Similarly, the opening section of the fifth tablet of Enuima elis" closely parallels certain lines of the astrological omen series Enuima Anu Enlil Landsberger and Kinnier-Wilson What ismore important, Peter Machinist has recently argued that intertextuality is deliberate, because it is meant to be recognized as a fundamental part of the poetics of Enuima elis.
The god list that served as the basis forMarduk's fifty names has been skillfully woven into the text. The columnar arrangement of god lists was omitted in Enuima elis, and thus this section looks exactly like the rest of the composition, concealing its origins. Never theless, certain clues reveal the source, such as the use of the ditto sign after the name of the god.
There is, moreover, the use of ordinal numbers to establish the connections in a sequence of names. That is the case, for instance, in the Asalluhi group. Here each name is As mentioned in note 15, it is possible that the names after [Neberu] refer toMarduk. However, the column bearing the names is broken, and only the explanations are preserved.
If we were to collect the names and epithets scattered in different lists, it is clear that there were many more than fifty names for Marduk.
Note, for instance, that tablet VII Furthermore, the choice of a god list with explanations to close the composition carries further complexities because this kind of list displays certain features of lexical texts beyond the mere arrangement of names, and these features are accordingly to be found in the list of Marduk's names in Enuima elis. This is also the case with the use of thematic associations such as hyponyms, associated pairs, synonyms, and antonyms in lines of Enuima elis not preserved in the fragments of the three-column god list known to me.
Thus, under the name dZi-ku we find mu-sab-si si-im-ri u ku-bu-ut-te-emu-kin he'-gail VII: 21 , where the term simru "wealth" ,kubuttui "abun dant wealth" , and hegallu "abundance" are hyponyms, i. Most interesting is the fact that from the preserved lines of the three-column god list one gets the impression that certain episodes of Enuima elis have been drawn from the explanations of the god list.
This is not an innovation, for lexical lists had already inspired the composition of literary texts, as Miguel Civil has shown see also Veldhuis Aside from the praise of Marduk, specific events taken from the god list include: the defeat of Tiamat and disarming her of her weapon iii: 1'-2' ; the slaughter of Kingu iii: 16' ; the creation of skillful things as a consequence of Marduk's victory over Tiamat iii: 20' ; and the positioning of Neberu mentioned in tablet V: 6 iii: 25'.
Thus the use of related words from the god list seems to be present in tablet V: 59, when Marduk ties Tiamat's tail to the durmahhu, the link that unites heaven and earth.
In this instance the god list has markas and durmahhi, while tablet V: 59 has durmahhisf and urakkis, that is, both feature the noun durmahhu and another term derived from the root r k s. A similar case occurs with the explanation of the name Gibil Ee VII: - gl 20' , where the clause ibannac nikla7ti, "he Marduk can create ingenious things," also appears to be related to the defeat of Tiamat in tablet IV: This is most likely a play of borrowing within borrowings.
For the organizational principles of lexical lists, see Martha Roth's clear and systematic classification. Although not in the available fragments of the three-column list, I suspect thatMarduk's thirty-fourth name Mummu is also derived from the god list.
Interestingly enough, another three-column list STC 2, plates lxi-lxii [K. Naturally, a thorough enumeration of intertextual examples would be far beyond the scope of this section. For the sake of brevity, suffice it to say that Enuima elis includes allusions to a variety of traditional genres and motives as well as literary conventions. These encompass etiological myths, epic stories, phraseology from omen literature, royal inscriptions7 hymns, prayers, cosmological topics, literary devices of lexical lists, god list s , and putative genealogies.
First, there is the mention of the lack of names in the opening line: Eniima elis la nabu2 s'amaiim, "When above heaven had not been named.
This betrays from the outset the intention to create a circular account, because the beginning lacks what abounds at the end. Immediately following, from the third through the seventeenth line, there is a genealogy. Next, Nudimmud is praised above his forebears: He is wise, strong, and unrivaled among his ancestors. Genealogy is then interrupted by a pas sage that introduces the conflict. This encompasses the gods disturbing Tiamat with their noise, Ea's killing of Apsu, and his subsequent creation of his dwelling upon Apsuf.
At this point, the genealogy is resumed and completed, because Marduk is born to Ea and his wife Damkina in the midst of Apsu. Marduk is then praised even more than his father. In this genealogy, the great absent figure is, of course, Enlil, who is played down by being com pletely ignored.
He will appear later to give Marduk his own epithet, bel mdtdti, personally. Thus a relatively short passage not only introduces the important characters and the plot's conflict, but it also lays out the positive qualities of the future hero.
It shows that Marduk was the son of the most outstanding god, Ea, and that his grandfather was none other than Anu.
Marduk's identity is thus established by means of ancestry. After this, however, Marduk-as would any successful Mesopotamian king-seeks out fame by un dertaking heroic deeds.
He volunteers as the champion of the gods, requesting the special powers that enable him to defeat Tiamat. As if this were not enough, he creates the heavens and earth out of his rival's corpse. At this point, the last portion of tablet four mirrors Ea's deeds in the first tablet. Marduk establishes dwelling places in the enemy's body, as Ea had done before him, but Marduk does this in a grandiose way, superseding his father.
He then proceeds to fashion the stars, the planets, and the rest of the universe. The exaltation of Marduk has several stages. He has the right ancestry and successfully undertakes heroic deeds. Both facts convey the ideal background of aMesopotamian ruler. But additionally he becomes a demiurge, and this obviously places him far above his human counterparts. This progression moves from kinship to kingship. The transition is expressed in such a manner that the ultimate caesura is unambiguous.
The gods further bestow upon him his second name, Lugaldimmerankia, "king of the gods of heaven and earth. From the beginning, Gil games is presented as the son of Lugalbanda and the goddess Ninsun, two-thirds god and one-third human. He decides to undertake heroic deeds and seeks advice from the elders and the young men of Uruk. Gilgame's aims at immortality like Uta-napistim, while Marduk aspires to become Enlil.
In his search for fame, Gilgames kills the innocent Humbaba, whose role had been to protect the Forest of Cedar, and Marduk kills Tiamat, who was legitimately avenging the murder of Apsu'.
Whereas Gilgames fails, Marduk succeeds. Finally, both Gilgame-s's and Marduk's deeds are meant to be transmitted to future genera tions. Gilgame's's travails were recorded and enshrined in a foundation deposit in the wall of Uruk, and the narrator invites his audience to read out from a lapis-lazuli tablet the story of the king of Uruk.
Similarly, Marduk's story and names were written on seven tablets, and the narrator urges future generations to remember, study, transmit, and repeat those names. The names are strategically listed at the end of the composition in order to celebrate Marduk's greatness and to install him unequivocally as the head of the Babylonian pantheon.
But having the names at the very end is also intended, I think, to highlight the contrast with the first tablet. It further implies that towards the end of Eniuma elis Marduk's genealogical filiation becomes less relevant because by defeating Tiamat and creating the universe he is able to establish a reputation for himself. It is in this sense that names replace genealogy. But here the composer plays yet another of his tricks, because, as Lambert b has convincingly shown, the list of ancestors in the first tablet was fashioned after the genealogical tradition of god lists.
Die fuinfzigNamen des Marduk. AfO Bottero, J. Antiquites Assyro-Babyloniens. Les noms deMarduk, l'ecriture et la "logique" enMesopotamie ancienne. Finkelstein, ed. Memoires of the Con necticut Academy of Arts and Sciences, vol. New Haven: Archon Books. Civil, M. F Roch berg-Halton. New Haven: American Oriental Society. Dalley, S. Statues of Marduk and the Date of Enuma elis. Deimel, A. Enutma elis: epos babylonicum de creatione mundi.
Rome: Pontifical Biblical Institute. Foster, B. Bethesda, Md. Geller, M. Forerunners to Udug-hul: Sumerian Exorcistic Incantations. Wiesbaden: Franz Steiner Verlag. Heidel, A. The Babylonian Genesis, the Story of Creation. Chicago: Univ. Jacobsen, Th.
The Battle between Marduk and Tiamat. JAOS The translation is by Michalowski London: Luzac and Co. London: The British Museum. Labat, R. Le poeme babylonien de la creation. Paris: Librarie d'Amerique et d'Orient. Les origins et la formation de la terre dans le poeme babylonien de la creation. AnBi Lambert, W. Meek, ed. Toronto: Univ. Goedicke and J. Baltimore: Johns Hopkins Univ.
The Cosmology of Sumer and Babylon. In Ancient Cosmologies, ed. Blacker andM. London: George Allen and Unwin Ltd. Studies inMarduk. BSOAS Ninurta Mythology in theBabylonian Epic of Creation. Hecker andW. Berlin: Detrich Reimer Verlag. Oxford: Clarendon Press. Landsberger, B. Kinnier Wilson. The Fifth Tablet of Enuima elis. JNES Litke, R. New Haven: Yale Babylonian Collection. Machinist, P. Order and Disorder: Some Mesopotamian Reflections. Jerusalem: Israel Academy of Sciences and Humanities.
Michalowski, P. Presence at the Creation. Abusch et al. Atlanta: Scholars Press. Roth, M. Civil and E. MSL, vol. Sommerfeld, W. Der Aufstieg Marduks. AOAT Neukirchen-Vluyn: Neukirchener Verlag. Talon, P They are distant. They must be reminded. Watch also the Days. The Day when the Great Bear hangs lowest in the sky, and the quarters of the year measured thereof in the four directions measured thereof, for there the Gates may be opened and care must needs be taken to ensure that the Gates remain forever closed.
They must be sealed with the Elder Sign accompanied by the rites and incantations proper. The Fifty Names here follow, with their Signs and Powers. They may be summoned after the Priest has ascended to that step on the Ladder of Lights and gained entrance to that Sacred City.
The Signs should be engraved on parchment or sealed in clay and placed upon the altar at the Calling. And in the perfumes should be of cedar, and strong, sweet-smelling resins. And the Calling be to the North. The Lord of Lords, master of Magicians. His Name should not be called except when no other will do, and it is the most terrible responsibility to do so. This is his Seal: Knows all things since the beginning of the World.
Knows all secrets, be they human or divine, and is very difficult to summon. The Priest should not summon him unless he is clean of heart and spirit, for this Spirit shall know his innermost thoughts. Sealed the Ancient Ones in their Caves, behind the Gates.
Possesses the ARRA star. This is his Seal: Worker of Miracles. The kindest of the Fifty, and the most beneficent. Made the Waters aright. He will put to flight any maskim who haunt thee, and is the foe of the rabisu.
None may pass into the World Above or the World Below without his knowledge. He ensures the most perfect safety, especially in dangerous tasks undertaken at the behest of the Astral Gods.
No soul passes into Death but that he is aware. Giveth excellent counsel and teaches the science of metals. He is truly the Protector of the Bounty. Giveth excellent counsel in all things. He can provide an army with its entire weaponry in three days. Knower of the Secrets of the Earth. He is the Lord of the Amulet and the Talisman.
Nothing is buried in the ground, or thrown into the water, but this Power is aware. Discovers the Priest's Enemies with ease, but must be cautioned not to slay them if the Priest does not desire it. A Warrior among Warriors. Can destroy an entire army if the Priest so desires.
I do not know, for I have never summoned this Spirit. It is thy risk. Knows the Secrets of Water, and the running of rivers below the Earth. A most useful Spirit. Possesses a most subtle geometry of the Earth and knowledge of all lands where Water might be found in abundance. Gives knowledge of cultivation, and can supply a starving city with food for thirteen moons in one moon.
A most noble Power.
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