Enki and Ninhursanga Pt. Two, BiOr LXV (2008) 320-342

319 ENKI 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 narrative 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 background 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 Sumer 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 incestuous relations with his daughters the following goddesses are born: Ninnisig > Ninkura > Uttu (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 Abbreviations 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 Sumerian Literature, ETCSL: http://etcsl.orinst.ox.ac.uk. Only passages of particular importance or different reading were quoted here. For the full text see ETCSL 1.1.1. Grant Frame collated some difficult passages of the Nippur 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. 321 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 was Uttu marries Enki.3) When Uttu becomes pregnant NinÌursaga reacts swiftly, she aborts Enki’s semen, throws it to the ground and grows eight sorts of new plants from it. Enki spots the unknown plants, eats them and decides their fate. Consequently, NinÌursaga curses him with a life threatening curse and Enki dies. Enlil, in panic, asks the services of the cunning fox to convince NinÌursaga to undo her curse and save Enki’s life. NinÌursaga returns, undo the curse, places Enki in her womb and gives birth to eight deities, one for each plant. Their fate is decides and harmony is restored. The plot develops in a linear sequence but three of its episodes are particularly distinct literary units: the incestuous relations of Enki and his daughters (ll. 88-187),4) the list of plants that grow from Enki’s semen (ll. 190-197), and the birth of the deities in the order of Enki’s body parts (ll. 254271). The rest of the literary units are dependent on those. The list of plants and body parts are close to lexical lists, and the source for the minor deities was probably god list.5) 3.1.1 Lines 63-71-72: Overture 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. dili-niTAR gestúg-ge6) tuku-a dnin-tud ama kalam-ma-sè En-ki-ke4 gestúg-ge tuku-a dnin-tud <ama kalam-ma-sè> gìs-a-ni ég-a ba-an-si-in-dun-e gìs-a-ni gia-gir5-gir5-e ba-an-si-gir5-gir5-e gìs-a-ni bar-sè maÌ-Ìe sa-ba-ra-an-zi-zi gù bí-in-dé ambar-ra lú nu-mu-un-dab-bé d en-ki-ke4 gù bí-in-dé zi an-na ì-pàd nú-a ambar-ra nú-a ambar-ra giri17-zal d en-ki-ke4 a ddam-gal-nun-na ka-ni mi-ni-in-dug4 Alone, the wise one, for Nintud - the mother of the land, Enki, the wise one, for Nintud < the mother of the land>, was digging his phallus in the dyke, sliding his phallus into the reed. The great one (Nintud) pulled his phallus aside,7) saying: “No one will take me in the marsh.” (So) Enki called: d 3 ) Vanstiphout 1987 investigates a literary model that describes a process of courting towards marriage. I think that this model applies here, with adaptations, but I differ on the interpretation of the episode. 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 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 copy of TCL 16, 62: J.-M. Durand, RA 71, p. 171. 5 ) The cult of most of these deities ceased after the Ur III period. As for the plants, some of them are attested only here or only from the OB period. 6 ) The suffix -e (also in en-ki-ke4) marks the ergative, connected with the verb dun “to dig” in line 65. That is to say: “The wise one was digging etc.” 7 ) Who is maÌ-e, “the great one”, Enki or Nintud? According to Attinger, who reconstructed l. 69 as a repetition of l. 68, it is Enki, who is, therefore, the only one who talks in l. 68-71 and the sole actor in this scene (ll. 63-71). In that case one should ask what was the purpose of digging the phallus in the dyke and then remove it and what is the function of the mother goddess in the scene if she plays no role? Also, if Enki is alone there (dili), what is the sense and purpose of the declaration that no one will pass him in the marsh and how does it link with his demand (according the Attinger’s translation) that she will lie in the marsh. Structurally, if “the great one” is Enki then the verbal form of l. 67 should parallel the forms of ll. 65-6, but this is not the case. A better solution is Jacobsen’s, who linked l. 67 with 68 as in the formula “x did y, saying: etc”, and took the agent as the mother goddess. Thus, this passage describes the first in a series of encounters between Enki and the mother goddess: she refuses his advances without an official act of marriage and moves his phallus aside saying that no one would have sex with her in the marshes. In addition, the epithet maÌ strongly suggests the name NinmaÌ, one of NinÌursaga’s names. 322 “By the life of heaven I adjure you. Lying8) down in the marsh, lying down in the marsh, that is joyous.” Enki, his mouth uttered “Oh Damgalnuna” 9) A thematic unity defines ll. 63-71 as a literary unit. Line 72 links this episode with the next and can belong with each of the two.10) The formal parallel to the first scene in the first story (ll. 5-6), setting off with dili-ni and ending with the verb nú, suggests that ll. 63-71 make a complete episode. This time, however, the account is more detailed and functional and the scene is not an isolated instance; the relations of Enki and “his wife” are the axis of the plot. dili-ni (l. 63) defines Enki’s status as a single and initiates a gradually developing scene, in which he fails to seduce Nintud and ends up marrying her. (l. 71). Later, in a series of episodes, Enki would follow his sexual appetite and come into escalating conflicts with NinÌursaga. Thus this episode lays the foundations of the plot and sets the tone of the second story. The linkage of Enki and NinÌursaga seems like an ideological background to a bond of the marshes area with the mountain ranges or, perhaps, the underground water sources with the rivers that stream down the hills. Be that as it may, in the mythological reality Enki and NinÌursaga were not married to one another. Each was the chief deity of a city, Enki of Eridu was married to Damgalnuna and the husband of NinÌursaga of Kes was Sulpae. Therefore, this supposed marriage indicates that the objective of the narrative demands that against Enki would act a goddess of NinÌursaga’s magnitude. Only NinÌursaga matches Enki in rank, power and authority. Their coming conflicts are best explained as marital problems and, therefore, she should appear as his wife. The deviation from the mythological tradition was masked by the single reference to ddam-gal-nun-na, Enki’s real wife.11) The meaning of her name “the great wife of the prince” makes believe that the vow indeed signifies marriage. 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 promote his status in the Babylonian pantheon and his cult. 3.1.2 Lines 73-87: Consummation of the marriage Whether Enki sighed of heart full love or frustration, the single reference to Damgalnuna signifies a marriage bond. This was actualized by a sexual intercourse. 8 ) Attinger and Jacobsen translated imperative. I prefer the participle for two reasons: first, the imperative implies a rape which is not the case, because the reference to Enki’s true wife, Damgalnuna in l. 72 is a deliberate indication of marriage, although the female protagonist is NinÌursaga. Secondly, since the participle is neutral with regard to number, it also includes Enki in the action. The imperative requires adding “for me” (as Jacobsen did, otherwise Enki would remain outside the bed). 9 ) dam-gal-nun-na is a genitival compound, and therefore the translations of ETCSL and Attinger require a double genitive: a-ddangalnun-akak-ani. We cannot exclude a scribal mistake. Although the words order is odd, and ka — dug4 has no parallel I suggest that ka-ni — dug4 is a sigh that escaped Enki’s mouth. 10 ) I prefer the end of the first episode for two reasons: l. 73 is the first of a repeated formula (ll. 100 and 120), and the name Damgalnuna indicates that the oath in ll. 70 signifies Enki’s marriage vows. 11 ) The deviation from the theological convention may be the reason for the indistinct marriage scene and, perhaps, for the varying names: Nintud, NunÌursaga and the epithet maÌ. Some examples for Damgalnuna in the literature: Eridu lament A:15 and B:7 (ETCSL 2.2.6); Hammurabi C:7 (ETCSL 2.8.2.3); LSUr:246-7 (ETCSL 2.2.3); Samsuiluna B:34 (ETCSL 2.8.3.2); Isme-Dagan D:14 (ETCSL 2.5.4.4). 323 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 73. 74. 75. sukkal-a-ni disimud4-dè17) gù mu-na-dé-e lú-tur-sag9-ga-e ne nu-mu-un-su-ub-bé d nin-nisig sag9-ga-e ne nu-mu-un-su-ub-bé TCL 16, 62:7 lú-tur-sag9-ga-gin7 gá-e nam-in-su-[ub] 18) TCL 16, 62:8 dnin-ìmma-sag9ga-gin7 gìs nam-in-dù) 93. sukkal-a-ni disimud4-dè mu-na-ni-ib-gi4-gi4 94. lú-tur sag9-ga-e ne nu-mu-un-su-ub-bé19) 95. dnin-nisig sag9-< ga-e ne nu-mu-un-su-ub-bé> 96. lugal-gu10 im-dirig ga-ri im-dirig ga-ri 20) 97. gìri-ni dis-a gismá-a bí-in-gub 98. min-kam-ma bar-rim4-ma nam-mi-in-gub21) 99. gaba im-ma-an-tab22) ne im-ma-an-su-ub (var: TCL 16, 62:13. gaba su im-mi-in-dab5 úr-ra-na nú-a TCL 16, 62:14. lú-tur gìs im-mi-in-dug4 ne im-ma-ni-insu-[ub]23)) 100. den-ki-ke4 a sag4-ga ba-ni-in-ri 101-105 = ll. 74-84 106. d[nin-nisig ì l]i-<gin7 ì li-gin7 ì-Ìe-nun-na-gin7> 107. dnin-[kur-ra] in-tu-ud Ninnisig went out to the riverbank. In the marsh Enki stretched out24) he stretched out, he <stretched out> TCL:4 Enki, towing the boat stretched, [he stretched] TCL:5 He [watched] Ninimma at the bank of the river He said to his minister Isimud: “Is the nice girl not to be kissed? Is the nice Ninnisig not to be kissed?” TCL:7 “I should kiss a nice girl like this; TCL:8 I should make love to this nice Imma”. His minister Isimud answered him: “Is this nice girl not to be kissed? Is this nice Ninnisig not to be kissed? My master is drifting, let me steer, he is drifting, let me steer.” He stepped in the boat first, and next he stepped on dry land. He embraced her and kissed her, TCL:13 He seized her breast, lying in her lap. TCL:14 He made love to the girl and kissed her. Enki poured semen into the womb, [Ninnisig, like] jun[iper oil], <like juniper oil, like oil of abundance>, gave birth to Ninkura. ---------------- d 90. 91. 92. (var: nin-Ìur-sag-gá-ke4 a sag4-ga ba-ni-in-ri a sag4-ga su ba-ni-in-ti a-den-ki-kà-ka ud 1-àm itud 1-a-ni He poured semen into NinÌursaga's womb. She conceived the semen in the womb, the semen of Enki. The first day was her first month (The second day etc… ll. 76-82) -------83. [ud] 9- àm itud 9-a-ni itud nam-munus-a-ka 84. [ì-li?!-gi]n7 ì-li?!12)-gin7 ì-Ìe-nun-na-gin7 85. [dnin-tud] ama kalam-ma-ka 86. [ì-li!?-gin7] 87. [dnin-nisig] in-tu-ud The ninth day was her ninth month. In the month of womanhood, Li[ke a juniper oil, like a juniper oil], like oil of abundance,13) Nintud, mother of the land, [like juniper oil] gave birth to [Ninnisig]. A formulaic description, lines 73b-87 = 100-107 = 120126, narrates the three divine pregnancies and births. The reiterated description is a formal and thematic binding material, that links the consecutive scenes into a meaningful episode. Yet, ll. 73-87 divert from the rest in a significant detail which defines its boundaries: Enki and NinÌursaga are not related by birth but by marriage as opposed to the future chain of relations between Enki and his daughters. Thus, this unit narrates the consummation of their marriage. A mythological short period of pregnancy, a day for a month, and a very easy delivery, as smooth as fine oil, describe the birth of Ninnisig.14) 3.1.3 Lines 88-187: Enki seducing his daughters About 100 lines of text recount incestuous relations of Enki with his daughters, (being also grand daughter and great-grand daughter). Each of the three episodes reiterates the previous encounter. The first two episodes are identical in contents. The 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 themes. Since this section deals with incest (and adultery), and the three episodes are constructed of repetitions, they belong together although as sub-units. The account is comparable to Enlil and Ninlil ll. 24-5 and 35-53.15) 3.1.3.1 1st episode: lines 88-107 - Enki and Ninnisig 88. 89. d nin-nisig gú íd-da-ke4 sè-mi-ni-ib-è en-ki-ke4 ambar-ra im-da-lá e-ne im-da-lá e-ne < im-dalá> (var: TCL 16, 62:4. den-ki-ke4 má-ta im-ta-gíd-dè im-da-lá [e]-[ne im-da-lá] TCL 16,62:5. dnin-ìmma gú íd-da-kam igi <im>-ma-niin-[lá?]16)) 12 d ) Collated. The reconstruction /li/ phonetic for lí seems reasonable. ) Jacobsen’s translation suggests that he read: ì-du10-nun-a(k) — a prince’s sweet butter. The extended repetition suggests the reading ì — oil rather than butter. 14 ) The division according to the nature of the relations is confirmed by TCL 16, 62, which contains only the incestuous relations. Note that Jacobsen inserted this version between Ninkura and Uttu. 15 ) See also Vanstiphout 1987. 16 ) Note that in the Nippur version this or a similar phrase in missing. 13 324 17 ) TCL 16, 62:6 has the expected Isimud-ra, ) Note: 1) equative -gin7 2) personal pronoun 1st person gá-e and 3) change of verbs ne-sub to gìs-dù. Attinger, 1984:19 and Jacobsen, 1987:195 l. 132-3 translated the verbal forms, which is 1st person sgl. as negative, like the Nippur version. But the prefix /na-/ in the 1st person can only be 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 this” makes a good sense. Perhaps we should reconstruct: nam-<mi->insub (compar l. 98 and see Falkenstein, op.cit p. 205-218). The version of TCL 16, 62 is preferable also in view of Isimud's answer, which in the Nippur version repeats Enki’s question verbatim. Nippur: lú-tur-sag9-ga-e as opposed to TCL: lú-tur-sag9-ga-gin7 gá-e suggests that Nippur’s version differs in the division of the signs in the line. 19 ) Line 94-95 have no parallel in TCL 16, 62. 20 ) Jacobsen translated the line as a construct state: “With a downstream wind (im-dirig-a[k]) blowing (ri) for my master (lugal-gu10).” TCL 16, 62:10 has i-im-dirig, indicating that it was read as a verb, he is drifting. gari 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-bi-gub “After he stepped in the boat first, he then stepped on dry land”. The use of ordinal numbers and verb in the prospective should be mutually exclusive. Jacobsen 1987:192 fn. 19 refers to this couplet as a proverb. 22 ) tab - tamahu, gaba + tab - grasp to the breast = to embrace. 23 ) Nippur combines a version of l. 13a with l. 14b. 24 ) Note that PSD quotes this text under lá - hang. But lá - Akk. taraÒu to stretch our is preferable. In l. 89 Enki stretched himself further from where he was in order to see the girl, comparable to má-ta im-ta-gíd-dè of TCL 16, 62:4, and therefore, lá + ablative rather than comitative: ta>da, (cf. Thompson, 1984:230). 18 325 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 3.1.3.2 2nd episode: lines 108-126 - Enki and Ninkura 108. dnin-kur-r[a gú íd-da-ke4 sè-mi-ni-ib-è] Ninkura went out to the riverbank. 109-113 = ll. 89-93 114. lú-tur sag9-ga-e ne su-ub-bu-ma-ni 115. dnin-kur-ra <sag9-ga-e ne su-ub-bu-ma-ni> His minister Isimud answered him: “Kiss the nice girl! <Kiss the nice> Ninkura” 116-124=96-105 125. dnin-kur-ra ì-li-<gin7 ìli-gin7 ì-Ìe-nun-na> 126. duttu munus-NI-bùlug in-[tu-ud] 25) Ninkura, like juniper oil, <like juniper oil, like oil of abundance,> Gave birth to Uttu, a mature26) woman. Thematic, structural and literal unity defines these episodes. An almost identical description is used to recount Enki’s sexual intentions, while the description of the pregnancy and birth reiterates the episode with NinÌursaga. The repeated description serves more than one function. On the one hand it signifies that Enki behaved in a fixed pattern, on the other hand it magnifies the difference between NinÌursaga who insisted: “No man will take me in the marsh” (l. 68) and Enki’s daughters who fell victim to him. For the flow of the story the repetitions create a dramatic effect, the anticipation that soon the betrayed wife would lose her patience. Enki’s sexual exploits and Nunhursaga’s growing irritations lead the narrative through intermediary climaxes to its main objective. Enki’s exploits start out in the marsh when he spots his daughter walking along the bank of the river. The text of TCL 16, 62 is more coherent.27) Enki declares his intention to seduce Ninimma,28) and Isimud proposes to navigate the boat leading him to her. The next couplet, ll. 97-8, tells us that Enki got into the boat and reached the dry land, the riverbank where his daughter was. He grabbed the girl and copulated with her. The rest is an abridged form of the pregnancy and birth theme (ll. 75-87). The version of Nippur is elusive. Since Enki does not need the consent of his subordinate, his questions to Isimud about the girl (ll. 91-2) are odd. It is not impossible that the text was modified to avoid the impression that Enki committed a premeditated sin of incest. Isimud’s answer, the only expanded section in this episode, reiterates Enki’s question. In view of the next episode where the verbs are in the imperative, it may be a dittography. On the other hand, the verbal forms may have been intentionally changed from a question to the imperative to illustrate a change in Isimud’s opinion from hesitation to confidence. His comment that Enki is drifting explains his offer to navigate the boat but also makes him instrumental for 25 ) The version of TCL 16, 62 has different goddesses and it is treated as a parallel source. 26 ) The exact meaning of NI-bùlug is not established, the translation “mature” is tentative, based on bùlug — to grow, rare etc. Compare Urnamma A:153. It seems to me that this adjective refers to a state, to being mature in the sense of womanhood, being eligible for marriage and sexual activity. 27 ) The difficult points in the Nippur version compared with TCL: 1) No remark that he saw the girl; 2) in ll. 91-2 Enki asks rather than state his intensions (as in the case of Ninkura and in TCL 16, 62:7-8), or ask as Enlil about Ninlil whether she was already kissed etc. (i.e. of age); 3) Isimud’s answer ll. 94-5: repeats Enki’s questions verbatim. The more coherent version of Enlil and Ninlil may have been the source for these episodes, which was then adapted to the needs of the story of Enki and its location in the marsh. Ninimma is not mentioned in the Nippur version. 28 ) I read the verbal prefix /na-/ with 1st sgl, as affirmative, see note to l. 92, TCL 16, 62:7. 326 the act of incest, an accomplice. The version from Nippur is less explicit also about Enki’s encounter with his daughter, minimizing the account to just hag and kiss(l. 99). Compared to TCL 16, 62 the version of Nippur is economical in details that compromise Enki’s glory. What does the different attitude say about the purpose of TCL 16, 62? Is it possible that it is not an excerpt of ENH but of another narrative, perhaps about Uttu, which reflects a less flattering view of Enki? Who are Enki’s daughters? Very little is known about Ninnisig (dnin-SAR/mú), Ninkura and Ninimma (dnin-ìmma).29) Their obscure identity is in sharp contrast with the reputation of the last daughter Uttu. The name Uttu, “spider”, illustrates her divine nature, a weaver, which invests her with the image of the good wife.30) Presumably, the names of Uttu’s obscure female ancestors were deliberately selected to emphasize her own image and higher status. The two episodes with obscure goddesses build up the sense of drama towards a climax, which would be reached with the birth of the famous good wife Uttu, and lead to a turn in the course of events. 3rd episode: lines 127-187 - Enki and Uttu This sub-unit completes the triad by the encounter of Enki with his daughter Uttu. It is longer and more complex than the previous ones. In addition to Enki, Isimud and Uttu, this episode involves NinÌursaga and a gardener. As expected, the wife would try to stop Uttu from yielding submissively to Enki’s desire. This episode seems to follow, in general, a literary model which describes the negotiations towards marriage.31) 1st scene: lines 127- 143? - The Mother goddess offers an advice The recurring sequence is broken when the mother goddess reappears to deliver an important advice. The literary advantage of the delayed action is obvious, it loads the story with suspense. The formula that earlier described Enki spotting the girls (ll. 130-131) signifies that this episode complements the previous two and, therefore, Nintud rushed to prepare Uttu for her encounter with Enki. 130. lú 1-àm ambar-ra im-da-lá [e-ne <im-da-lá >] 131. den-ki-ke4 ambar-ra im-[da-lá e-ne <im-da-lá >] Someone in the marsh stretches out, he stretches out, Enki in the marsh etc… 29 d ) nin-SAR in the reading Nin-nisig has to be distinguished from dninSAR a butcher and housekeeper whose husband is Eragal, identified with Nergal, RLA 9, 484-6. dnin-kur-ra is a name or epithet of several goddesses RLA 9, 451. dnin-ìmma, (in TCL 16, 62), is better attested in the sources, from ED III until the first millennium RLA 9, 384-7. According to An=Anum I:306- 306b she is the expert scribe of Enlil and Sin. There is evidence for her cult in Nippur, but the meaning of her name is unknown. Jacobsen suggested a pun on imma “vulva”, and others suggested on SIG7.SIG7 — “green growth” or SIG4 – “brick”. The puns suit the context of this particular tale, but do not explain the original meaning of her name and her function in the cult. 30 ) Note that in the Nippur version Uttu has the epithet munus-NI-bùlug, which sets her apart as a mature and desirable woman. In TCL 16, 62:2 this adjective describes her mother as well. Detailed treatments of Uttu are: Frymer-kensky 1992, pp. 22-5 and 72; Vanstiphout 1990; Tanret, 2004, pp. 175-197. 31 ) See Vanstiphout 1987, especially pp. 166-7 and 174 ff. about ENH and related theoretical issues. The ability to trace a certain construct under this episode strengthen my impression that it was borrowed from another narrative to which the excerpt TCL 16, 62 belonged. However, note that the application of this model to ENH involved significant modifications, particularly in the roles of the gardener and NinÌursaga. 327 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA But how was Uttu supposed to handle Enki, and whether Nintud was concerned about incest or adultery or both, is not known. A lacuna of about 10 lines after l. 131 interrupts the tale. Considering that incest is taboo, marriage advice is unthinkable. Hence, NinÌursaga must have come to prevent the third case of incest. Presumably, Uttu was advised either to refuse Enki, or to deceive him with a trick. The subsequent events suggests that Uttu tried to trick Enki with a marriage promise, probably false. 2nd scene: lines 143? - 151 - The trick - Uttu demands marriage gifts. When the text resumes Uttu tells Enki that if he would bring her fruit and vegetables, he will become the lord of her house. 147. 148. 149. 150. 151. [úkus sur-ra-x] de6-um [gisÌas]Ìur gu ul-ul-ba de6-um gis gestin ga-ra-an-ba32) de6-um é-a sáman-gu10 Ìé-dab5 d en-ki-ke4 sáman-gu10 Ìé-bí-in-dab5 (Uttu:) “Bring [cucumbers in ……]! Bring apples with their branch in blossom!33) Bring grapes in their clusters! Then in the house you will indeed have hold of my halter, O Enki, you shall hold of my halter.” The previous cases of incest, and NinÌursaga appearing with advice, rules out the possibility that Uttu seriously promised herself to her father. Rather, her demand for marriage gifts must have been a trick. Most likely she planned to make Enki sweat a bit and then expose him when he comes back. The objective is twofold: for the first time Enki would have to work for his conquests and the chain of incest and family disgrace would come to an end. 3rd scene: lines 152-166: Enki deceives the gardener and obtains the requested fruits The next scene finds Enki busy watering a garden, intending to fulfill Uttu’s demand. The gardener was overjoyed, but did not recognize him. 152. 153. 154. 155. 156. 157. 158. 159. 32 min-kam-ma a si-si-da-ni ég a bí-in-si pa5 a bí-in-si kislah a bí-in-si nu-giskiri6 sahar-ra húl-a-na bí-[zig/íl?] gú-ni gú-da im-si-in-lá-[e-dè] a-ba-me-en giskiri6 […] d en-ki-ke4 nu-giskiri6-[…] When, next, he was filling with water, he filled the dykes with water, he filled the canals with water, he filled (even) uncultivated plot with water. In his joy, the gardener [rose?] from the dust34) and embraced him: “Who are you who [watered] the garden?” Enki [answered] the gardener: ) garan - cluster, bunch, particularly in connection with fruit. ) The translation “blossom” is uncertain, ul - fruit. But cf. DI B:28 (ETCSL 4.8.2). In parallel to l. 149 perhaps a bunch of apples on a branch. Alternatively, “apple, in its branch full of fruit.” 34 ) The locative in sahar-ra is difficult. In the context of the gardener’s sudden joy it seems to signify rising from mourning, but then we should expect sahar-ta. Note that in the opposite situation l. 222 has sahar-ta. where we expect the locative sahar-ra. 33 328 160-163 - missing ------------164-166 - the gardener fills Enki’s lap with the produce that Uttu demanded. ------------- The gardener’s joy indicates that Enki did him a great service. Presumably, therefore, he had no water for irrigation, perhaps a drought. Enki, the god of sweet water, had the ability to bring water ex nihilo, as demonstrated by the Dilmun story. In return to water the grateful gardener supplied Enki with the necessary fruit and vegetables. The 2-kam-ma cannot mean that Enki watered the garden twice and that the account of first time was omitted, because one may expect that the gardener would show his surprise and happiness immediately after the first time. More likely “second” signifies “next” in the sequence of the scenes, i.e. “first” he met Uttu and “second” (next/then) he watered the garden. 4th scene: lines 167- 172 - Enki tricks Uttu. Enki fulfils Uttu’s demand, but he returns disguised as the gardener, obviously a trick. Uttu cannot not recognize him and she happily lets him in. 167. 168. 169. 170. 171. d en-ki-ke4 igi-ni im-ma-an-sig7-sig7 gidru su bí-in-du8 en-ki-ke4 duttu-ra gìri im-ma-an-gub é-na al-dúb-dúb-e gál-ù [gál-ù] a-ba-me-en za-e-me-en ge26-e nu-giskiri6 úkus gisÌasÌur [gisgestin] Ìé-àm-sè35) gamu-ra-ab-súm 172. duttu sag4 Ìúl-la-ni-ta é-e gál ba-an-taka4 -----------173-176 - Enki gives Uttu, the mature woman, the produce that she demanded. ----------177.36) kas giba-an gu-la im-ma-ab-[…] 178. duttu munus NI-bùlug gábu mu-na-ab-<si>-ge su mu-nasàg-ge37) 179.38) den-ki-ke4 duttu-ra ul im-ma-ni-in-ti Enki painted his face green and took a staff in his hand. Enki directed his step to Uttu, knocked at her house (saying): “Open up, open up.” (Uttu):”Who are you?” (Enki:) “I am the gardener. For your ‘Yes’ let me give you cucumbers, apples, and [grapes].” In her joy Uttu opened the house. He poured for her beer in a large ban measure. Uttu, the mature woman, turned39) to the left and waved the hands for him. Enki gave Uttu pleasure. d Apparently, Enki did not want Uttu to recognize him, which indicates that NinÌursaga indeed warned her, and that the marriage promise was a false.40) But Enki, notorious for his cunning, was not fooled and, therefore, he returned in disguise and tricked Uttu. Having brought the traditional marriage gifts, Uttu could not refuse the “gardener”. 35 ) hé-àm-sè — literally, “for your ‘let it be’”, namely for her consent to marry him. 36 ) Only TCL 16, 62 r.11, Nippur omitted. 37 ) TCL 16, 62 r. 12’. gábu si-ge su mu-un-[ ] 38 ) The version of TCL 16, 62 until l. 187. 39 ) si-ig, sig9, sig10 - to place, sakanu, the translation is a guess. 40 ) In l. 151, their first meeting she recognized Enki calling him by name. 329 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 Thus, the episode holds two tricks that balance one another.41) The tricks serve a literary purpose: they give the plot a new impetus, open up a new possibility to continue the story and, in addition, they are fun. Without the tricks, Uttu would refuse directly and the story would end inharmoniously, leaving Enki humiliated and NinÌursaga victorious. This is contrary to the prevalent concept of Enki, and rather unlikely. 5th scene: lines 180-185: Enki consummate his second marriage Letting Enki in and accepting his gifts signify that Uttu agreed to the marriage. At this point the storyteller turns back to the formulaic description of Enki’s intercourses with his daughters, ll. 180-185 = 119-121 (TCL 16, 62: obv. 13-16 = rev. 15’-18’). Even the epithet lú-tur of the previous girls was not changed into Uttu’s epithet munus NI-bùlug, mature woman. This last use of the formula serves as a closure of a literary framework for the incest episodes. In a wider perspective the marriage to Uttu rounds the subject of Enki’s intra-family sexual journey, which began with marriage to NinÌursaga. 6th scene: lines 186-187 - NinÌursaga performs an abortion By tricking Uttu, Enki actually tricked NinÌursaga as well, so at this phase the plot calls for a stronger reaction. 186. duttu munus sag9-ga á Ìás-gu10 im-me á ba[r-g]u10 á sàba-gu10 im-[me] 187. dnin-Ìur-sag-gá a Ìás-ta ba-an-tag-tag Uttu, the beautiful woman, cried out “Woe, my thighs. Woe, my body, woe, my heart” she cried. NinÌursaga removed42) the semen from the thighs. Uttu, like a human woman, is in pain and NinÌursaga takes action again, she terminates the pregnancy.43) Did NinÌursaga abort the semen to relieve Uttu of her pains, to put an end to Enki’s incestuous relations, or to exterminate the fruit of incest? This scene is in parallel to her interference before Uttu met Enki, but now she takes action herself. The two interferences suggest that stopping Enki was the purpose. Since NinÌursaga’s dialectic relationship with Enki is the central axis of the plot, her reaction is vital for its progress. NinÌursaga’s reaction takes the plot to the next episode: Enki’s semen survived but changed its nature. 3.1.4 Lines 190-221: Enki and the engendered plants NinÌursaga made eight plants grow from the aborted semen of Enki. From his place in the marsh Enki spotted the new unfamiliar creations and ate them in order to determine their nature. As a result, NinÌursaga cast upon him a curse of death.44) 41 ) Compare ID: first Ereskigal tricks Inana by gradually underessing her until she reached the netherwold fully naked and, therefore, powerless. Then Ereskigal is tricked by Enki, allowing the Kurgala and the Galatur to take Inana with them, and thereby bring her back to life. With the scene at the gardener we count three tricks. 42 ) The meaning “remove” is suggested by the context and the ablative in hás-ta. The reading sub6 for TAG was already suggested by Attinger (sux). hás - tag-tag was also used to describe Enki caressing Uttu. 43 ) This condition sets her apart from her predecessors, including NinÌursaga, but enhances her image of the typical wife. 44 ) This episode and other myths involving the impregnating of a malegod or gods swallowing their children were discussed in Kirk 1970:96-98 and 214 ff. Since the tale originated in the OB school and the motif was reused for the given context, the genuine “original” mythological message may have been contaminated. 330 190. [ú-gis im-ma-an-mú]45) She grew the wood plant, ---------------191-197: She grew the honey plant,46) garden plant,47) esparto grass,48) Atutu plant,49) astaltal plant,50) … plant and amÌaru plant.51) -------------198. den-ki-ke4 ambar-ra im-da-lá e-ne im-da-lá e-ne < im-dalá> 199. sukkal-a-ni disimud4-dè gù mu-na-dé-e 200. ú gá-e nam-bi li-bí-ku5-de 52) 201. a-na-àm ne-e a-na-àm ne-e 202. sukkal-a-ni disimud4-dè mu-na-ni-íb-gi4-gi4 203. [lugal]-gu10 ú-gis mu-na-ab-bé 204. mu-na-kud-dè ba-g[u7-e] In the marsh Enki stretched out, he stretched out, he <stretched out> He said to his minister Isimud: “I did not decide the destiny of these plants, What is this one? What is that one?” His minister Isimud answered him. “My master, the ‘tree’ plant,” he said to him. He cut it off for him and Enki ate it. --------------205 – 218 - The formulaic description: Isimud names a plant, cuts or pulls it out, and Enki eats it. -------------45 ) Reconstructed according to the formula. im-ma-an-nú – i-ba-n-mú – she made it grow. ú-gis, delivered in bundles or loads, is attested several times in administrative text recording commodities for construction works and maintenances of cultic installations. Most of the attestation are in Ur III texts. ENH is the only literary source known to me. 46 ) ú-làl, honey plant is attested in literary texts in connection with the habitat of the Suhur or Estub fish. These sources indicate that it was a waterplant. According to Urnamma D:27-28 it was planted in canals, probably as fish-food. According to birth incantations women chewed it in labour, which suggests a sedative property (van Dijk, OrNS 44(1975) 53:5 translates liquorice). In late second millennium and first millennium texts, it 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 that the section with ú-làl has not been preserved in the few OB fragments. Surprisingly, ú-làl is not attested in the thousands administrative texts published on-line in BDTS (http://bdts.filol.csic.es/) and CDLI (http://www.cdli.ucla.edu). 47 ) ú-sar-ra is attested only in this text. Its absence from the lexical texts raises doubts about the reading of the word, especially since the only 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 úgug4 , ú-númun and ú-a-numun. Both were not preserved in the OB forerunners. 48 ) e-PSD gives several readings: 1) úA,ZI&ZI (A.GUG4) sisnu and suppatu both mean grass, rush. úgug4 is attested in Ur III administrative texts, but no reference to literary sources is given. 2) A.NÚMUN (A.ZI&ZI.LAGAB) “esparto grass”. 3) a-númun (A.ZI&ZI.LAGAB) “rush water”; 4) úNÚMUN – elpetu – the same meaning. The term is found in 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. 50 ) as-tal-tal – attested in ED III plant list: 124 and Late OB list MSL 10, 117:13 and 120:15. In literary texts: ENH and The heron and the turtle l. 11, according to which it spreads its seeds from the reed beds. Akkadian ardadillu, a medical plant, see CAD A/II 241. 51 ) amÌaru – a medical plant, attested in plant lists from late OB Hh 17 (MSL 10, 117:16 and 120:16) until first millennium MSL 10, 84:50. 52 ) The last sign is clearly DE, and cannot be mistaken for RE. Therefore the verb seems to be kud rather than tar. However, it is certainly not the compound nam-kud - to curse. The same sign DE is found at the end of l. 219 where we should expect ZU. Line 219 which mirrors our line 200, has the compound verb nam-tar. Therefore, either we correct the text and read RE! instead of DE, or perhaps split the compound and read kud — to decide, as in li-bí-ku5-de with the same translation. /li-/ = negative indicator equal to /nu/ in OB period. See Edzard 2003:113. 331 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA 219. [denki]-ke4 ú-nam-bi bí-in-tar sà-ba ba-ni-in-zu! 220. dnin-Ìur-sag-gá-ke4 mu den-ki nam-érim ba-an-kud53) 221. i-bí na-ág-ti-la en-na ba-ug5-ge-a i-bí ba-ra-an-bar-re-en Enki decided the destiny of these plants, had them know it in their heart. NinÌursaga has sworn an oath by the name Enki: “Until his dying day, I will never look upon him with a life-giving eye.” Two missing lines linked the abortion with the list of plants that NinÌursaga made grow from the semen of Enki. The emergence of the plants indicates that the semen of the creation god is not wasted nor perished. In the womb it results in a pregnancy and a deity is born, while inside the ground a plant grows of it. Whether the transformation of the semen was anchored in a simple reasoning, practical or literary, or bears a deep mythological meaning cannot be established because of the missing link. A symbolic mythological relations of womb, mother goddess (NinÌursaga), and mother earth comes to mind but remains speculative. The role of NinÌursaga in the creation of the plants suggests that their initiation still involved the participation of a male and a female. Obviously, the newly generated plants were unknown to Enki. Since, in principle, things become actual only after their nature and name were determined, Enki decided their destiny and established their existence as real. This happened in a bizarre scene: after Enki spotted each plant and inquired what it is, Isimud named the plant whose destiny and name had not yet been decided and Enki ate it. The logic of the description is obscure, perhaps it did not deem relevant. The list of plants is interesting in itself. Most of the plant are attested only in lexical or literary texts, and some only here. Some names were popular etymology.54) This situation suggests that most of these plants were not known outside the scribal circles. Number 1, “wood plant”, is the only one mentioned also in administrative text (Ur III), and ENH is the only attestation in a literary source. gis is also the generic term “tree”, so perhaps it was meant literally. The same may be true for number 3 “garden plant.” Numbers 5: ú-a-tu-tu, 6: ú-as-tál-tál and 8: ú-am-Ìa-ru are medical plants, 5 and 8 are attested only here, and 6 in two more sources. Numbers 2 “honey plant” and 4: ú-A.NÚMUN are widespread in OB literary texts but not found elsewhere. Since most of these plants are rare, and in the lexical texts they are not listed together, the storyteller must have had a good knowledge of literary and lexical sources, and compiled the list especially for this episode. Therefore, the significance of this list of plants must be in the internal logic of the episode. The plot requires that Enki would define the nature of newly generated plants, that he never saw before and, therefore, the plants must be real but unknown. The choice of rare names seems like a compromise between actual and fictitious realities. 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 belly would be instrumental for uniting them in cooperation. The structure of the passage serves the thematic needs of the 53 ) Note the word play, Attinger 1984:44. ) Since the scribes compiled and edited the lexical and the literary texts, perhaps ENH was the sources for the plants that are attested only here. 54 332 plot. Lines 198-199, where Enki spots his prey, reiterate the formula which typifies the incest episodes. This formula correlates the plants’ with the incest’s episodes and signifies that Enki behaved according to the same fixed pattern. Thus, after committing incest, Enki has eaten the product of his own semen, actually his off-spring, a significant deviation from the traditional social norms. In addition, by deciding the nature of each plant, Enki deprived NinÌursaga of the influence on their nature and purpose, although she made them grow. Thus, he added extra reason for her anger. By now the relationship of Enki and NinÌursaga looks like a contest between two powerful gods, in which Enki repeatedly outwitted NinÌursaga, and she became increasingly angry. Eating the plants brings about a dramatic turn in their relations, NinÌursaga uses the decisive means to stop Enki death! It seems that the belief in the immortality of the gods was no barrier for the Mesopotamian storyteller.55) The death of Enki may be compared to the death of Inanna (ID), and likewise the meaning of his death can be explained in mythological terms. Enki is the god of underground sweet water sources. As his presence generated sweet water sources in Dilmun, his death signifies the drying up of the living water sources in Sumer. In other words, his death represents drought. Thus, the curse of NinÌursaga had wider consequences than just for Enki himself, it endangered all forms of life in Sumer. 3.1.5 Lines 222-241: The fox brings NinÌursaga back The Anuna gods were mourning Enki when the fox offered his help, in return to a reward. The interference of the fox leads the plot to the last major turning point. This episode would create the conditions for a reconciliation between NinÌursaga and Enki. It consists of two sub-unit: the first narrates the meeting of the fox with Enlil, and the second – his meeting with NinÌursaga. Due to breaks in the text, however, we do not know how the fox convinced NinÌursaga to help. 3.1.5.1 Lines 222-230: The fox accept the mission 222. da-nun-na-ke4-ne saÌar-ta im-mi-in-durunx-ne-es 223. ka5-a den-líl-ra mu-na-da-ab-bé 224. ge26-e dnin-Ìur-sag-gá mu-e-si-túm-mu-un a-na-àm nígba-gu10 225. den-líl-le ka5-a mu-na-ni-íb-gi4-gi4 226. za-e dnin-Ìur-sag-gá mu-e-túm-mu-un-nam 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 229. siki-ni 1-àm im-ma-an-búr-búr 230. igi-ni 1-àm sembi bí-in-gar The Anuna were sitting down in the dust56) and the fox was speaking with Enlil: “If I bring NinÌursaga to you, what will be my reward?” Enlil answered the fox: “If you bring NinÌursaga to me, 55 ) The slaughtering of god in AtraÌasis demonstrates the issue as the spirit which derived from the flesh of the god, e†emmu, made the immortal 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. 56 ) saÌar-ta – compare l. 156 and the first elegy of Pushkin Museum l. 19. The mourning gesture is best described by the locative or commitative, rather than the ablative. 333 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 I shall erect two kiskanû for you in my city and make your name known.”57) The fox anointed58) his body once, Loosen out his fur once59), Put kohl on his eyes once. (End of col. v) The narrator who repeatedly described Enki lying idly in the marsh, consulting his minister about girls and plants, is silent about his death. A laconic remark that the Anuna are mourning Enki (l. 222) directly follows NinÌursaga’s curse. The brevity of the remark is in no proportion to the significance of the event. In theological terms the death of a god is the ultimate inadequacy. In actual reality the death of Enki means that sweet water sources dried up. Since the very existence of the Anuna is in danger, sitting in mourning is understandable,60) but one expects a quick action. The image of the Anuna sitting in the dust for Enki is an antithetical parallel to the gardener who rose from the dust because Enki watered his garden (l. 156-7). Enki’s role in these scenes is, therefore, also parallel: Enki is water, and his death signifies a drought. The great gods come out of this description as helpless beings,61) but their weakness leads the story to the beginning of the solution: the intervention of the fox. The choice of the fox as the carrier of the solution indicates that the tale aimed to entertain. It seems to me that rather than a reflection of theological deliberations, the unflattering representation of the Anuna is a literary means to achieve a dramatic effect. The death of Enki is the climax of the power struggle between Enki and NinÌursaga. For the first time, since she forced him into marriage, NinÌursaga is more powerful than Enki, and makes a worthy opponent of the god of wisdom, magic and cunning. Historically, however, NinÌursaga was an older and more prominent deity than Enki and, therefore, his rescue would promote his status and present him as her equal. The shift of focus to saving Enki signifies that objective. The appearance of the fox adds to the story a popular literary motif.62) The fox is universally characterized as cunning, greedy and arrogant, who takes advantage of the weaknesses of his opponents. These characteristics raise the expectation for tricks and promise amusing nuances. The fox 57 ) Two gis-gána, probably one black and one white. Compare: NanaSuen Journy to Nippur.(NJN) ll. 28-29. “My Nibru, where black gis-gána 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 to Kusu A:10. In the Sumerian sources the gis-gána tree is connected with the cult of Enki, Gudea Cyl.: 587 describes the Eninu like a gis-gána tree over the Abzu. The same image is found in the bilingual incantation of Enki, 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. 58 ) pes5 -pasasu — Diri V:88 (MSL 15, 170). One example in the ePSD, compared to 14 with sés. 59 ) búr-búr — to loosen the hair-do, PSD B, p. 194a. 60 ) The analogy to ID is striking. Inanna was sentenced to death by the great gods, i.e. the Anuna, and it was Enki who brought her back to life. Incidentally, these two elements indirectly point to the difference between the divine values of Enki and Inana. 61 ) There are more descriptions of the Anuna, the great gods, as frightened creatures, in contrast to their powerful position. See especially Lugalbanda and the Anzu bird ll. 82-3 (ETCSL 1.8.2.2); The return of Ninurta l. 127 (ETCSL 1.6.1); Ninurta’s exploits:184-7 (ETCSL 1.6.2). 62 ) For the fox in Sumerian and Akkadian literature: B. Alster, Wisdom of Ancient Mesopotamia (CDL 2005) 346-350; H. Vanstiphout, “The tale of the fox” ASJ 10(1988) 191-227. 334 is the most suitable helper for Enki, who is himself the master of cunning. But Enki’s current situation is the opposite of his traditional position: usually Enki is the one who comes to the rescue and he helps by scheming and tricking. As expected of the fox, his meeting with Enlil is about his reward,63) and Enlil’s response meets the expectations. Enlil appeals to his vanity, promising the fox to make him famous. He would commemorate the name of the fox, erecting for him two kiskanû trees. This is an obvious allusion, probably conscious, to the white and black kiskanû trees, sacred cultic objects associated with the abzu and the cult of Enki. Indeed, the serious situation demanded taking serious measures. But the manifest holiness of the kiskanû as opposed to the image of the fox, greedy vain and dishonest, instills Enlil’s promise with a sense of a joke.64) The fox prepares for the mission by beautifying himself. These preparations highlight his vanity and ridicule him as is his reward of kiskanû trees. 3.1.5.2 Lines 231- 241: The fox persuades NinÌursaga This sub-unit is too fragmentary, so we do not know how the fox convinced NinÌursaga to return and heal Enki. 235. [nibruki-sè mu]-gen-ne-en den-líl […] [The fox said to NinÌursaga”] “I went [to Nibru], Enlil [did not…]65) ---------------------236-238. I went t[o Ur], Nanna [….], I went to [Larsa], Utu [….], I went to [Unug], Inana [….] ---------------------239. [X] X ì-me-a zi?-gu10 mu-X-túm-mu-[un?] 240. X X X […] 241. dnin-Ìur-sag-gá-ke4 inim!? im-[sár-sár-re] Him who is [ ] I / you will save my life. [xxx] NinÌursaga deliberated the matter66) Four broken lines at the beginning of the column wiped out the movements of the fox after he improved his looks. When the text resumes the fox tells NinÌursaga about his fruitless attempts to find help by certain gods. The list of the gods that the fox visited in their temples is reminiscent of the appeals of Ninsubur on behalf of Inana.67) This model implies 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 him a false plea, but how his argument is related to Enki’s death so that NinÌursaga would change her mind remains unknown. I assume that in line 240 he asked for her help and in l. 241 NinÌursaga is considering his appeal. The death of Enki signifies the drying up of underground water sources. Yet, a drought endangers all life, including 63 ) The act of the fox is reminiscent of the tradition of the bilingual fable of the fox (source A), in which the fox complains to Enlil that the rain is withheld. Unfortunately the part of the fox is too fragmentary to be safely connected with any of the known fox fables. See Lambert, BWL p. 190191 and Vanstiphout, op.cit. 196 and fn. 24. 64 ) Attinger 1984:44 ad. 225 wonders how would the fox profit from the kiskanû, and suggests “magic powers”. But the tale is very clear about it: his benefit is fame. Yet, the real issue it not the benefit of the fox, but how the story benefits from the idea that Enlil would erect kiskanû for a fox! 65 ) The translation assumes that he told Ninhursaga that these gods refused to help him. 66 ) The reconstruction is a pure guess. 67 ) Compare Inana’s Descent: 50-58 and 182-210 and Gilgames Enkidu and the Netherworld: 222-238. In both Enki came to the rescue. 335 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA NinÌursaga’s who caused Enki’s situation. If this was the decisive argument of the fox then he did not use a trick but the fact. In that case the involvement of the fox did not add meaning to the plot, only prolonged the story with an entertaining episode. Be that as it may, the return of NinÌursaga indicates that Enki is indispensable, that there is no life without him and, thus, that he is superior to her. 3.1.6 - Lines 247-251: The curse dispelled NinÌursaga came back running, and performed the necessary ritual to undo the power of the curse. 247. 248. 249. 250. 251. d nin-Ìur-sag-gá-ke4 é kas4 im-ma-an-dug4 a-nun-[n]a-[ke4]-<ne> túg-ga-ni ba-an-dab5-bé-es DUN?68) im-ma!-an-ak-es nam im-ma-an-tar-es su-sar!69) im-ma-an-búr-ru-us NinÌursaga run to the temple. The Anuna seized her garment, (and) made a warp.70) They decided its destiny (and) loosened the rope.71) d The readings DUN (l. 249) and su-sar (l.251) propose that the ritual involved the use of a rope, which can be knotted and then loosened, to symbolise the curse. The proposed readings are supported by attestations of a magic formula to unravel curses: su-sar-gin7 Ìé-en-búr-re / kima pitilty lippasir.72) Presumably, that rope was made from NinÌursaga’s 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 dispelled the curse. 3.1.7 Lines 252-271: Gods are born and Enki is revived With Enki inside her womb, NinÌursaga gave birth to eight deities and, thereby, removed the source of the problem from Enki’s body. A rigid formula narrates the birth of the gods. 252. 253. 254. 255. 256. d nin-Ìur-sag-gá-ke4 den-ki gal4-la-na ba-ni-in-tus Ur only: su mùs-b[a] […] bar-ba bí-x […]73)) ses-gu10 a-na-zu a-ra-gig ugu-dílim-gu10 ma-gig d ab-ú im-ma-ra-an-tu-ud74) 68 ) Collation shows traces of a sign that could be DUN. The first sign in l. 249 and the second in l. 251 are not the same and neither is LI. 69 ) The collation shows traces of a sign generally similar to SAR. 70 ) The context favours the interpretation warp, or perhaps a cord. I assume that after the Anuna removed the garment of Ninhursaga they twisted it into a sort of a cord which was then the subject of the ritual. The idea of a cord depends on the reading of the same sign in l. 251 as SAR! in su-sar — pitiltu, palm fibre, thread, cord. The symbolism in using a cord is obvious. This translation for which I suggest the reading DUN, is already in Jacobsen’s translation. Yet, dun is a verb, while we need a substantive. Therefore, this suggestion compromises the grammar. 71 ) Compare Death of Gilgames l. 193. 72 ) Death of Gilgames l. 192. (ETCSL 1.8.1.3, Me-Turan segment F:153) has su-sar-gin7 Ìé-búr sum-gin7 Ìé-AK-e. May (your anger) be loosen like a cord, peeled? like a garlic.” The use of this image, with su.sar and súm, in 1st millennium rituals suggests that it was standard. See Surpu V-VI:52-56 (E. Reiner, AfOBeih. 6); Lipsur Litanies, E. Reiner JNES 15(1956) 136:80; Maqlu V:58 (G. Meier, AfOBeih. 2). 73 ) This line in Ur only. 74 ) Outside ENH ugu-dílim is attested only in the lexical list ugu-mu, MSL 9, p. 52:3 and Susa version p. 63:2. The term and the divine name were treated by M. Civil in JNES 32(1973) 57-8. The name of the born god Ab’u is a play on the Akkadian word – abbuttu. But the Sumerian word for abbuttu is not ugu-dílim but gàr, so the meaning of the name and, perhaps, 257. 258. 259. 260. 261. 262. 263. 264. 265. 266. 267. 268. 269. 270. 271. 336 ses-gu10 a-na-zu a-ra-gig pa siki-gu10 ma-gig d nin-siki-lá im-ma-ra-an-tu-ud75) ses-gu10 a-na-zu a-ra-gig giri17-gu10 ma-gig d nin-giri17-ù-tud76) im-ma-ra-an-tu-ud ses-gu10 a-na-zu a-ra-gig ka-gu10 ma-gig d nin-ka-si77) im-ma-ra-an-tu-[ud] ses-gu10 a-na-zu a-ra-gig zi-gu10 ma-gig d na-zi78) im-ma-ra-an-[t]u-[ud] ses-gu10 a-na-zu a-ra-gig á-gu10 ma-[gi]g d á-zi-mú-a79) im-ma-ra-an-/tu\-[ud] ses-gu10 a-na-zu a-ra-gig ti-gu10 ma-[gig] d nin-ti80) im-ma-ra-an-[tu-ud] ses-gu10 a-na-zu a-ra-gig zag-gu10 [ma-gig] d en-sa6-ak im-ma-ra-an-[tu-ud] NinÌursaga seated Enki in her vagina ([She… ] the hand on its face [ ] on its outside) “My brother, what part of you hurts you?” “The top of my head hurts me.” She gave birth to Ab’u (father plant) out of it. “My brother, what part of you hurts you?” “The locks of my hair hurt me.” She gave birth to Ninsikila (lady bearing hair) out of it. “My brother, what part of you hurts you?” “My nose hurts me.” She gave birth to Ningiriutud (lady born of nose) out of it. “My brother, what part of you hurts you?” “My mouth hurts me.” She gave birth to Ninkasi (lady filling the mouth) out of it. a secondary pun on the god-name Abba, written dab-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 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 from the particular painful part of Enki’s body, and also that it came out of the womb of Ninhursaga, who now cooperated with Enki. 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.). Nippur’s version dnin-siki-la is obviously an attempt to sound like Nin-sikilla of the first story and create the impression that the two are the same goddess. 76 ) giri17 – nose, “Lady born of a nose” is a play on the name Ningirida, written nin-gìri-da (or gírida), the wife of Ninazu. 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, RlA 9, pp. 442-444. She is mentioned in the remains of an OB offering list from Nippur, PBS 13, no. 60 (CBS 8359), and in the Instruction of Suruppak l. 86, a popular school texts. Hymn to Ninkasi (A, ETCSL 4.23.1) names Enki and Ninti as her parents, and Ninhursaga as the one who cared for her, probably her mother. A link of the hymn to ENH is not obvious, both were authored in the OB school. 78 ) Na-zi is a variant of Nanse, RlA 9, p. 152 and Selz 1995:181 fn. 825. Outside our text this variant is found only in the god lists. This form of Nanse was chosen because of the component zi - throat. 79 ) “Who grows a good arm.” Her name is usually, but not exclusively, written with the sign a “water” (Nin-)A-zi-mú-a: cf. in god lists TCL 15, 10:304, SLT 122 iii:5, 124 iii:28. Gudea statue M and Ur III offering lists: UET 3, 69:4, 93:9, 267 r.ii:6, 931:’1 and 3, 1022:4. The OB literary sources are inconsistent. In LSUr:212 one source has á- and two sources have a-. Note, however, that in the narrative Ningiszida and Ninazimua, the Ur source, UET 6, 26:4 has –á- “arm” whereas the Nippur source, TuMHF 4, 4:72 (r.i:2) has a, “water”. 80 ) Ninti – “Lady rib”. RlA 9, pp. 504-5. Since here Ninti is a daughter of Enki Attinger wants to set her apart from Nin-ti the wife of Enki in An=Anum II:179. However, the names here were not selected for theological reasons but to suit body parts, like the choice of Nazi, and the play on the names Ningirida and Ninazimua. The role allotted to her at the end, Nin-iti, “lady Month” playing on the name Nin-ti indicates that the author was not interested in her religious background. 337 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 “My brother, what part of you hurts you?” “My throat hurts me.” She gave birth to Nazi (zi - throat) out of it. “My brother, what part of you hurts you?” “my arm hurts me.” She gave birth to Azimua (who grows a good arm) out of it. “My brother, what part of you hurts you?” “My rib hurts me.” She gave birth to Ninti (lady rib) out of it. “My brother, what part of you hurts you?” “My flank hurts me.” She gave birth to Ensag81) out of it. After a chain of conflicts Enki and NinÌursaga unite again. NinÌursaga with Enki in her womb gives a seemingly natural birth to eight deities.82) Apparently, the eight plant inside Enki’s belly resumed their original purpose, the reproduction of gods. The recovery through a birth process links each god name to a body part rather than a plant-name, and it follows an order from top to bottom, as in the lexical lists. The names are so obviously fabricated that the list cannot have a theological significance. Most of these deities were no longer worshipped in the cult and, therefore, the names must have been chosen from the school material, particularly god lists. Each name was slightly twisted in a way that preserved the original sound but gave it a different, desired, meaning. The handling of the names, the small distortions, exhibit good command of the language and the script and a sense of humour. The proposed etymologies indicate that the names were governed by the plot and that they also intended to entertain. All these features suggest that the value of this episode is intellectual and literary. The first name on the list, Ab-ú, “father plant” demonstrates the complexity involved in the compilation of the list. “Father Plant” is a good choice for the first name because it evokes the previous form of these deities as plants, and preserves the memory of the event. Moreover, in the OB period Ab-ú was related to the healing goddess Gula, and since some of the plants had medical use he is a good choice also in terms of the subject matter.83) The intricacy underlies the relation of the rare term ugu-dílim, to the obvious sound likeness Ab’u - abbuttu. It seems that first chosen was abbuttu (in Akkadian) which was than translated into Sumerian. However, abbuttu is not the Sumerian ugu-dílim, but gàr,84) so it could not have been translated from Akkadian but a conscious choice. The use of the rare term ugu-dílim - scalp, rather than the common term sag is an additional marker of sophistication. Presumably, the author looked for a part of 81 ) Ensak, written in dedication inscriptions Inzak was the god of Dilmun. For the sources see Alster, 1983:43. References to Mesopotamian 1st millennium sources in RlA 2, 404, s.v.Enzag. 82 ) The mythological significance of the method, placing Enki inside the womb as a natural birth, was extensively treated by others. See especially Alster 1978, Frymer-Kensky 1991:72, Kirk 1970:97. Kirk explains 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 theological - cultic - political implications of the text. 83 ) According to an=anum V:54-5, Ab-ú was husband of Gula. See also the balag e-lum gu4-sún, Cohen, CLAM, 284:210-11. The name is attested in fields and personal names from ED III and Ur III, and he received offerings together with Lugalbanda, Ninsuna, Dumuzi, and Gestinana in Ninsuna’s temple in Ku’ara (e.g. TCL 2, 5482 r.i:9; 5514:21). 84 ) CAD A/I, 48-9. 338 the head, comparable to nose, hair and mouth. Be that as it may, this name shows that the author was an Akkadian speaker, well versed in the lexical lists. The image of Enki inside NinÌursaga’s womb is readily interpreted in mythological terms as underground water sources. This interpretation binds the story of Enki and NinÌursaga with the story of Dilmun. It is not certain, however, that this particular image was created to actualize that mythological meaning. Natural-like birth may have been an ad hoc solution, practical and realistic, to the complicated situations. It involves both male and female gods, restores the state of the semen, removes the cause of the problem, and it ends the conflicts between Enki and NinÌursaga in cooperation. A natural birth also signifies a new beginning. Intentionally or not, the literary purpose coincides with mythological themes. 3.1.8 Lines 272-281: The happy end Each of the new born is now given a divine role, a purpose in the world, and in this positive mood the tale ends. 272. 273. 274. 275. 276. 277. 278. 279. 280. 281. di4-di4-lá-lá ba-tud-dè-en-na-as níg-ba n[am-x]85) d ab-ú lugal-ú Ìé-a d nin-siki-lá en má-gan-na Ìé-a d nin-giri17-ù-tud dnin-a-zu Ìa-ba-an-tuku-tuku d nin-ka-si níg sag4 si Ìé-a d na-zi ù-mu-un-dar-a Ìa-ba-an-tuku-tuku d á-zi-[mú-a] [dnin]-gis-zid-da Ìa-ba-an-tuku-tuku d nin-[ti] nin iti-e Ìé-a [den-sa6]-ak en dilmun-na Ìé-a [den-ki] zà-mí “For the little ones to whom I have given birth [I shall give] a gift Ab’u (father plant) shall be king of the plants, Ninsikila shall be the lord of Magan, Ningiriutud shall marry Ninazu, Ninkasi shall be the thing that satisfies the heart, Nazi shall marry Nindara, Azimua shall marry Ningiszida, Ninti shall be the lady of the month (nin-iti), Ensag shall be lord of Dilmun.” Enki be praised The identity of the speaker that made the decision is not self evident. All the translations assume that it was NinÌursaga. But when Enki was sitting in her womb with the semen in his body he was also birthing. Since the tale seems to favour Enki we cannot exclude the possibility that it was him. The offices allotted to the new born, like their names, demonstrate a creative scholarly effort. For example, the function assigned to Nin-ti “lady rib” was nin-iti - “lady of the month” (ti⇒ iti ). This function indicates that the author did not intend to adhere to theological traditions but to entertain. The same applies to “Father plant” who became the king of the plants. The chief deity of Magan was Ninzaga, not Nin-siki-la.86) A remote sound similarity siki ⇔ zaga may have played a role. Marriage was the lot of three goddesses: Ningirida, (Nin)azimua and Nazi. Presumably, the author used the god lists as a source, because the literary texts of the 85 ) níg-ba is quite clear but the verb is uncertain. I assume that it is the 1st p. sg. and because the “gift” is actually the destiny of these deities, the fundamental condition for their existence, I reconstruct nam- for the affirmative 2 /na-/. 86 ) RlA 9, p. 531, s.v. Ninzag. Gudea Cyl. A vx:11, about the contribution of Magan and Meluhha to the E-ninnu. Note that it names Nin-sikila as the goddess of Meluhha (xv:15), not Dilmun! 339 ENKI AND NINHURSAGA, PART TWO: THE STORY OF ENKI AND NINHURSAGA OB period are more informative about these goddesses.87) Ninkasi the beer goddess has her real divine property, she was probably known and popular enough outside the school material. Ensak ends the list and the story. He was born from zag but was not associated with Nin-zag because the latter is the god of Magan, and therefore of no use to the story. Ensak became the god of Dilmun as he was in reality. Thus, he links the story of Enki and NinÌursaga to the story of Dilmun inside a literary framework of the whole text. In view of this literary function his place as the last cannot be coincidental. The last episode concludes the complicated dialectic relations of Enki and NinÌursaga in a productive relaxed cooperation. The linear sequence of the episodes, ending with synthesis, must have been a deliberate process towards this harmonious finale. 3.2 The meanings and functions of the second story. The second story is far more complicated than the first. It holds more episodes and involves more participants, although mostly minor deities whose identity and function are vague. The narrative reflects typical literary and scholarly values of the OB scribal school. The axis of the plot is the relative status of Enki and NinÌursaga, described as dialectic relations and evolve in a thematic and structural logic. On the level of the story Enki’s sexual activity takes the central place. Since he is the god of fresh water it was interpreted in terms of irrigation and fertility. But the complex episodes, all based on social-family values, suggest more levels of significance. Enki’s repeated behavior have an obvious dramatic function. 3.2.1 The significance of NinÌursaga A close reading of the first episode suggests that NinÌursaga refused Enki’s advances in the marshes and that he married her. This reading opens new channels of meaning for two reasons. First, it signifies from the outset that sexual relations outside the marriage institution are improper. This social value, like a scarlet thread, underlies each episode, propels the plot and defines the course of the story. Second, in actual cultic terms NinÌursaga was not Enki’s wife. Therefore, their marriage signifies that the function as Enki’s wife is crucial for the meaning and purpose of the plot, and that she must be equal to Enki in rank and authority. Thus, family values were consciously chosen as the vehicle to build up the story. The deliberate balance forecasts a power struggle between the two gods, with the marriage institution at the background. The birth of minor deities is merely the calm after storm, the climax is the unthinkable death of Enki and the return of NinÌursaga to revive him. Thus ultimately, the plot demonstrates that life is impossible without Enki through his manifestation as sweet water sources. Obviously, a goddess inferior than NinÌursaga would not have the power to kill Enki, nor to revive him. And since marriage life provides opportunities for conflicts that can reach high emotional level, the storyteller uses family relations to lead NinÌursaga to maledict Enki. Thus, the tale begins with an episode that leads to 87 ) Their cult ceased after Ur III period but Ninazimua is mentioned in Death of Urnamma: 127 as scribe of the Arali. Ningirida in Nana-Suen 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 a study material. 340 their marriage and the following episodes delineate Enki’s offensive behavior as a husband and father, and NinÌursaga’s increasingly irritated reactions, until she uses the curse to stop him. But when the lack of water endangers the life in Sumer, she dispels the curse. Eventually, Enki emerges of the tale as indispensable and superior to NinÌursaga. In historical terms, the return of Ninhursag to heal Enki symbolizes the superiority of Enki’s cult and priesthood.88) 4. Summary: towards an interpretation of the text 4.1 The components The divine properties of Enki link events that took place in Dilmun and Sumer. Each of the two locations is the arena of a complete and meaningful story. These stories were connected by literary and thematic means. Lines 1-2 point to Dilmun and Sumer, being an introduction to the complete text. Line 280, the last, states Ensag’s future as the god of Dilmun (i.e. next to Ninsikila) and thereby it links up the second story with the first. Together, ll. 1-2 and 280 form a geographical and thematic framework for the whole text. The relation of the stories to one another define the meaning and the purpose of the text as a whole. The first story concentrates on the emergence of water sources in Dilmun. Enki’s death signifies a lack of water, which now appears as the ultinate objective of the second plot. Thus, both stories deal with Enki as the divine manifestation of sweet water. The second story is longer than the first, more complex in the number episodes and participants, and for reason. To describe the creation of water sources as the manifestation of Enki is easy, but for the opposite, for a drought Enki must be killed first, and that is difficult to explain. It demands a complicated plot which would narrate serious offences to justify Enki’s death. And this can be done only by an higher ranking god, as NinÌursaga. The staging of NinÌursaga as Enki’s wife suggests that the second story have a theological-political horizon. It is quite possible that first was the intention to promote Enki’s rank and cult, then the idea about the suitable the theme that demonstrates it, and lastly the stories were authored. The treatment of the theme in the stories lacks balance, but the meaning and purpose are clear. Two stories that depict contrasting situations demonstrate the essential bipolarity of Enki’s divine manifestation as water. The metamorphosis of Dilmun from a lifeless into a prosperous island was actualized by the appearance of Enki who is water sources. The death of Enki signifies the disappearance of water sources. The combination of the stories, the text as a whole, leads to the conclusion that Enki’s being or absence is a matter of life and death and makes manifest his importance and his superiority among the Anuna. Sex and family values recede to the background as merely the literary materials that propel the plot toward its ultimate objective. Each story begins with a scene of sexual intercourse. The second scene (ll. 63-71) is the abrupt beginning of the second story, thus it creates an illusion of a series in one complicated event. But despite the literary efforts, the two parts of the text do not merge into one integrative plot but remain loosely connected. Each story has its own poetic and mythological properties, and its own function. 88 ) The narrative probably originated in this circle. The copy from Ur was found in the house of a purification priest of Enki. 341 BIBLIOTHECA ORIENTALIS LXV N° 3-4, mei-augustus 2008 4.2 Intertextuality in Enki and NinÌursaga The thematic and literal likeness of the incest episode to the first encounter of Enlil and Ninlil was mentioned in §3.1.3. Another case of intertextuality, but of structural nature, is Enki and Ninmah (ENM). Like ENH it consists of two stories, the first presents Enki as a creator and the second describes a contest between him and Ninmah. In this contest Ninmah the mother goddess, otherwise known as NinÌursaga,89) creates crippled men to whom Enki finds a purpose in life. Then, when Enki creates a creature, Ninmah is unable to find for him a function in life. Thus, both stories signify that Enki is the creator of useful men, and make manifest his superiority among the gods. The hymnal passages of ENM that sing Enki’s praise confirm that this was indeed the purpose of the combined text. Unlike ENH the stories of ENM make a synonymic parallelism, but the structural similarity is obvious. The first event is a creation story and the second is a contest. Similar to ENM is also the function of the combined stories. In his aspect as god of water, Enki is the most vital force in the cosmos, and the helplessness of Enlil and the Anuna gods illustrates his superior divine power. That in ENM the stories parallel while in ENH they are antithetical is due to the thematic difference, water can appear or lack but the creation of humanity is undivided. The literary relations between the texts can hardly be coincidental. Since both texts were authored in an Old Babylonian 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 significant 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 consummation 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. 342 justly punished. His death, which signifies drought, brings the water theme to the fore and serves to establish the status of Enki as the most important god. The narration of Enki’s intercourses takes almost half of the story, ll. 71-185. In line with his function as god of water, Enki’s sexual activity is usually translated into irrigation. No wonder, irrigation is the fundamental condition for living in Sumer, and the more irrigated area, the more food and the better the life. Since, however, Enki’s intercourses are incestuous as well as adulterous, this interpretation implies that a strict social taboo represents the vital supply of fresh water; NinÌursaga’s attempt to prevent the copulation of Enki with Uttu would then signify the denying arid areas of irrigation and cultivation. Also, we note that the copulation of Enki with Ninsikila did not create water sources in Dilmun. To conclude, sex is a theme only in the second story and, therefore, that interpretation actually separates the stories from one another. It seems to me more likely that sex, in the framework of traditional family values, was used as a medium to build up the second story, to lead via the curse to the water theme. The traditional mythological values of ENH bring to mind a possible linkage between the marshes and the mountain ridges. It may have had a living significance in the third millennium, but I am not sure what mythological meaning it had for the OB author and whether it was in mind. NINO-Leiden, May 2008