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Mezopotamya’da Sanat, Mitoloji ve Bilim
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Shulgi and the Royal Ideal of Music
Shulgi and the Royal Ideal of Music (LINK)
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2. Instrument Gods and Musician Kings in Early Mesopotamia: Divinized Instruments
Shulgi and the Royal Ideal of Music
“I, Shulgi, king of Ur, have also devoted myself to the musician’s art. Nothing is too complicated for me; I know the depth and breadth of the tigi and the adab, the perfection of music. When I fix the frets on the lute (giššukarak), which enraptures my heart, I never damage its neck; I have established procedures for raising and lowering its intervals. On the [sc. instrument with] eleven tuning-pegs, the lyre (zami), I know the harmonious tuning. I am familiar with the three-stringed instrument (sa-eš) and with drumming on its musical sound-box. I can take in my hands the Mari-lyre (miritum), which brings the house [sc. astonished] silence. I know the finger technique of the horizontal-lyre (alĝar) and the Sabu-lyre (sabitum), royal creations. In the same way I can produce sounds from the King-of-Kish instrument (urzababitum), the ḫarḫar, the zan(n)aru-lyre, the urgula and the dim-lu-magura. Even if they bring to me, as one might to a skilled musician, a lute (gudi) that I have not heard before, when I strike it up I make its true sound known; I am able to handle it just like something that has been in my hands before. If in tuning I tighten, loosen or set [sc. the strings], they do not slip from my hand. I never make the double-pipe sound like a shepherd’s instrument, and on my own initiative I can wail a sumunša or make a lament as well as anyone who does it regularly.” |
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Music of Mesopotamia
Music of Mesopotamia (W)
Cuneiform sources reveal an orderly organized system of diatonic scales, depending on the tuning of stringed instruments in alternating fifths and fourths. Instruments of Ancient Mesopotamia include harps, lyres, lutes, reed pipes, and drums. Many of these were shared with neighbouring cultures. Contemporary East African lyres and West African lutes preserve many features of Mesopotamian instruments (van der Merwe 1989, p. 10).
Two silver pipes have been discovered in Ur with finger holes, and a depiction of two reeds vibrating. This instrument would be close to the modern oboe. The ancient Mesopotamians do not seem to have had a clarinet-type of instrument. A number of reconstructions have been proposed, the most recent being a pair of thin tubes with three finger holes in one tube and four finger holes in the other (Goss 2012). |
The Harmonic Series, the series of notes that the Mesopotamian horn instruments would have been able to play. |
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A praise poem of Shulgi (Shulgi B)
A praise poem of Shulgi (Shulgi B) (LINK) |
A praise poem of Shulgi (Shulgi B)
1lugal-e mu-ni nij2-ul-ce3
2ud su3-ra2 ka pa ed2 ak-de3
3dcul-gi lugal urimki-ma-ke4
4a2-na za3-mi2-bi-im kalag-ga-na cir3-bi-im
5gal-an-zu nij2-saj-bi-ce3 ed2-a-na mu da-ri2-bi-im
6cag4-bal-bal-a ejer ud-da-ka cu-a bal-e-de3
7kalag-ga dumu dnin-sumun2-ka-ra
8jectug2 ejer-ra-bi igi-ce3 mu-un-na-de6
9a2-ni cir3-ra silim-ce3 mu-un-e
10dim2-ma nij2-sag9-ga cag4-ta DU-a-ni ni2-bi i3-balaj-e (LINK) |
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1-10 To make his name famous for all time until distant days, and to transmit to posterity and the days to come the praise poems of his power, the songs of his might, and the lasting fame of his exceptional intelligence, King Culgi, king of Urim, has brought the songs' latent wisdom before the mighty son of Ninsumun. He praises his own power in song, and lauds his own superior native intelligence:
11lugal a lugal-e ru-a nin-e tud-da-me-en
12dcul-gi-me-en dumu-gir15 cag4 zid-ta nam dug3 tar-ra-me-en
13tur-ra-ju10-ne e2-dub-ba-a-a-am3
14dub ki-en-gi ki-uri-ka nam-dub-sar-ra mi-ni-zu
15nam-dumu-gir15 je26-e-gin7-nam im nu-mu-un-sar
16nam-dub-sar-ra ki nam-kug-zu-ba lu2 im-mi-re6-re6
17zi-zi-i ja2-ja2 cid nij2-cid-de3 zag im-mi-til-til
18dnanibgal sig7-ga dnisaba2-ke4
19jectug2 jizzal2-la cu dajal ma-ni-in-dug4
20dub-sar jal2 taka4-a nij2-e nu-dib-be2-me-en (LINK) |
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11-20 I am a king, offspring begotten by a king and borne by a queen. I, Culgi the noble, have been blessed with a favourable destiny right from the womb. When I was small, I was at the academy, where I learned the scribal art from the tablets of Sumer and Akkad. None of the nobles could write on clay as I could. There where people regularly went for tutelage in the scribal art, I qualified fully in subtraction, addition, reckoning and accounting. The fair Nanibgal, Nisaba, provided me amply with knowledge and comprehension. I am an experienced scribe who does not neglect a thing.
21-38 When I sprang up, muscular as a young lion, galloping like a spirited ass at full gallop, the favour of An brought me joy; to my delight Enlil spoke favourably about me, and they gave me the sceptre because of my righteousness. I place my foot on the neck of the foreign lands; the fame of my weapons is established as far as the south, and my victory is established in the highlands. When I set off for battle and strife to a place that Enlil has commanded me, I go ahead of the main body of my troops and I clear the terrain for my scouts. I have a positive passion for weapons. Not only do I carry lance and spear, I also know how to handle slingstones with a sling. The clay bullets, the treacherous pellets that I shoot, fly around like a violent rainstorm. In my rage I do not let them miss.
39-51 I sow fear and confusion in the foreign land. I look to my brother and friend, youthful Utu, as a source of divine encouragement. I, Culgi, converse with him whenever he rises over there; he is the god who keeps a good eye on my battles. The youth Utu, beloved in the mountains, is the protective deity of my weapons; by his words I am strengthened and made pugnacious (?). In those battles, where weapon clashes on weapon, Utu shines on me. Thus I broke the weapons of the highlands over my knees, and in the south placed a yoke on the neck of Elam. I make the populations of the rebel lands -- how could they still resist my weapons? -- scatter like seed-grain over Sumer and Akkad.
52-55 Let me boast of what I have done. The fame of my power is spread far and wide. My wisdom is full of subtlety. Do not my achievements surpass all qualifications?
56-76 I stride forward in majesty, trampling endlessly through the esparto grass and thickets, capturing elephant after elephant, creatures of the plain; and I put an end to the heroic roaring in the plains of the savage lion, dragon of the plains, wherever it approaches from and wherever it is going. I do not go after them with a net, nor do I lie in wait for them in a hide; it comes to a confrontation of strength and weapons. I do not hurl a weapon; when I plunge a bitter-pointed lance in their throats, I do not flinch at their roar. I am not one to retreat to my hiding-place but, as when one warrior kills another warrior, I do everything swiftly on the open plain. In the desert where the paths peter out, I reduce the roar at the lair to silence. In the sheepfold and the cattle-pen, where heads are laid to rest (?), I put the shepherd tribesmen at ease. Let no one ever at any time say about me, "Could he really subdue them all on his own?" The number of lions that I have dispatched with my weapons is limitless; their total is unknown.
77-80 Let me boast of what I have done. The fame of my power is spread far and wide. My wisdom is full of subtlety. Do not my achievements surpass all qualifications?
81-94 I am Culgi, god of manliness, the foremost of the troops. When I stretch the bowstring on the bow, when I fit a perfect arrow to it, I shoot the bow's arrow with the full strength of my arms. The great wild bull, the bull of heaven, the wild cow and the bison bellow. As they pass across the foothills of the mountains, I shoot barbed arrows at them with my powerful strength.
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As they collapse (?) on the plain, I topple them like old towers. I make their heads plunge to the ground like crushing pestles. For the wild asses I set no snares, dig no pits, shoot no arrows against them. But I race after them as against my own rivals; I do not try to surround them to kill their young, as people kill slim ass foals.
95-113 When a burly wild boar (?) is running across the plain, I pierce its lungs with an arrow. With only one shot of mine I bring it to the ground; no single clansman from my regiments can surpass me in archery. I am a man with sharp eyes. When I lead the ...... of the crack troops, I know best of all how to cast the throwstick, running as quick as light radiating from heaven. What I hit no longer rises from its place.
1 line unclear
I can throw an ellag (a weapon) as high in the air as if it is a rag. I can bring down quadrupeds lightning-quick with the sling. I, Culgi, can catch a goat with a quick pace; nothing checks my power. ...... has been given to me. Wherever I direct my steps, I always achieve something; when I return from the desert, I always bring something more for her -- for Ninsumun, my own mother, I am her son of five things, of ten things (= of everything) .
114-117 Let me boast of what I have done. The fame of my power is spread far and wide. My wisdom is full of subtlety. Do not my achievements surpass all qualifications?
118-130 I, the king, am the Land's most excellent fighter against the enemy. I, Culgi, am respected for my immense bodily strength. I am mighty; nothing resists me; I know no setbacks. My barges on the river do not sink (?) under me (alludes to a proverb (?)) ; my teams of asses do not collapse under me. Striding forward like my brother and friend, the youth Utu, as if with the legs of a lion, I am the good groom of my dust-making asses that bray like lions roaring. Like that of a stallion, my strength is unwavering during the running-race; I come first in the race, and my knees do not get tired. I am fearless; I dance with joy. My words shall never be forgotten. Praise for me because of my reliable judgments is on everyone's lips.
131-149 I am a ritually pure interpreter of omens. I am the very Nintud (creator deity) of the collections of omens. These words of the gods are of pre-eminent value for the exact performance of hand-washing and purification rites, for eulogy of the en priestess or for her enthronement in the jipar, for the choosing of the lumah and nindijir priests by sacred extispicy, for attacking the south or for defeating the uplands, for the opening of the emblem house, for the washing of lances in the "water of battle" (blood) , for the taking of subtle decisions about the rebel lands. After I have determined a sound omen through extispicy from a white lamb and a sheep, water and flour are libated at the place of invocation. Then, as I prepare the sheep with words of prayer, my diviner watches in amazement like an idiot. The prepared sheep is placed at my disposal, and I never confuse a favourable sign with an unfavourable one. I myself have a clear intuition, and I judge by my own eyes. In the insides of just one sheep I, the king, can find the indications for everything and everywhere.
150-153 Let me boast of what I have done. The fame of my power is spread far and wide. My wisdom is full of subtlety. Do not my achievements surpass all qualifications?
154-174 I, Culgi, king of Urim, have also devoted myself to the art of music. Nothing is too complicated for me; I know the full extent of the tigi and the adab, the perfection of the art of music. When I fix the frets on the lute, which enraptures my heart, I never damage its neck; I have devised rules for raising and lowering its intervals. On the gu-uc lyre I know the melodious tuning. I am familiar with the sa-ec and with drumming on its musical soundbox. I can take in my hands the miritum, which ....... I know the finger technique of the aljar and sabitum, royal creations. In the same way I can produce sounds from the urzababitum, the harhar, the zanaru, the ur-gula and the dim-lu-magura. Even if they bring to me, as one might to a skilled musician, a musical instrument that I have not played previously, when I strike it up I make its true sound known; I am able to handle it just like something that has been in my hands before. Tuning, stringing, unstringing and fastening are not beyond my skills. I do not make the reed pipe sound like a rustic pipe, and on my own initiative I can wail a sumunca or make a lament as well as anyone who does it regularly.
175-189 I bestow joy and gladness, and I pass my days in pomp and splendour. But people should consider for themselves -- it is a matter to keep in one's sights -- that at the inescapable end of life, no one will be spared the bitter gall of the land of oppression. But I am one who is powerful enough to trust in his own power. He who trusts in his own exalted name may carry out great things. Why should he do less? Since it was for my true mother Ninsumun that my mother together with her actually bore me to bestow joy and gladness, lovingly she cherished my unborn fruit. She did not endure scandal from anyone's mouth. Before she released her little one, this lady passed her time in my palace in the greatest joy.
190-205 Before Utu son of Ningal, I, Culgi, declare that in my long life in which I have achieved great things since the day that my kingly destiny was determined, in my life in which everything was richly provided in contentment, I have never lacked anything. Until the distant future may this song bless the name of me, the king, with a life of long days. As I am musical, as I am eloquent, I am a heavenly star of steadfastness. It is an awe-inspiring brow that establishes palaces, just as a peg and a measuring cord are the builders of cities. With the awesomeness that radiates from my forehead, which I make the foreign lands wear like a nose-rope, and the fear-inspiring lustre, my personal weapon, which I impose on the Land like a neck-stock, I am able to root out and undo crime. I have the ability to reconcile great matters with one word.
206-220 When I ...... like a torrent with the roar of a great storm, in the capture of a citadel in Elam ......, I can understand what their spokesman answers. By origin I am a son of Sumer; I am a warrior, a warrior of Sumer. Thirdly, I can conduct a conversation with a man from the black mountains. Fourthly, I can do service as a translator with an Amorite, a man of the mountains ....... I myself can correct his confused words in his own language. Fifthly, when a man of Subir yells ......, I can even distinguish the words in his language, although I am not a fellow-citizen of his. When I provide justice in the legal cases of Sumer, I give answers in all five languages. In my palace no one in conversation switches to another language as quickly as I do.
221-243 When I pronounce a completed verdict, it is heartily welcomed, since I am wise and exalted in kingship. So that my consultative assemblies, sitting together to care for the people, inspire respect in their hearts when the chief herald sounds the horn, they should deliberate and debate; and so that the council should decide policy properly, I have taught my governors to deliberate and to debate. While the words at their dining tables flow like a river, I tackle crime, so that the foundations are securely established for my wide dominions. I vanquish a city with words as weapons, and my wisdom keeps it subjected just as violence with burning torches would. I have taught them the meaning of the words "I have no mother". My words can be words smooth as the finest quality oil; I know how to cool hearts which are hot as fire, and I know how to extinguish a mouth set on fire like a reed-bed. I weigh my words against those of the braggart. I am a man of the very highest standards of value. The importance of the humble is of particular value to me, and they cannot be counter-productive to any of my activities. By command of An and by command of Enlil, prayers are said for the life of the Land and for the life of the foreign lands, and I neither neglect them nor allow them to be interrupted.
244-258 I also know how to serve the gods, and I can cool the hearts of the Anuna gods. I am Culgi, whose thick neck becomes fat (?) in majesty. Grand achievements that I have accomplished which bring joy to my heart I do not cast negligently aside; therefore I give pride of place to progress. I give no orders concerning the development of waste ground, but devote my energies to extensive building plots. I have planted trees in fields and in agricultural land; I devote my powers to dams, ......, ditches and canals. I try to ensure a surplus of oil and wool. Thanks to my efforts flax and barley are of the highest quality. The thirst and hunger of the gods are a cause of the greatest anxiety to me; I, Culgi, am the life of Sumer.
259-269 I have no equal among even the most distant rulers, and I can also state that my deeds are great deeds. Everything is achievable by me, the king. Since the time when Enlil gave me the direction of his numerous people in view of my wisdom, my extraordinary power and my justice, in view of my resolute and unforgettable words, and in view of my expertise, comparable to that of Ictaran, in verdicts, my heart has never committed violence against even one other king, be he an Akkadian or a son of Sumer, or even a brute from Gutium.
270-280 I am no fool as regards the knowledge acquired since the time that mankind was, from heaven above, set on its path: when I have discovered tigi and zamzam hymns from past days, old ones from ancient times, I have never declared them to be false, and have never contradicted their contents. I have conserved these antiquities, never abandoning them to oblivion. Wherever the tigi and the zamzam sounded, I have recovered all that knowledge, and I have had those cir-gida songs brilliantly performed in my own good house. So that they should never fall into disuse, I have added them to the singers' repertoire, and thereby I have set the heart of the Land on fire and aflame.
281-296 Whatever is acquired is destined to be lost. What mortal has ever reached the heavens? At some time in the distant future, a man of Enlil may arise, and if he is a just king, like myself, then let my odes, prayers and learned songs about my heroic courage and expeditions follow that king in his good palace. He should take to heart the benefit that has been conferred on him; he should exalt the power of my odes, absorb the exuberance of my songs, and value highly my great wisdom. Just as a strong person can consider on an equal basis even those things which he has not brought about by his own efforts, let him applaud and welcome my achievements. Let him call upon my good name.
297-307 But if his heart devises treason against me, and he commits violence against anything of mine, may Nanna then adjudicate against this rebel, and let Utu the torch catch him. Wherever that king's path may lead, his word shall be wiped out. Until he has completed the days of his life, he shall do everything in his power to keep the hymns in their proper form. Through becoming familiar thereby with me, the king, he will speak of me in awed amazement. Because of my extraordinary wisdom and my ancient fame as a master, he should choose my hymns as examples, and himself beget heavenly writings.
308-319 In the south, in Urim, I caused a House of the Wisdom of Nisaba to spring up in sacrosanct ground for the writing of my hymns; up country in Nibru I established another. May the scribe be on duty there and transcribe with his hand the prayers which I instituted in the E-kur; and may the singer perform, reciting from the text. The academies are never to be altered; the places of learning shall never cease to exist. This and this only is now my accumulated knowledge! The collected words of all the hymns that are in my honour supersede all other formulations. By An, Enlil, Utu and Inana, it is no lie -- it is true!
320-336 Furthermore no one will assert under oath that to this day there is any mention in my inscriptions of a single city that I have not devastated, or wall that I have not demolished, or land that I have not made tremble like a reed hut, or praise that I have not completely verified. Why should a singer put them in hymns? An eminent example deserves eternal fame. What is the use of writing lies without truth? For me, the king, the singer has recorded my exploits in songs about the strength of the protective deity of my power; my songs are unforgettable, and my words shall not fall into oblivion. I am the best king of the Land. From the very first origins until the full flourishing of mankind, there will never be any king who can measure himself against my achievements whom An will let wear his crown or wield his sceptre from a royal throne.
337-353 I am gifted with power, insight and wisdom. The high point of my great deeds is the culling of lions before the lance as if they were garden weeds, the snapping of fierce felines like reeds as if under the carding-comb, and the crushing (?) of their throats under the axe as if they were dogs. Great powerful wild cows, indomitable bulls, cattle on their way to their mountain pastures, which were killed in the plain, were ...... the mountains. That the hills were impenetrable and inaccessible ...... -- those are pure lies. Where, in important words on tablets, my wisdom and my power
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He who knows, and does not ...... the truth about me as lies, will applaud and praise me.
354-357 I am a warrior whose might is enormous might. I am Culgi, whose shadow lies over the mountain lands. I am the king, the weapon and the downfall of rebel lands. Thus I have spread far and wide my everlasting renown.
358-373 Now, I swear by Utu on this very day -- and my younger brothers shall be witnesses of it in foreign lands where the sons of Sumer are not known, where people do not have the use of paved (?) roads, where they have no access to the written word -- that the firstborn son is a fashioner of words, a composer of songs, a composer of words, and that they will recite my songs as heavenly writings, and that they will bow down before my words as a ......
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374-385 For that house, I am the right man to step over the threshold. I am the man whose name has been chosen by Nanna. I am the steward of Enlil's temple, the domestic slave of An. I am Culgi, and my house E-hursaj is the palace of palaces. My royal residence is above all praise; I made it tower up like a lapis-lazuli mountain. Inana, the queen of the gods, the protective deity of my power, has perfected the songs of my might -- the foremost among kings -- in respect of everything in the whole world. It is good to praise me. Praise be to Nisaba.
Revision history
10.viii.1998-12.i.1999 : JAB : adapting translation
26.vii.2000 : GZ : proofreading
27.vii.2000 : GC : tagging
01.ix.2000 : ER : proofreading SGML
01.ix.2000 : ER : converting to HTML 4.0
(LINK)
The Electronic Text Corpus of Sumerian Literature
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The Mesopotamian collection |
The Mesopotamian collection of the Oriental Institute Museum
The Mesopotamian collection of the Oriental Institute Museum (LINK)
Mesopotamia — the land between the rivers, the Tigris and the Euphrates — is an ancient Greek term used by archaeologists to refer to the area now roughly equivalent to the modern country of Iraq. The Mesopotamian collection of the Oriental Institute Museum was acquired almost exclusively through archaeological excavations. The first of these — the University of Chicago Oriental Exploration Fund's expedition to Bismaya (ancient Adab) — worked in Iraq from 1903-1905. During the 1930's the Babylonian Section of the Iraq Expedition excavated four sites on the lower Diyala River, and today the Nippur Expedition is continuing its work, begun in 1948, at the holy city of Nippur. The material that has been brought back as a result of divisions of finds from these expeditions forms one of the major world collections, covering in depth the civilizations of ancient Mesopotamia.
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Foundation Figurine of King Ur-Nammu
King Ur-Nammu rebuilt and enlarged one of the most important temples in ancient Mesopotamia — the E-kur of Enlil, the chief god of the pantheon. This figurine, which was buried in a foundation box beneath one of the temple towers, represents the king at the start of the building project— carrying on his head a basket of clay from which would be made the critically important first brick. The foundation deposit also contained an inscribed stone tablet; beads of frit, stone and gold; chips of various stones; and four ancient date pits found perched atop the basket carried by the king. |
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Striding Lion
This colorful striding lion, its mouth opened in a threatening roar, once decorated a side of the 'Processional Way' in ancient Babylon (the Biblical city of Babel). The 'Processional Way' led out of the city through a massive gate named for the Mesopotamian goddess of love and war, Ishtar, whose symbol was the lion. Each year, during the celebration of the great New Year Festival, the images of the city's deities were carried out through the Ishtar Gate and along the 'Processional Way' past some 120 lions such as this one to a special festival house north of the city. |
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Four-Lugged Vessel
Short, squat jars with painted decoration on the shoulder and four pierced lugs are characteristic of the period around 3000 B.C. in Mesopotamia. Many are decorated with only geometric designs; on this vessel a tree was added beneath each lug. Probably strings were passed through the lugs and used to tie a lid securely in place over the jar's low neck, thus safeguarding its contents. |
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Female Figurine
Figurines like this one have been found in the excavated remains of Mesopotamian houses, temples, and other public buildings of the early second millennium B.C. They have no definite divine attributes and their exact function is not known. This female has characteristic broad, flat hips, a large and elaborately incised pubic triangle, and prominent breasts with applied disk-shaped nipples. The multiple holes pierced at the sides of her head may have held metal earrings or served to fasten the piece to a separate material, such as cloth. |
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Cup Supported by Hero and Animals
This elaborate vessel was discovered in the Shara Temple where it was probably used to place offerings before the god. The decoration of its openwork support shows a hero, naked except for a double-strand belt, grasping the rumps of two lions in his hands. The curling tails of two additional lions are tucked under his arms, and all four felines menace a bearded bull at the opposite end of the stand. Series of figures such as these, engaged in static combats, are common in ancient Mesopotamian art. Their exact meaning is unknown. |
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Four-Faced God and Goddess
Illicit diggers found these four-faced statuettes, which may represent a god of the four winds and a goddess of rainstorms. The god wears a low cap with a pair of horns meeting above each face. He carries a scimitar in his right hand and places his left foot upon the back of a crouching ram. The goddess's tall crown, again with a pair of horns above each face, has the shape of a temple facade or altar. She grasps in her hands a vase from which flow streams of water; a rippled water pattern covers her garment. |
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Sumerian Statuette
During the Early Dynastic Period in Mesopotamia, statuettes were placed in sanctuaries as votive offerings and were later buried when the temple was remodelled or rebuilt. This representation of a Sumerian standing reverently before his god is one of a group of sculptures found buried in a pit next to the altar of the Abu Temple at Tell Asmar. It is thought to depict a priest because it lacks the full beard and long hair of other male statues of its type. |
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Banquet Plaque
The top register of this plaque shows a seated man and woman celebrating an unidentified event or ritual by participating in a banquet. Two servants attend them while others bring a jar (probably filled with beer), an animal to be slaughtered, and other edibles carried in bundles on their heads. Musicians and dancers in the bottom register add to the festivities.
Plaques such as this were part of a door-locking system for important buildings. The plaque was embedded in the doorjamb and a peg, inserted into the central perforation, was used to hold a hook or cord that secured the door and was covered with clay impressed by one or more seals. |
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Clay Tablet and Envelope
Enclosed in its clay envelope, this tablet was stored in a private archive of more than 1,000 texts. The tablet records the outcome of a litigation between two men, both of whom claimed to own the same estate. The judges ruled in favor of the individual who provided written statements attesting to his ownership of the land from residents of nine neighboring towns. Two court officials rolled their cylinder seals across the front of the tablet after it was inscribed, guaranteeing that the information it contained was correct. |
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Gazelle-Head Stamp Seal/Amulet
In central and southern Mesopotamia, both stamp and cylinder seals appeared together near the end of the third millennium B.C. Many stamp seals were carved in the form of an animal or an animal head, and the sealing surface was decorated with simple designs— often representing animals— comprised of drill-holes and incised lines. It is possible that many of the stamps were not actually used as seals but were worn primarily as amulets |
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Cylinder Seal
This cylinder seal was dedicated to a little-known goddess, Ninishkun, who is shown interceding on the owner's behalf with the great goddess Ishtar. Ishtar places her right foot upon a roaring lion, which she restrains with a leash. The scimitar in her left hand and the weapons sprouting from her winged shoulders indicate her war-like nature. |
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Pazuzu Demon
The demon Pazuzu represented by this figurine stands like a human but has a scorpion's body, feathered wings and legs, talons, and a lion-like face on both front and back. Pazuzu, the "king of the evil wind demons," was not entirely unfriendly to mankind. As an enemy of the dreaded Lamashtu demon, bearer of sickness especially to women and children, Pazuzu is often portrayed on amulets used as protection in childbirth. The ring at the top of this figurine suggests that it was such an amulet. |
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Duck Weights
The Mesopotamians used sets of standard weights in conducting business and set stiff penalities for those who used false weights. The weights themselves were usually made of a very hard stone like hematite. A simple barrel shape was the most common form, but weights such as these in the form of a duck, with its neck and head resting along its back, were also prevalent. |
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Plaque Showing a Harpist
Harps are known from the earliest period of written history, but the fringed robe and close-fitting cap of this harpist are typical for the early second millennium B.C. in Mesopotamia. Clay plaques from this period depict musicians playing a variety of stringed, percussion, and wind instruments. The casting of plaques was a simple and inexpensive way to produce relief images, since numerous plaques could be made from a single mold. |
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The Oriental Institute of
The University of Chicago |
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Enheduanna
Enheduanna (ca. 2300 BCE) is the earliest known author in the history of human civilization. The daughter of King Sargon of Akkad, she was a high priestess & poet in Ur. Her powerful hymns to the goddess Inanna narrate her own religious consciousness & became sacred. She was also an important political figure & probably played a crucial role in Sargon’s rise to power & consolidation of the religious establishment. The famous “Enheduanna Disk” (inset) actually records her likeness. |
Enheduanna
Enheduanna
The Akkadian/Sumerian poet Enheduanna (2285-2250 BCE) is the world’s first author known by name and was the daughter of Sargon of Akkad (Sargon the Great, 2334-2279 BCE). Whether Enheduanna was, in fact, a blood relative of Sargon’s or the title was figurative is not known. It is clear, however, that Sargon placed enormous trust in Enheduanna in elevating her to the position of high priestess of the most important temple in Sumer (in the city of Ur) and leaving to her the responsibility for melding the Sumerian gods with the Akkadian ones to create the stability his empire needed to thrive.
Her influence during her lifetime was as impressive as her literary legacy. Entrusted by her father with great responsibility, Enheduanna not only exceeded those expectations but changed the entire culture. Through her written works, she altered the very nature of the Mesopotamian gods and the perception the people had of the divine.
Enheduanna — ‘En’ (Chief Priest or Priestess); ‘hedu’ (ornament); ‘Ana’ (of heaven).
She organized and presided over the city’s temple complex, the heart of the city, and held her own against an attempted coup by a Sumerian rebel named Lugal-Ane who forced her into exile. The Akkadian Empire, for all the wealth and stability it brought to the region, was constantly plagued by uprisings in the various regions under its control. One of Enheduanna's responsibilities in the region of Sumer would have been to keep the populace in check through religion.
Enheduanna was finally restored to her rightful place in the temple. She seems to have been the first woman to hold this position in Ur and her comportment as high priestess would have served as an exemplary model for those who followed her.
Works
She is best known for her works Inninsagurra, Ninmesarra, and Inninmehusa, which translate as 'The Great-Hearted Mistress’, The Exaltation of Inanna’, and 'Goddess of the Fearsome Powers’, all three powerful hymns to the goddess Inanna (later identified with Ishtar and, still later, Aphrodite). These hymns re-defined the gods for the people of the Akkadian Empire under Sargon’s rule and helped provide the underlying religious homogeniety sought by the king. For over forty years Enheduanna held the office of high priestess, even surviving the attempted coup against her authority by Lugal-Ane.
In addition to her hymns, Enheduanna is remembered for the forty-two poems she wrote reflecting personal frustrations and hopes, religious devotion, her response to war, and feelings about the world she lived in. Her writing is very personal and direct and, as the historian Stephen Bertman notes:
“The hymns provide us with the names of the major divinities the Mesopotamians worshipped and tell us where their chief temples were located [but] it is the prayers that teach us about humanity, for in prayers we encounter the hopes and fears of everyday mortal life.”
Sitting in her chamber, or perhaps her office, for the director of an enterprise as large and prestigious as the Nanna temple of Ur must surely have been afforded the very best working arrangements, her hair beautifully coiffed by Ilum Palilis [her hairdresser] and staff, dictating to her scribe, perhaps the very Sagadu whose seal Wooley found, Enheduanna proceeded to make her permanent mark on history by composing, in her own name, a series of more than forty extraordinary liturgical works, which were copied and recopied for nearly 2,000 years.
The skill and beauty of these works aside, their impact on Mesopotamian theology was profound. Enheduanna drew the gods closer to the people of the land, synthesizing Sumerian and Akkadian beliefs, to create a richer understanding than either had before. Her reflections on the moon god Nanna, for example, made him a deeper and more sympathetic character and she elevated Inanna from a local deity to the Queen of Heaven. These two deities, and the others she transformed through her work, appeared more compassionate than before; gods for all of the people and not only Sumerians or Akkadians.
by Joshua J. Mark
published on 24 March 2014
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Enheduanna (W)
Enheduanna (Sumerian: 𒂗𒃶𒌌𒀭𒈾, also transliterated as Enheduana, En-hedu-ana, or variants; fl. 23rd century BC) is the earliest known poet whose name has been recorded. She was the High Priestess of the goddess Inanna and the moon god Nanna (Sin). She lived in the Sumerian city-state of Ur.
Enheduanna's contributions to Sumerian literature, definitively ascribed to her, include several personal devotions to Inanna and a collection of hymns known as the "Sumerian Temple Hymns". Further additional texts are ascribed to her. This makes her the first named author in world history.
She was the first known woman to hold the title of EN, a role of great political importance that was often held by royal daughters. She was appointed to the role by her father, King Sargon of Akkad. Her mother was probably Queen Tashlultum. Enheduanna was appointed to the role of High Priestess in a shrewd political move by Sargon to help secure power in the south of his kingdom, where the City of Ur was located.
She continued to hold office during the reign of Rimush, her brother, when she was involved in some form of political turmoil, expelled, then eventually reinstated as high priestess. Her composition 'The Exaltation of Inanna' or ‘nin me šara’ details her expulsion from Ur and eventual reinstatement. This correlates with 'The Curse of Akkade' in which Naram-Sin, under whom Enheduanna may have also served, is cursed and cast out by Enlil. After her death, Enheduanna continued to be remembered as an important figure, perhaps even attaining semi-divine status. |
Hymnal Prayers and Poems of Enheduanna
Below are several poems written by the first known poet, Enheduanna, who was the daughter of Sargon I of Akkad and a high-priestess of the Goddess of Love and War, Inanna. |
The Adoration of Inanna of Ur
THE ADORATION OF INANNA OF UR
Queen of all the ME, Radiant Light,
Life-giving Woman, beloved of An (and) Urash,
Hierodule of An, much bejeweled,
Who loves the life-giving tiara, fit for High Priestesshood,
Who grasps in (her) hand, the seven ME,
My Queen, you who are the Guardian of All the Great ME,
You have lifted the ME, have tied the ME to Your hands,
Have gathered the ME, pressed the ME to Your breast.
You have filled the land with venom, like a dragon.
Vegetation ceases, when You thunder like Ishkur,
You who bring down the Flood from the mountain,
Supreme One, who are the Inanna of Heaven (and) Earth,
Who rain flaming fire over the land,
Who have been given the me by An,
Queen Who Rides the Beasts,
Who at the holy command of An, utters the (divine) words,
Who can fathom Your great rites!
Destroyer of the Foreign Lands,
You have given wings to the storm,
Beloved of Enlil - You made it (the storm) blow over the land,
You carried out the instructions of An.
My Queen,
the foreign lands cower at Your cry,
In dread (and) fear of the South Wind, mankind
Brought You their anguished clamor,
Took before You their anguished outcry
Opened before You wailing and weeping,
Brought before You the "great" lamentations in the city streets.
In the van of battle, everything was struck down before You,
My Queen,
You are all devouring in Your power,
You kept on attacking like an attacking storm,
Kept on blowing (louder) than the howling storm,
Kept on thundering (louder) than Ishkur,
Kept on moaning (louder) than the evil winds,
Your feet grew not weary,
You caused wailing to be uttered on the "lyre of lament."
My Queen,
[all] the Anunna, the great gods,
Fled before You like fluttering bats,
Could not stand before Your awesome face,
Could not approach Your awesome forehead. Who can soothe Your angry heart!
Your baleful heart is beyond soothing!
Queen, Happy of "Liver," Joyful of Heart,
(But) whose anger cannot be soothed, daughter of Sin,
Queen, Paramount in the Land,
Who has (ever) paid You (enough) homage!
The mountain who kept from paying homage to You -
vegetation became "tabu" for it,
You burnt down its great gates,
Its rivers ran with blood because of You,
its people had nothing to drink,
Its troops were led off willingly (into captivity) before You,
Its forces disbanded themselves willingly before You,
Its strong men paraded willingly before You,
The amusement places of its cities were filled with turbulence,
Its adult males were driven off as captives before You.
Against the city that said not "Yours is the land,'
That said not "It belongs to the father who begot you,"
You promised Your Holy Word, turned away from it,
Kept Your distance from its womb,
Its woman spoke not of love with her husband,
In the deep night she whispered not (tenderly) with him,
Revealed not to him the "Holiness" of Her heart.
Rampant Wild Cow, elder daughter of Sin,
Queen, greater than An,
who has (ever) paid You (enough) homage!
You who in accordance with the life giving me,
Great Queen of Queens,
Have become greater than Your mother who gave birth to you,
(as soon as) you came forth from the Holy Womb,
Knowing, Wise, Queen of All the Lands,
Who multiplies (all) living creatures (and) peoples --
I have uttered Your Holy song.
Life-Giving Goddess, fit for the ME,
whose acclamation is exalted,
Merciful, Live-Giving Woman, Radiant of Heart,
I have uttered it before You in accordance with the ME.
I have entered before You in my holy gipar,
I the En, Enheduanna,
Carrying the masab-basket, I uttered a joyous chant,
(But now) I no longer dwell in the goodly place You established.
Came the day, the sun scorched me
Came the shade (of night), the South Wind overwhelmed me,
My honey-sweet voice has become strident,
Whatever gave me pleasure has turned into dust. Oh Sin, King of Heaven, my (bitter) fate,
To An declare, An will deliver me,
Pray declare it to An, he will deliver me.
The kingship of heaven has been seized by the woman (Inanna),
At whose feet lies the flood-land.
That woman (Inanna) so exalted,
who has made me tremble together the city (Ur),
Stay Her, let Her heart be soothed by me.
I, Enheduanna will offer supplications to Her,
My tears, like sweet drinks.
Will I proffer to the Holy Inanna, I will greet Her in peace,
Let not Ashimbabbar (Sin) be troubled.
She (Inanna) has changed altogether the rites of Holy An,
Has seized the Eanna from An,
Feared not the great An,
That house (the Eanna) whose charm was irresistible,
whose allure was unending,
That house She has turned over to destruction,
Her . . . that She brought there has . . .
My Wild Cow (Inanna) assaults there its men, makes them captive.
I, what am I among the living creatures!
May An give over (to punishment)
the rebellious lands that hate your (Inanna's) Nanna,
May An split its cities asunder,
May Enlil curse it,
May not its tear-destined child be soothed by her mother,
Oh, Queen who established lamentations,
Your "boat of lamentations," has landed in an inimical land,
There will I die, while singing the holy song.
As for me, my Nanna watched not over me,
I have been attacked most cruelly.
Ashimbabbar has not spoken my verdict.
But what matter, whether he spoke it or not!
I, accustomed to triumph, have been driven forth from (my) house,
Was forced to flee like the cote like a swallow, my life is devoured,
Was made to walk among the mountain thorns,
The life-giving tiara of En-ship was taken from me,
Eunuchs were assigned to me -
"These are becoming to you," it was told me.
Dearest Queen, Beloved of An,
Let your Holy heart, the Noble, return to me,
Beloved wife of Ushumgalanna (Dumuzi),
Great Queen of the Horizon and the Zenith,
The Anunna have prostrated themselves before you.
Although at birth You were the younger sister,
How much greater You have become than the Anunna,
the Great Gods!
The Anunna kiss the ground before You.
It is not my verdict that has been completed,
it is a strange verdict that has been turned into my verdict,
The fruitful bed has been abolished,
(So that) I have not interpreted to man the commands of Ningal.
For me, the Radiant En of Nanna,
May your heart be soothed, You who are the Queen beloved of An.
"You are known, You are known" -
it is not of Nanna that I have recited it,
it is of You that I have recited it.
You are known by Your heaven-like height,
You are known by Your earth-like breadth,
You are known by Your destruction of rebel-lands,
You are known by Your massacring (their people),
You are known by Your devouring (their) dead like a dog,
You are known by Your fierce countenance.
You are known by the raising of Your fierce countenance,
You are known by Your flashing eyes.
You are known by Your contentiousness (and) disobedience,
You are known by Your many triumphs" --
It is not of Nanna that I have recited it,
it is of You that I have recited it.
My Queen, I have extolled You,
who alone are exalted,
Queen Beloved of An, I have erected your daises,
Have heaped up the coals, have conducted the rites,
Have set up the nuptial chamber for You,
may Your heart be soothed for me,
Enough, more than enough innovations,
Great Queen, have I made for You.
What I have recited to You in the deep night,
The gala-singer will repeat for You in midday.
It is because of Your captive spouse, your captive son,
That Your wrath is so great, Your heart so unappeased.
The foremost Queen, the prop of the assembly,
Accepted Her prayer.
The heart of Inanna was restored,
The day was favorable for Her,
She was clothed with beauty, was filled with joyous allure,
How she carried (her) beauty -- like the rising moonlight!
Nanna who came forth in wonder true,
(and) her Ningal, proffered prayers to Her,
Greeted her at the doorsill (of the Temple).
To the hierodule whose command is noble,
The destroyer of foreign lands, presented by An with the me,
My Queen garbed in allure,
O Inanna, praise!
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