THE BABYLONIAN GENESIS the Story of Creation
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Inanna Research Script
INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the -
The Epic of Gilgamesh: Tablet XI
Electronic Reserves Coversheet Copyright Notice The work from which this copy was made may be protected by Copyright Law (Title 17 U.S. Code http://www4.law.cornell.edu/uscode/17/) The copyright notice page may, or may not, be included with this request. If it is not included, please use the following guidelines and refer to the U.S. Code for questions: Use of this material may be allowed if one or more of these conditions have been met: • With permission from the rights holder. • If the use is “Fair Use.” • If the Copyright on the work has expired. • If it falls within another exemption. **The USER of this is responsible for determining lawful uses** Montana State University Billings Library 1500 University Drive Billings, MT 59101-0298 (406) 657-1687 The Epic of Gilgamesh: Tablet XI The Story of the Flood Tell me, how is it that you stand in the Assembly of the Gods, and have found life!" Utanapishtim spoke to Gilgamesh, saying: "I will reveal to you, Gilgamesh, a thing that is hidden, a secret of the gods I will tell you! Shuruppak, a city that you surely know, situated on the banks of the Euphrates, that city was very old, and there were gods inside it. The hearts of the Great Gods moved them to inflict the Flood. Ea, the Clever Prince(?), was under oath with them so he repeated their talk to the reed house: 'Reed house, reed house! Wall, wall! O man of Shuruppak, son of Ubartutu: Tear down the house and build a boat! Abandon wealth and seek living beings! Spurn possessions and keep alive living beings! Make all living beings go up into the boat. -
Cuneiform Monographs
VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page ii Cuneiform Monographs Editors t. abusch ‒ m.j. geller s.m. maul ‒ f.a.m. wiggerman VOLUME 35 frontispiece 4/26/06 8:09 PM Page ii Stip (Dr. H. L. J. Vanstiphout) VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page iii Approaches to Sumerian Literature Studies in Honour of Stip (H. L. J. Vanstiphout) Edited by Piotr Michalowski and Niek Veldhuis BRILL LEIDEN • BOSTON 2006 VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page iv This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data is available on http: // catalog.loc.gov ISSN 0929-0052 ISBN-10 90 04 15325 X ISBN-13 978 90 04 15325 7 © Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill Academic Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands VANSTIPHOUT/F1_i-vi 4/26/06 8:08 PM Page v CONTENTS Piotr Michalowski and Niek Veldhuis H. L. J. Vanstiphout: An Appreciation .............................. 1 Publications of H. -
Namzitara FS Kilmer
Offprint from STRINGS AND THREADS A Celebration of the Work of Anne Draffkorn Kilmer Edited by WOLFGANG HEIMPEL and GABRIELLA FRANTZ - SZABÓ Winona Lake, Indiana EISENBRAUNS 2011 © 2011 by Eisenbrauns Inc. All rights reserved Printed in the United States of America www.eisenbrauns.com Drawing on the cover and beneath the title on p. iii by Cornelia Wolff, Munich, after C. L. Wooley, Ur Excavations 2 (1934), 105. Library of Congress Cataloging-in-Publication Data Strings and threads : a celebration of the work of Anne Draffkorn Kilmer / edited by Wolfgang Heimpel and Gabriella Frantz-Szabó. p. cm. Includes bibliographical references and index. ISBN 978-1-57506-227-3 (hardback : alk. paper) 1. Kilmer, Anne Draffkorn. 2. Music—Middle East—History and criticism. 3. Music archaeology— Middle East. I. Kilmer, Anne Draffkorn. II. Heimpel, Wolfgang. III. Frantz-Szabó, Gabriella. ML55.K55S77 2011 780.9—dc22 2011036676 The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. †Ê Contents Preface .............................................................. vii Abbreviations ......................................................... ix GUITTY AZARPAY The Imagery of the Manichean ‘Call’ on a Sogdian Funerary Relief from China ................ 1 DOMINIQUE COLLON Chinless Wonders ................................ 19 JERROLD S. COOPER Puns and Prebends: The Tale of Enlil and Namzitara. 39 RICHARD L. CROCKER No Polyphony before A.D. 900! ...................... 45 DANIEL A. FOXVOG Aspects of Name-Giving in Presargonic Lagash ........ 59 JOHN CURTIS FRANKLIN “Sweet Psalmist of Israel”: The Kinnôr and Royal Ideology in the United Monarchy .............. 99 ELLEN HICKMANN Music Archaeology as a Field of Interdisciplinary Research ........................ -
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. -
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography BY PAUL JOSEPH KRAUSE The eagle-god is a prominent iconographic symbol of ancient Mesopotamian religion which wielded tremendous power in the Mesopotamian imagination. The eagle-like gods of Mesopotamia eventually evolved into double-headed gods whose depictions became widespread in imperial and religious symbolism and iconography in Sumer and Akkad.1 These symbols now have common misapprehension as in the common public as being tied to Byzantine Empire of Late Antiquity and the Middle Ages. Rather, the Byzantines most likely inherited these Mesopotamian symbols and employed them in a similar manner as the Sumerians, Akkadians, and Hittites did. Likewise, the iconographic symbols of the moon god Nanna-Sin, who had the power to render the fate of humans,2 re-appeared in early Christian iconography depicting Christ in the Last Judgment. To best understand the iconographic practices and symbols used by the Byzantine Empire and emerging early Christian Church is to understand the foundational contexts by which these symbols first arose and the common religious practice of transferring and re-dedicating prior religious shrines to new deities. “Today the Byzantine eagle flutters proudly from the flags of nations from Albania to Montenegro, and though each state has its local version of the church, the heritage they all bear 1 C.N. Deedes, “The Double-Headed God,” Folklore 46, no. 3 (1935): 197-200. 2 See Samuel Noah Kramer, The Sumerians: Their History, Culture, and Character (Chicago: University of Chicago Press, 1971), 132; Georges Roux, Ancient Iraq (New York: Penguin Books, 1992), 88. -
Mesopotamian Mythology
MESOPOTAMIAN MYTHOLOGY The myths, epics, hymns, lamentations, penitential psalms, incantations, wisdom literature, and handbooks dealing with rituals and omens of ancient Mesopotamian. The literature that has survived from Mesopotamian was written primarily on stone or clay tablets. The production and preservation of written documents were the responsibility of scribes who were associated with the temples and the palace. A sharp distinction cannot be made between religious and secular writings. The function of the temple as a food redistribution center meant that even seemingly secular shipping receipts had a religious aspect. In a similar manner, laws were perceived as given by the gods. Accounts of the victories of the kings often were associated with the favor of the gods and written in praise of the gods. The gods were also involved in the established and enforcement of treaties between political powers of the day. A large group of texts related to the interpretations of omens has survived. Because it was felt that the will of the gods could be known through the signs that the gods revealed, care was taken to collect ominous signs and the events which they preached. If the signs were carefully observed, negative future events could be prevented by the performance of appropriate apotropaic rituals. Among the more prominent of the Texts are the shumma izbu texts (“if a fetus…”) which observe the birth of malformed young of both animals and humans. Later a similar series of texts observed the physical characteristics of any person. There are also omen observations to guide the physician in the diagnosis and treatment of patients. -
Marvel Comics Marvel Comics
Roy Tho mas ’Marvel of a ’ $ Comics Fan zine A 1970s BULLPENNER In8 th.e9 U5SA TALKS ABOUT No.108 MARVELL CCOOMMIICCSS April & SSOOMMEE CCOOMMIICC BBOOOOKK LLEEGGEENNDDSS 2012 WARREN REECE ON CLOSE EENNCCOOUUNNTTEERRSS WWIITTHH:: BIILL EVERETT CARL BURGOS STAN LEE JOHN ROMIITA MARIIE SEVERIIN NEAL ADAMS GARY FRIIEDRIICH ALAN KUPPERBERG ROY THOMAS AND OTHERS!! PLUS:: GOLDEN AGE ARTIIST MIKE PEPPE AND MORE!! 4 0 5 3 6 7 7 2 8 5 6 2 8 1 Art ©2012 Marvel Characters, Inc.; Human Torch & Sub-Mariner logos ™ Marvel Characters, Inc. Vol. 3, No. 108 / April 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) AT LAST! Ronn Foss, Biljo White LL IN Mike Friedrich A Proofreader COLOR FOR Rob Smentek .95! Cover Artists $8 Carl Burgos & Bill Everett Cover Colorist Contents Tom Ziuko With Special Thanks to: Writer/Editorial: Magnificent Obsession . 2 “With The Fathers Of Our Heroes” . 3 Glenn Ald Barbara Harmon Roy Ald Heritage Comics 1970s Marvel Bullpenner Warren Reece talks about legends Bill Everett & Carl Burgos— Heidi Amash Archives and how he amassed an incomparable collection of early Timelys. Michael Ambrose Roger Hill “I’m Responsible For What I’ve Done” . 35 Dave Armstrong Douglas Jones (“Gaff”) Part III of Jim Amash’s candid conversation with artist Tony Tallarico—re Charlton, this time! Richard Arndt David Karlen [blog] “Being A Cartoonist Didn’t Really Define Him” . 47 Bob Bailey David Anthony Kraft John Benson Alan Kupperberg Dewey Cassell talks with Fern Peppe about her husband, Golden/Silver Age inker Mike Peppe. -
Adapa Reconsidered: Life and Death in Contextual Perspective
Scriptura 87 (2004), pp. 267-277 ADAPA RECONSIDERED: LIFE AND DEATH IN CONTEXTUAL PERSPECTIVE William W Hallo Yale University1 In all ages of civilization, men have challenged the brutal reality of death with two uncon- querable dreams: one the hope of longevity, long life, and the other the illusion of immortality, of eternal life. Let us see first what the Bible has to say on the second of these two subjects, and then try to retrace our steps to the older lands of the Fertile Crescent and their traditions. However, far be it from me to survey all the twenty-four books of the Bible or all the vast literature of the cuneiform and hieroglyphic sources. I will confine myself instead to a type of expression common to the whole ancient world, namely epic literature. Epics in the narrow sense are heroic tales of the mighty men of the past, set to poetry or, at least, written with a high degree of literary polish. They differ from myths only in that the latter are poems about gods, not men; they are quite different form legends, which are not poems at all but unsophisticated prose narratives of the popular imagination, or folklore. On this basis, the great classical masterpieces of Homer, Hesiod and Virgil are epics. So are those two most famous works of cuneiform literature, the “Epic (better: myth) of Creation” and the Epic of Gilgamesh. But the Israelites, too, had their epics. About the time that the Iliad and Odyssey were being written in Greece, a royal scribe of the United Monarchy was composing a Hebrew epic recounting the glorious exploits of Saul, Jonathan and David which later became a part of the books of Samuel. -
Adam and Adapa: Two Anthropological Characters
Andrews University Seminary Studies, Autumn 1981, Vol. 19, No. 3, 179-194 Copyright @ 1981 by Andrews University Press. ADAM AND ADAPA: TWO ANTHROPOLOGICAL CHARACTERS NIELS-ERIK ANDREASEN Loma Linda University Riverside, California Because of the enormous impact of the Bible upon both the Jewish and Christian communities, any ancient Near Eastern literary discovery that may offer a parallel to some segment of biblical literature is greeted with interest. One such literary discovery is the Adapa myth. Its early discoverers and investigators claimed it as a true Babylonian parallel to the biblical story of Adam. ' However, after the initial flush of excitement, other voices arose to point out the differences between Adam and Adapa, claiming that no parallels exist between them.' This position is retained in some of the more recent examinations of the material, but with the provision that some of the issues raised in the Adapa myth also occur in the biblical material.' Finally, renewed attempts at showing an essential parallel between Adam and Adapa (with due allowances for functional shifts in the material) have been made.4 Such a "seesaw effect" of ancient Near Eastern parallels to the Bible is quite typical and suggests that the word "parallel," 'see conveniently the discussion by A. T. Clay, The Origin of Biblical Traditions, Yale Oriental Series 12 (New Haven, Conn., 1923), pp. 108-116. *This reaction is well illustrated by A. Heidel, The Babylonian Genesis, 2d ed. (Chicago, 1951), p. 124: "The Adapa legend and the Biblical story (of Adam) are fundamentally as far apart as antipodes." This general conclusion had been anticipated by G. -
Asher-Greve / Westenholz Goddesses in Context ORBIS BIBLICUS ET ORIENTALIS
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources Asher-Greve, Julia M ; Westenholz, Joan Goodnick Abstract: Goddesses in Context examines from different perspectives some of the most challenging themes in Mesopotamian religion such as gender switch of deities and changes of the status, roles and functions of goddesses. The authors incorporate recent scholarship from various disciplines into their analysis of textual and visual sources, representations in diverse media, theological strategies, typologies, and the place of image in religion and cult over a span of three millennia. Different types of syncretism (fusion, fission, mutation) resulted in transformation and homogenization of goddesses’ roles and functions. The processes of syncretism (a useful heuristic tool for studying the evolution of religions and the attendant political and social changes) and gender switch were facilitated by the fluidity of personality due to multiple or similar divine roles and functions. Few goddesses kept their identity throughout the millennia. Individuality is rare in the iconography of goddesses while visual emphasis is on repetition of generic divine figures (hieros typos) in order to retain recognizability of divinity, where femininity is of secondary significance. The book demonstrates that goddesses were never marginalized or extrinsic and thattheir continuous presence in texts, cult images, rituals, and worship throughout Mesopotamian history is testimony to their powerful numinous impact. This richly illustrated book is the first in-depth analysis of goddesses and the changes they underwent from the earliest visual and textual evidence around 3000 BCE to the end of ancient Mesopotamian civilization in the Seleucid period.