The The birth of minor deities is merely the calm after storm, death of Enki signifies the disappearance of water sources. the climax is the unthinkable death of Enki and the return of The combination of the stories, the text as a whole, leads to NinÌursaga to revive him. Thus ultimately, the plot demon- the conclusion that Enki’s being or absence is a matter of life strates that life is impossible without Enki through his man- and death and makes manifest his importance and his supe- ifestation as sweet water sources. Obviously, a goddess infe- riority among the Anuna. Sex and family values recede to the rior than NinÌursaga would not have the power to kill Enki, background as merely the literary materials that propel the nor to revive him. And since marriage life provides opportu- plot toward its ultimate objective. nities for conflicts that can reach high emotional level, the Each story begins with a scene of sexual intercourse. The storyteller uses family relations to lead NinÌursaga to male- second scene (ll. 63-71) is the abrupt beginning of the sec- dict Enki. Thus, the tale begins with an episode that leads to ond story, thus it creates an illusion of a series in one com- plicated event. But despite the literary efforts, the two parts of the text do not merge into one integrative plot but remain 87) Their cult ceased after Ur III period but Ninazimua is mentioned in loosely connected. Each story has its own poetic and mytho- Death of Urnamma: 127 as scribe of the Arali. Ningirida in Nana-Suen logical properties, and its own function. Journey to Nippur l. 200. The choice of Nazi draws near the assumption that the source was god lists because in the literature she is better known as Nanse, goddess of birds and fish, daughter of Enki, whose hymns were 88) The narrative probably originated in this circle. The copy from Ur a study material. was found in the house of a purification of Enki. 1328_BIOR_2008/3-4_02_Tekst 30-09-2008 14:42 Pagina 320

341 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 342

4.2 Intertextuality in Enki and NinÌursaga justly punished. His death, which signifies drought, brings the water theme to the fore and serves to establish the status The thematic and literal likeness of the incest episode to of Enki as the most important god. the first encounter of Enlil and Ninlil was mentioned in The narration of Enki’s intercourses takes almost half of §3.1.3. Another case of intertextuality, but of structural the story, ll. 71-185. In line with his function as god of water, nature, is Enki and Ninmah (ENM). Like ENH it consists of Enki’s sexual activity is usually translated into irrigation. No two stories, the first presents Enki as a creator and the sec- wonder, irrigation is the fundamental condition for living in ond describes a contest between him and Ninmah. In this con- Sumer, and the more irrigated area, the more food and the test Ninmah the mother goddess, otherwise known as NinÌur- 89 better the life. Since, however, Enki’s intercourses are inces- saga, ) creates crippled men to whom Enki finds a purpose tuous as well as adulterous, this interpretation implies that a in life. Then, when Enki creates a creature, Ninmah is unable strict social taboo represents the vital supply of fresh water; to find for him a function in life. Thus, both stories signify NinÌursaga’s attempt to prevent the copulation of Enki with that Enki is the creator of useful men, and make manifest his Uttu would then signify the denying arid areas of irrigation superiority among the gods. The hymnal passages of ENM and cultivation. Also, we note that the copulation of Enki that sing Enki’s praise confirm that this was indeed the pur- with Ninsikila did not create water sources in Dilmun. To pose of the combined text. conclude, sex is a theme only in the second story and, there- Unlike ENH the stories of ENM make a synonymic par- fore, that interpretation actually separates the stories from one allelism, but the structural similarity is obvious. The first another. It seems to me more likely that sex, in the frame- event is a creation story and the second is a contest. Similar work of traditional family values, was used as a medium to to ENM is also the function of the combined stories. In his build up the second story, to lead via the curse to the water aspect as god of water, Enki is the most vital force in the cos- theme. The traditional mythological values of ENH bring to mos, and the helplessness of Enlil and the Anuna gods illus- mind a possible linkage between the marshes and the moun- trates his superior divine power. That in ENM the stories par- tain ridges. It may have had a living significance in the third allel while in ENH they are antithetical is due to the thematic millennium, but I am not sure what mythological meaning it difference, water can appear or lack but the creation of had for the OB author and whether it was in mind. humanity is undivided. The literary relations between the texts can hardly be coin- NINO-Leiden, May 2008 cidental. Since both texts were authored in an Old Babylon- ian school, probably in Nippur, a case of intertextuality is very likely. But the question which one was the model for the other is tricky. The distribution of both texts is rather small. ENM is represented by few more copies in Nippur, but ENH is attested also in Ur. Other criteria, such as subject matter and literary style are relative and subjective. Perhaps it is signifi- cant that in ENM the transition from the first to the second story is smooth, two consecutive event in the same location with the same actors. In ENH there is no continuity, and the additional eclectic themes in the second story generate an impression that the story was concocted to fit an existing model. The dependence of the story of Dilmun on another text in praise of Enki, EWO:238-9, generates the same impression, that it was composed especially to fit this pattern, and used the existing material for the purpose. Add to that the incest episode which has more coherent parallel in Enlil and Ninlil. The diversity of themes and motifs, the puns and the tricks, especially the treatment of the fox motive, demonstrate the professional skills of the author of ENH, his knowledge of school texts, his ability to use of literary devices and his intention to amuse. At the same time, however, these literary properties suggest to me an innovative tailored composition.

4.3 Sex and marriage From the outset the second story signifies that the place of sex is inside the marriage institution. Thus Enki failed to seduce NinÌursaga and had to marry her. The episode with Uttu, the good wife, elaborates on the customary negotiations towards marriage, courting and marriage gifts until the con- summation of marriage. In his relations with his daughters Enki transgressed a strict social prohibition, for which he was

89) According to Rim-Sîn II year name b he was elevated to kingship by Ninmah in her city Kes, that is Ninhursaga. See M. Stol, Studies in Old Babylonian History (1976), p. 54, and van Soldt, AbB 13, 53:7-9.

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