According to another story of the fate of Tammuz, Ištar was the victim
of sudden and violent passion, and in a fit of anger for disregard of
her command she had smitten him down, just as she crushed the
_allallu_-bird she loved:
“Thou didst crush him and break his pinions.
In the woods he stands and laments,
‘O my pinions’.”[32]
Also as she cast out of her sight the lion:
“Thou didst love a lion of perfect strength,
Seven and seven times thou didst bury him in the corners.”[33]
The origin of the service of weeping for Tammuz is an interesting
legend. When Ištar had slain her lover, she hastened, like the going
down of the evening star, to the lower world in search of waters to
restore him to life. She searches long, passing through all the
compartments of Hades. The story does not give details of her finding
Tammuz, but instead, a scene of his burial is introduced:
“To Tammuz, her youthful consort
Pour out pure waters, costly oil.”[34]
A scene of the mourning for Tammuz is also introduced, which may be
taken as the original lamentation, all other summer solstice weepings
being anniversaries of this original one. His sister is there lamenting:
“O my only brother, let me not perish!”[35]
And a great company of mourners sing dirges by the accompaniment of the
flute and follow the instruction which Tammuz, though dead, seems to be
giving then and there:
“On the day of Tammuz play for me,
On the flute of _uknu_ and _samtu_!
With it play for me! With it play for me!
O male and female mourners!
That the dead may arise and inhale incense!”[36]
Of course the story is not finished and the circle of events not
completed without the resurrection of Tammuz. In a Chaldaean intaglio
there is a picture of Tammuz rejuvenated on the knees of Ištar (see
Clercq Vol. I, Plate IX, No. 83). Some forms of the story must include
his return to the earth, and the complete service of lamentation must
have been sometimes supplemented by a service of joy in which the idea
of resurrection was significant.
Though the original lamentation was an expression of grief for Tammuz
dead, the fully developed ceremony was an expression of several pathetic
ideas. It was accompanied with sacrifice and offerings of wine. In
Babylonia the commemoration was observed every year on the second day of
the fourth month, called the month of Tammuz. It was not only a weeping
for dead Tammuz, but a weeping for dead vegetation. The dying leaf had a
mourner. The withered stock had a sympathizing friend. For the blasted
blade of grass there was shed a tear. For the barren tree bereft of
golden foliage and luscious fruit there went up a cry of sympathy. The
ceremony was an expression of sadness that came over the people as the
oppression of the heat of summer bore down upon them, the water supply
being reduced, vegetable life put out and human life consequently made
almost unendurable by the deprivation and heat of summer. The time of
weeping was one for the expression of personal sorrow that lurks in
almost every heart. The wail of anguish was a relief to souls burdened
with their own peculiar griefs. The soul found relief in lifting up the
voice attuned to some form of elegy. There came a relief like the
rolling of the burden of guilt from the breast. The ceremony was one
that embraced in its performance the expression of confession. It was,
however, performed with the consciousness that the drought of summer was
but for a season, and that there was to follow a period of happier
existence, as the succeeding winter should merge into a new spring.
Tammuz was supposed to leave the land with the season when the spring
growth was completed, to come back again in the following year. He is
considered as dead, but his death is not an absolute one. He tells the
mourners what to do as they gather about his bier. According to some
allusions he seems also to be a lord, as it were, in the bowels of the
earth, preparing the inner earth for putting forth a new stock of
vegetation, as spring shall come. Hence, the hymn to Tammuz in this
Thesis calls him “the generator of the lower world”. His association
with his friend Gišzida substantiates more fully the idea of his
resurrection. To give vitality to his work he still maintains his old
personality of sun-god, and to him again is given a seat in heaven, as
the Adapa legend shows:
“On mounting up to heaven,
At the gate of Anu
Tammuz and Gišzida were stationed.”[37]
The story of Tammuz seems to have taken deep and almost universal hold
of the imagination and sympathy of mankind. The weeping for Tammuz is
said to have been maintained by the Babylonians till a very late period.
Similar stories to that of the Tammuz legend existed in about the same
period of history among the Phoenicians, the Hebrews, the Greeks and the
Egyptians, the most of these accounts having a common origin; if they
have more than one origin, they seem nevertheless to blend in the main
into one story. It is said that in the Phoenician town of Gebal by the
Mediterranean on the road leading from the people of the east to those
of the west, there is a yearly lamentation over the death of their
sun-god, the beloved Aštoreth, who had been slain by a cruel hand, just
as the spring verdure was cut down by the hot blasts of summer. The
women, tearing their hair, disfiguring their faces and cutting their
breasts, sent up a cry to heaven: “O my brother!” Across the sea by the
way of Cyprus, the cry is said to have been carried to Greece where it
found embodiment in the story of Adonis and Aphrodite. Possibly,
however, the Greek story may be indigenous. Adonis lost his life while
hunting, thrust through the thigh with the tusk of a wild boar. After
death he was in great favour with Persephone who finally yielded to the
entreaties of the inconsolable Aphrodite, and Adonis spent one half of
the year with his celestial mistress and the other half with his
infernal one. How much place the annual weeping for a departed one had
among the Hebrews may be inferred to some extent by the mention made in
the Scriptures of the service. Zechariah speaks of the well-known
mourning of Hadadrimmon in the valley of Megiddon, and Amos refers to
the custom of mourning for an only son. Ezekiel says that the Lord
brought him to Jehovah’s house “and behold, there sat the women weeping
for Tammuz”. Jeremiah goes a step further and gives us the refrain which
was used in the weeping: “Ah me! Ah my brother!” The parallel story in
Egypt had for its hero the god Osiris who, representing goodness, upon
being slain by a foe, became judge of the dead, though his soul
continued in existence among men.
Transliteration, Translation and Commentary
Chapter I
Tablet 13963, Plate 10, Hymn to Bel
Obverse
1. _u-mu-un na-am-zu-ka na-am- ......... še-ir-ma-al ni(IM)-[te-na]_
O lord of wisdom, ................ supreme by thyself!
2. _^dimmer Mu-ul-lil u-mu-un na-am-zu-ka .... še-ir-ma-al
ni(IM)-te-na_
O Bel, lord of wisdom, ............. supreme by thyself!
3. _a-a ^dimmer Mu-ul-lil u-mu-un-e kur-kur-ra_
O father Bel, lord of the lands!
4. _a-a ^dimmer Mu-ul-lil u-mu-un dug(KA)-ga zi(d)-da_
O father Bel, lord of righteous command!
5. _a-a ^dimmer Mu-ul-lil siba sag gig(MI)-ga_
O father Bel, shepherd of the black-headed!
6. _a-a ^dimmer Mu-ul-lil i-de(NE) gaba ni(IM)-te-na_
O father Bel, the only all-seeing one!
7. _a-a ^dimmer Mu-ul-lil ama erim(ṢAB)-na di-di_
O father Bel, the lord that executest judgment on thy enemies!
8. _a-a ^dimmer Mu-ul-lil u-ne(r)-la ma-ma_
O father Bel, the power of the lands!
9. _ama na-a gu ne-sig(PA) gan-nu ki_
The bull of the pasture, the bull that encompassest the productive
land!
10. _^dimmer Mu-ul-lil nin ḳar-ra ki damal-ra_
O Bel, the bountiful lord of the broad land!
11. _u-mu-un mu-ud-na du(KAK) sag-ma-al ki_
The lord of creation, the creator, the true head of the land!
12. _u-mu-un zal(NI)-laḥ(UD)-na ga nunuz-am(A.AN) da-ma-al-la_
The lord whose shining oil is milk for an extensive progeny!
13. _um-mu-un silim(DI)-ma-a-ni eri ir-ir_
The lord whose decrees bind together the city,
14. _du na-a-ni a(ID) am-e gal-la_
Whose powerful dwelling-place (is the seat of) a great command,
15. _kur ^dimmer Babbar (UD)-e(UD.DU)-ta kur ^dimmer
Babbar(UD)-šu-šu_(KU)
From the land of the rising sun to the land of the setting sun!
16. _kur-ra u-mu-un nu-um-ti za-e u-mu-un ab-da-me-en_
O mountain, the lord of life, thou the lord indeed art!
Reverse
17. _^dimmer Mu-ul-lil kur-kur-ra ga-ša-an nu-um-ti nin-zu ga-ša-an_
_ab-da(-me-en)_
O Bel of the lands, lord of life, lord of wisdom, lord indeed thou
art!
18. _e-lum ni(IM) an-na a-kad za-da ša mu-e-da-mal_(IG)
O mighty one, dread of heaven, royal one indeed thou art!
19. _^dimmer Mu-ul-lil u en_(?) _dimmer-ri-ne za-da ša
mu-e-da-mal_(IG)
O Bel, very lord of gods thou indeed art!
20. _a-a ^dimmer Mu-ul-lil mu-lu gu ma(SAR)-ma(SAR)-me-en mu-lu_ _še
ma(SAR)-ma(SAR)-me-en_
O father Bel, who causest vegetation to sprout, who causest grain to
grow
21. _^dimmer Mu-ul-lil me-lam(NE)-zu gur(KIL)-ra ḥa mu-ni-ib-(
)-ne-ne_
O Bel, before thy great glory may they be (in fear?)!
22. _ḥu-e an-na ḥa-e ṭu(r)-ra ša(LIB)-ni(IM) ma-ni-ib-si_
The birds of heaven and the fish of the sea are filled with fear of
thee!
23. _a-a ^dimmer Mu-ul-lil-li da-da maḥ mu-e-gin(DU) sag-e-zi si-ba-e
e-nab_
O father Bel, in great strength thou goest, the head of life, the
shepherd of the stars!
24. _u-mu-un ka na-am-ga(MAL) iz-ba eri ga mu-e-gin(DU) gin(GI) si
ti-šu(KU) me-a_
O lord, the mouth of production thou openest, as a prolific city
thou goest, the reed for the fulness of life thou art.
25. _a-a ^dimmer Mu-ul-lil sag zi sag ne(r)-la šu ti ba-ni-ib-ag_
O father Bel, the head of life, the head of strength, the power of
life thou makest thyself!
26. _šu-gil niš-ia mu-bi im_
Altogether there are twenty-five lines in the tablet.
27. _er(A.ŠI) lim-ma_
Hymn of praise.
This composition is a hymn of praise to Bel, who is directly addressed.
His name, Mu-ul-lil, appears in 14 of the 25 lines of the hymn, in which
he is called distinctively “father”, the title occurring 8 times.
The god is addressed in the second person, as is seen in line 16, where
_za-e_, the personal pronoun of the second person, is applied to him,
and also in the pronominal phase of the second person, _za-da_, found in
lines 18 and 19, not to mention other less striking symbols of the
second person singular.
The hymn consists of many laudatory epithets descriptive of Bel’s divine
nature and work. His fatherhood and lordship are dwelt upon. He is a
righteous and all-wise father. His lordship extends not only over the
land, but up into the air as well. He provides subsistence for the
creatures of earth, being also the organizer of city and state. He
superintends also the operations of nature in the atmosphere being the
dread of heaven, the lord of gods, the occasion of fear among the birds
and fishes, the shepherd of the storms (or stars).
The time of the origin of this hymn is a matter of conjecture. The form
of the signs offers some evidence. What the early kings say of Bel also
throws some light on the subject. The signs are, of course, later than
the picture-writing of the hieroglyph, and also later than the linear
script suited to stone. These signs are made in clay, hence the wedge
appears. The design of the signs used here has met with some
transformation since the hieroglyph was used, but it has not yet reached
the chaste and symmetrical form given by the hand of the Assyrian. In
short the signs of this hymn are old Babylonian, almost identical with
those used in the inscriptions of Eannatum, Entemena, Gudea and
Ḥammurabi. There are, however, some later and even New-Babylonian signs
among them, pointing perhaps to transcription subsequent to the original
composition.
There is no mention of any city in the hymn, as there is in the hymn to
Sin, but this hymn probably had its origin in Nippur which was the great
religious centre of Babylonia in the pre-dynastic period, when kings
ascribed their successes to Bel and brought their booty to Nippur,
calling Bel “the lord of the lands.”
Obverse
1. _u-mu-un na-am-zu-ka na-am ..... še-ir-ma-al ni-[te-na]_
O lord of wisdom, ........... supreme by thyself!
_u-mu-un_ means “being lord”, _u_ equalling “lord” and _mu-un_ equalling
“being”. _u-mu-un_ is a phonetic representation of _umun = belu_, (Br.
9475). _umun_ is sometimes ideographically represented by the sign
GIGURU, the corner wedge (Br. 8659), which signifies “depress”,
“overpower”, “be powerful”, “rule”. _umun_ may be shortened either to
_u_, _mun_ or _un_, giving to GIGURU three values for “lord”, _u_, _un_
and _umun_. _umun_, which is ES, has an EK value, _ugun_. In line 17, we
shall meet with another word for “lord”; viz., _ga-ša-an_.
_u_: the sign IGI-DIBBU alone means “lord”. It has a well-known Assyrian
equivalent, _labaru_, “be old”, (Br. 9464). Brummer explains the sign
correctly as follows: IGI-DIBBU is a compound sign and equals ŠI, “eye”,
plus LU, “take away”, hence the meaning “take away the eye”, “become
old”, “elderly”, “lord”, (SVA. 2-7).
_mu-un_ contracted to _mun_ is cognate with _me-en_ which equals _bašu_,
“to be”, as in _za-e-me-en_ (Br. 10404). We shall meet the form _mu-un_
as a verbal prefix.
_mu_ here is simply a dialectic form of _me_ (MSL., p. 240). _mu_ as a
Sumerian value is attested by the sign-name MU. We shall meet with MU in
the name _Mu-ul-lil_, also as a suffix and in other ways. The MU of our
text is old Babylonian. It is the MU of Ur-Gur and Gudea (see brick of
Ur-Gur, No. 90009, CT. XXI, and Gudea’s Cylinder A, Col. XVIII, line 27,
in Dec. 36).
_un_ is plainly cognate with _en_ which is so commonly represented by
the sign ENU. The sign UN we shall meet again with the value _kalama_.
The UN of our text is a very ancient sign (see Cone of Eannatum, Col. I,
CT. XXI, Tablet 30062).
_na-am-zu-ka_ consists of noun, _na-am-zu_ and postposition _ka_.
_na-am-zu_ is an abstract noun composed of the abstract prefix _na-am_
and the stem _zu_.
_na-am_ equals _šimtu_, “fortune”, (Br. 1609 and HW. 654) and is a
dialectic form of _nam_ (Br. 2103) which is a common abstract prefix.
_na_ is a Sumerian value of the sign NANU. The value is simply syllabic
here. The sign originally signified “stone”. Our NA is found both in old
Babylonian tablets and in New-Babylonian inscriptions.
_am_ (ES) also is only syllabic here. The sign has the EK value _ag_ and
is used ideographically.
_zu_: the sign representing _zu_ has only one value, presenting a rather
uncommon circumstance in Sumerian. _zu_ means “know”, also “be wise”,
and may equal _nimeḳu_, “wisdom”, (Br. 136), but the author preferred to
say _na-am-zu_, “the fortune of wisdom”.
_ka_, sign-name KAGU, is a postpositive sign of the genitive. The sign
KAGU (discussed below) is often used in this way, but it has several
values and is used to express a large number of ideas, _ka_ as a
postposition is a dialectic form of _ge_(KIT).
_še-ir-ma-al_ is ES for the EK _nir-gal_, _š_ changing to _n_ and _m_ to
_g_ (MSL. p. XI). It is translated into Assyrian by the word _etellu_.
_še-ir-ma-al_ consists then of two parts; stem _še-ir_ and suffix
_ma-al_. Strictly, _še-ir_ is “lord” and _še-ir-ma-al_ is “lordship”.
_še-ir_: _e_ and _i_ appear generally to be distinct sounds, but they
combine, just as the two _u_’s combine in _mu-un_, making _mun_, and as
the two _a_’s combine in _na-am_, making _nam_. Evidently the weaker
sound is absorbed by the stronger, hence _še-ir_ becomes _šer_, “ruler”,
which could be represented by NISIGU (JA., 1905, p. 113, also Br. 4306).
_še_ is perhaps a Semitic value coming from _še’u_, “grain”. The
original sign is a picture of a head of grain like wheat or oats. The
name of the sign is U-UM. The sign occurs in line 20 as an ideogram.
_ir_ is also Semitic value of the sign GAḲ-GUNU. We shall meet the sign
used as a verb equal to _kamu_, “bind”.
_ma-al_, phonetically written for _mal_, is an ending which adds to
_šer_ the idea of “having”; hence _še-ir-ma-al_ means “having rule”.
_ma_: we shall find MAMU used mostly as a noun, but it may occur as a
verbal prefix or as a phonetic complement.
_al_: the sign has only one value, _al_, whose use is principally
syllabic. The sign-name is ALLU.
_ni-te-na_: ni-te is the main word with _na_ as a suffix.
_ni-te_: _ni_ and _te_ stand related to each other as object and cognate
verb, meaning “fear a fear”. The affinity of _ni_ and _te_ is shown by
the fact that the sign for _ni_, called IMMU, may have the value _tu_
(see Br. 8355), then the object and verb would be _tu-te_, “fear a fear”
(see Fossey in JA., 1905, p. 128). _ni-te_ may mean “self” just as _ni_
may stand not only for “fear” but for that which causes fear as
_Rammanu_, “the storm-god”, and then by way of erroneous association for
_ramanu_, “self”.
_ni_: the sign IMMU is one of the principal signs that originally
denoted “the quarter of the heavens”. It is used to signify “storm” and
many ideas connected with storm.
_te_: TEMMENU originally meant “orientation”, then “to approach
hostilely”; hence _ni-te_ meant “approach of storm”.
_na_ is an indeterminate suffix, but the context shows that it means
“thy”, so that _ni-te-na_ means “thyself” (see _na_ above).
2. _^dimmer Mu-ul-lil u-mu-un na-am-zu-ka ... še-ir-ma-al ni-te-na_
O Bel, lord of wisdom, ........ supreme by thyself!
_^dimmer_: the sign AN here has the value _dimmer_. In the great
bilingual penitential Psalm, K. 2811 (IV R. plate 10), instead of the
single sign AN, we have the spelling _dim-me-er_ (see lines 3, 7 and
others). If this were an EK composition, the sign AN might be _dingir_,
_di-in-gir_, but in the words _u-mu-un_ and _še-ir-ma-al_ which we have
already had, we have evidence that this is an ES composition, hence AN
here is to be read _dimmer_.
_Mu-ul-lil_: Bel has only one name in this hymn; namely, _Mul-lil_. In
the two tablets, 29644 and 29623, following this tablet, Bel is called
_En-lil_ (see the colophons). The word _Mu-ul-lil_ divides into two
parts, _Mu-ul_, which contracts into _Mul_, and _lil_.
_Mu-ul_: _Mul_ is ES; _En_ is EK. Both _Mul_ and _En_ mean “lord”, so
that either _Mul-lil_ or _En-lil_ means “lord of fulness”. It is
probable that _mul_ (_wul_) is cognate with _en_ (el).
_mu_ (as a value is discussed in line 1).
_ul_: the sign is composed of GEŠPU and GUṬṬU. The value _ul_ is
Semitic. We shall meet below this sign with the value _ru_ meaning
“perfect”.
_lil_: the name of the sign is KITU. _lil_ in magic writings means
“demon”, i. e., a spirit which may be either good or bad. Originally the
sign indicated “structure”, from which idea comes the postpositional use
of the sign with the value _ge_. _šaru_, “wind”, with the value _lil_ is
a secondary meaning of the sign.
_u-mu-un na-am-zu-ka_ (occurring in line 1, was discussed there). The
fragments following _-ka_ do not give a sure clue as to what the signs
were before the erasure. After _^dimmer Mu-ul-lil_ perhaps the whole of
the second line was precisely like the first.
_še-ir-ma-al ni-te-na_ (explained in line 1).
3. _a-a ^dimmer Mu-ul-lil u-mu-un-e kur-kur-ra_
O father Bel, lord of the lands!
_a-a_ is probably for _ad-da_, _ad_ meaning “protector”. Exactly how
_a-a_ comes to be used in the place of _ad-da_ may not be determined
with certainty. The explanation may lie in the relation between “water”,
“seed” and “father”. _a-a_ also seems to be a softened form of _ad-da_.
_a_ means “seed” or more primarily “water”. The sign is an ideographic
picture of dripping water.
_^dimmer Mu-ul-lil_ (explained in line 2).
_u-mu-un-e_ divides into the word _u-mu-un_ and the prolongation vowel
_e_, possibly demonstrative in sense (see _e_ farther on).
_u-mu-un_ is not elsewhere in this hymn lengthened to _u-mu-un-e_, but
_u-mu-un_ occurs nine times.
_kur-kur-ra_ is the plural form of noun, _kur_, plus postposition _ra_.
_kur-kur_: in Sumerian the general way of denoting the plural in nouns
is by doubling the root (see ASK. p. 140), whereas the doubled root in a
verb means an intensified or causative stem. There are five other cases
of doubling the root in the hymn: _di-di_, line 7, _ma-ma_, line 8,
_ir-ir_, line 13, _ma-ma_, line 20; and _da-da_, line 23.
_kur_: the sign KURU in the old linear form represented pictorially
“mountain tops”. The value _kur_ has three very common Assyrian
equivalents, _šadu_, “mountain”, _ir⋅itu_, “earth” and _matu_, “land”,
all closely related to each other.
_ra_ is a common postposition signifying “unto”. Perhaps _ra_ sometimes
serves merely as a vowel of prolongation, the _r_ at the same time
making a double of the final consonant of the preceding word. In such a
case _ra_ is called a phonetic complement, while it also helps to
determine the value of the sign immediately preceding. To illustrate,
the sign KURU being followed by RARU cannot be read _gin_ nor _mad_.
_ra_ can also be the sign of the genitive (Br. 6367).
4. _a-a ^dimmer Mu-ul-lil a-mu-un dug-ga zi-da_
O father Bel, lord of righteous command!
_a-a ^dimmer Mu-ul-lil u-mu-un_ (explained in lines 1, 2 and 3).
_dug-ga_: _dug_ is the value of KAGU to be used here, as is at once
suggested by the phonetic complement _ga_.
_dug_: a very common meaning of _dug_ is _ḳibitu_, “command” (Br. 532).
_ga_ is merely the vowel of prolongation _a_ with the final _g_ of the
preceding stem.
_zi-da_: _zi_ being followed by _da_ gives the impression that it should
be read _zid_ with _da_ as a phonetic complement. A final consonant in
the first syllable, however, is not always a necessity. The name of the
temple of Nabu at Borsippa is not read _E-zid-da_, but _E-zi-da_ or
_E-zida_.
_zi_ here equals _imnu_, “right”. It may sometimes equal _napištu_ (see
below, line 25).
5. _a-a ^dimmer Mu-ul-lil siba sag gig-ga_
O father Bel, shepherd of the blackheaded!
_siba_ equals _re’u_ (Br. 5688). The sign is compounded from PA and LU
and means “staff-bearer”, since PA signifies “staff” and LU means
“hold”, “seize”. The use of the sign is confined almost entirely to the
idea of shepherd of animals and then figuratively to that of governor of
men.
_sag_: the sign with the value _sag_, called SANGU or SAGGU, is the
common sign to represent “head” which is expressed in Assyrian either by
_rešu_ or _ḳaḳḳadu_ (see Br. 3522 and 3513). The sign occurs in many
compounds.
_gig-ga_: _gig_ is the value of MI suggested by the phonetic complement
_ga_.
_gig_: the sign is composed of the corner wedge U and the sign TATTAB
and means “darkness”. The sign really signifies “entering into
depression”. _gi_ perhaps is a dialectism for _mi_.
_ga_ = phonetic complement, _sag gig-ga_ means a race of men, evidently
here the Babylonians, the people in particular over whom Bel exercised
rule. The term is certainly not one of depreciation. It merely shows
that the Babylonians were swarthy. On the other hand, “blackheaded” may
be intended to mean the human race inhabiting the earth in
contradistinction to the bright celestial beings (see CDAL. 878). Cyrus,
in his Broken Cylinder, seems to use the phrase as meaning the
Babylonians. His words are: _niše ⋅al-mat ḳaḳḳadi ša u-ša-ak-ši-du
ḳa-ta-a-šu_. “The blackheaded people whom he caused his hands to
conquer” (V R. 35, 13).
6. _a-a ^dimmer Mu-ul-lil i-de gaba ni-te-na_
O father Bel, the only all-seeing one!
_i-de_, phonetic representation of _ide_, which in the EK dialect is
represented by the sign IGU with the value _igi_ which in Assyrian means
_inu_, “eye” (Br. 4004, 4003 and 9273). _ide_ is ES for the EK _igi_. We
have the sign IGU in the colophon where it occurs with AU, “water”,
_a-ide_ meaning “water of the eye”.
_i_ is represented by GIṬṬU (“five”). The value _i_, however, is, of
course, entirely syllabic here. Notice that there is a slight difference
between the Babylonian GIṬṬU and the Assyrian GIṬṬU. In Assyrian, GIṬṬU
consists of two wedges followed by three. In Babylonian it consists of
three followed by two, and in the linear form the sign consists of three
horizontal lines followed by two (see AL. p. 125, No. 105).
_de_ represented by IZU and having the value _bil_ means “fire”. The
sign in its hieroglyphic form is probably a picture of building a fire
by the friction of an instrument against a piece of wood. Hence the sign
is properly composed of AM and GIŠ, AM representing something having a
head and GIŠ meaning “wood”. The sign in our text is old Babylonian and
may be found in Gudea (Cylinder B, Col. IV, line 13, in Dec. Plate 34).
Possibly _i-de_ could be explained as if _i_ were an abstract prefix and
_de_ as referring to the light of the eye, hence _i-de_ means “eye”.
_gaba_ is the common word for _irtu_, “breast” (Br. 4477). The sign
GABBU is a double MU-sign meaning “fulness”. From this idea of “fulness”
we easily derive the idea of “open” (Br. 4490). So that _ide gaba_ means
“open eyed”. The two MU’s appear entirely separate in the Babylonian
form of the sign as they do not in the Assyrian form (see TC. p. 18).
Our GABBU is not so old as the GABBU of the _Steleo des Vauturs_, but is
like Gudea’s GABBU (see Cylinder A, Cob XXI, line 25, in Dec. Plate 34).
_i-de gaba_ is about equal to “omniscient”.
_ni-te-na_ may be rendered as in line 1, “thyself,” or perhaps we could
say “only”.
7. _a-a ^dimmer Mu-ul-lil ama erim-na di-di_
O father Bel, the lord that executest judgment on thy enemies!
_ama_: the meaning for AMMU with the value _ama_ is _rimu_, “bull”. AMMU
may mean “lord”, _belu_ (Br. 4543). In the sign AMMU we have the
hieroglyphs for the bull’s head and the mountain combined. In the oldest
Babylonian form, of course, lines are used instead of wedges. In
Assyrian the sign has been reduced to two horizontal wedges placed
before the sign DUGU. AMMU represents “the bull of the mountains”. In
line 9 we shall have the sign GUṬṬU which represents “the bull not of
the mountains”, i. e. “the domestic bull” or “the ox”. The sign is the
same in form as AMMU, except that the little inside wedges representing
the mountains are wanting.
_erim-na_: _erim_ is taken to be the right value rather than _laḥ_,
because of the following _na_ which serves as a phonetic complement, _m_
and _n_ being closely related because of their similar indeterminate
nasal qualities.
_erim_ affords a meaning that seems to suit the context. _erim_ must be
equal to the Assyrian _⋅abu_ which must like the Hebrew _⋅ābā_ have in
it the idea of “service”. Such expressions as the following bring out
the idea of “service”. _erim-bal-ku-a_, “slave employed at the water
wheel” (OBTR. Plate 91, Obv.). _erim-bal-gub-ba,_ “slave who carries a
hatchet” (OBTR. Plate 17, Obv.). A common meaning for _erim_ is
“warrior”, but the warrior as a soldier rather a general. Then from the
idea “soldier of the enemy”, we come to the idea “enemy”, which seems to
be the meaning here.
_na_, while serving phonetically, is also here a pronominal suffix.
_di-di_ can equal _kašadu_ (Br. 9529 and 9563). The judgment implied by
_di-di_, accordingly, may be that executed on an enemy. _di-di_ is more
than pronouncing sentence. It is inflicting the punishment.
_di_ may be a value borrowed from the Assyrian _danu_, “to judge”, but
this is uncertain, as such an occurrence implies Semitic influence which
could not have amounted to much if this hymn was written at a very early
period.
8. _a-a ^dimmer Mu-ul-lil u-ne-la ma-ma_
O father Bel, the power of the land!
_u-ne-la_ equals noun _u-ne_ = _emuḳu_, “power” and phonetic complement
_la_.
_u_: IGI-DIBBU might be confounded with ḤUL. It is rather carelessly
written here. _u_, we have seen in line 1, may mean “lord” in the sense
of being “elderly”. _u_ might mean “mountain”; if so it would be in the
sense of being an “ancient mountain”. _u_ here, however, must be an
abstract prefix (MSL. p. XVII). _u_, for example, is used as such a
prefix with _tu_, _u-tu_ being equal to “offspring” (Br. 9470).
_ne_: PIRIḲḲU in passing from the old Babylonian form which we have in
our text meets with much change. The form in our text comes near to
being that of the oldest known. Even in Ḥammurabi it begins to take the
form of the Assyrian PIRIḲḲU (see CḤ. XLIV. 24. Plate LXXXI). PIRIḲḲU
with the value _gir_ which is EK for the ES _ner_ is the common sign for
“foot” (Br. 9192). With the meaning of “power” it generally has the
value _ne_ (Br. 9184).
_la_: LALU here is essentially the same as the old linear picture which
may readily be found in old Sumerian script, given also by Delitzsch
(see AL. p. 122, No. 31). _la_ means “fulness” like the Assyrian _lalu_,
but its use in our text is entirely phonetic. We should rather expect
_ra_ here. Note that in line 10, we have _ra_ where we should expect
_la_, and in line 12, we have _da-ma-al-la_ where the _la_ is regular,
just as _ra_ is regular in _kur-kur-ra_ of line 3.
_ma-ma_: MAMU in its original form is an old hieroglyph representing the
earth, so that “earth” or “the land” is a common meaning for _ma_ and
equal to the Assyrian _matu_ which probably comes from Sumerian _ma_,
“land”, and _da_, “strong” = DADDU (see line 1 for further comment).
9. _ama na-a gu ne-sig gan-nu ki_
The bull of the pasture, the bull that encompassest the productive
land.
_ama_, which in line 7 was rendered by “lord”, must mean here “bull”, as
the word _na-a_ limits us to this meaning. _na-a_ means “pasture”.
_na-a_ could be taken as an adjective, descriptive of the attitude of
the bull, i. e., that of lying down quietly. We have _na-a_ again in
line 14. _a_ is simply phonetic here (see line 3).
_na_: the sign for the value _na_ has no sign-name. In almost this form,
the sign is easily found in the text of Gudea (see Cylinder B, Col. XVI,
line 19, in Dec. 35). The form in our text is very near to the original
linear form and differs much from the Assyrian. The ordinary meaning of
_na_ is given by the Assyrian _raba⋅u_ “lie down”, kindred to the Hebrew
_rābă⋅_.
_gu_, the value here for GUṬṬU, is commonly rendered in Assyrian by
_alpu_ “ox”. The sign represents the bull’s head with horns.
Historically the sign has three forms, the old Babylonian linear form,
the old Babylonian wedge-form and the Assyrian wedge-form. The old
Babylonian linear and wedge-forms are the same, except that wedges occur
in the latter where simple straight lines appear in the former. The
Assyrian form is composed of two horizontal wedges, one upright wedge
and two little corner wedges (AL. p. 128, No. 164). The difference
between GUṬṬU and AMMU is significant (see note on line 7).
_ne-sig_: _ne-sig-ga_ equals _kamu_, “bind” (Br. 4626). The meaning
“bind” fits here.
_ne_ is not an unusual indeterminate verbal prefix (see MSL. p. XXIX).
_sig_ = PA, probably with the value _sig_, may equal _kamu_ (Br. 5575).
Hence _ne-sig_ is a verb, _ne_ being the prefix and _sig_ the stem.
_gan-nu_: the value _gan_ is indicated by the following _nu_.
_gan_ with complementary _nu_ is represented here by an ancient form of
the sign which is very different from the Assyrian form. The meaning
here must be expressed by _daḥadu_, “plenty”, kindred to _alidu_ (IV R.
9, 24a).
_ki_: the KIKU of our text is New-Babylonian (see the Cyrus Cylinder, I
R. 35, line 4). The early linear form is well represented by the
wedge-form of Ḥammurabi (CḤ. Col. I, line 10, plate I). A picture of the
earth was probably attempted in the archaic linear form. It should be
noted that space is represented conventionally by parallel horizontal
lines included in a rectangle, orientated to the four quarters of the
heavens.
10. _^dimmer Mu-ul-lil nin ḳar-ra ki damal-ra_
O Bel, the bountiful lord of the broad land!
_^dimmer Mu-ul-lil_ (see line 2 for notes).
_nin_ in the sense of _belu_, “lord”, gives a good context.
_ḳar-ra_ equals noun _ḳar_ and postposition _ra_; _ḳar_ = “plenty” (see
MSL. 123). The text however may be _dam-ḳar-ra_.
Note that _ra_ may be taken as a postposition of the genitive as well as
phonetic complement (see on line 3).
_ki_ (see on line 9).
_damal-ra_ equals adjective plus postposition.
_damal_, ES for the EK _dagal_, with the meaning of _rapšu_, “extensive”
(Br. 5452). The sign name is AMU. The sign is composed of two signs one
within the other, PISANNU, “house”, the outer sign, and ANU, “high”, the
inner sign, hence the meaning “large space”, “extensive”.
11. _u-mu-un mu-ud-na du sag-ma-al ki_
The lord of creation, the creator, the true head of the land!
_u-mu-un_ (see line 1 for note).
_mu-ud-na_ may equal “creator” or “begetter”, just as _muḥ-na_ equals
the Assyrian _a-lid_ (IV R. 9, 32a). _mu-ud_ is a phonetic
representation of the word _mud_, whose sign is MUŠEN-DUGU, ḤU plus ḤI
(Br. 2273). The word _mud_ is equal to the Assyrian _banu_ (Br. 2274).
_du_: here we must let the sense govern us in deciding on a form which
may be read either as KAK or NI. KAK with the value _du_ equal to _banu_
(Br. 5248) gives a meaning that fits smoothly with what precedes and
follows. In their original forms KAK, NI and IR are similar yet entirely
distinct signs. In the archaic linear form, KAK is a triangle with one
of the angles pointing to the right. NI is a triangle with one of the
angles pointing to the right and one upright line passing through the
triangle. IR also is a triangle with one of the angles pointing to the
right and two upright lines passing through the triangle.
_sag-ma-al_ equals noun _sag_, plus suffix _ma-al_. It could stand for
_sag-ga_ just as _sag-mal_ can stand for _sag-ga_ (Br. 3595). _sag_
equals “head” (as in line 5). _ma-al_: if _ma-al_ is taken a suffix (as
in line 1), it stands for the sign PISANNU meaning _šakanu_,
“establish”, or _bašu_, “exist”, and is ES for the EK gal.
_ki_ (see line 9).
12. _u-mu-un zal laḥ-na ga nunuz-am da-ma-al-la_
The lord whose shining oil is milk for an extensive progeny!
_u-mu-un_ (see line 1 for note).
_zal_: NI means “oil”. The Babylonian KAK, NI and IR should be
distinguished from the Assyrian. In Assyrian the horizontal wedges are
parallel and do not come to an angle at the right.
_laḥ-na_: _zal laḥ-na_ means “his shining oil”, and the thought appears
to be that Bel causes food to be produced to sustain successive
generations. His oil is milk for many generations. _zal-laḥ_ is somewhat
like the expression “finest oil” found in Assyrian inscriptions.
_laḥ_: the signs ḤISSU and ṢABU find their nearest approach to each
other in the value _laḥ_. Both signs have this value with the meaning
“brightness”.
_na_ here is a suffix of the third person; sometimes it is second person
(see line 1).
_ga_: our sign here is the old Babylonian GU which with its common value
_ga_ means _šizbu_, “milk”. The archaic linear form represents the teat
of the breast. _ga_ occurs often as a phonetic complement (see line 4).
_nunuz-am_ means “is multitudinous”. _nunuz_: NUNUZ in this form is, as
Delitzsch observes (HW. p. 525b), New-Babylonian. In Assyrian it is
composed of ṢAB and ḤI and in New-Babylonian of ṢAB and ŠE. Here it is
equal to the Assyrian _lipu_, German “Nachkomme”.
_am_: A.AN, equalling _am_, is a well recognized verbal suffix used like
the verb “to be”; for instance, _dingir-ra am_ means “is a god” and
_gal-la am_ means “is great” (see SVA. p. 56).
_da-ma-al-la_ is composed of the adjective _da-ma-al_ and the phonetic
complement _la_. _da-ma-al_ is the phonetic representation in ES of the
sign AMU meaning _rapšu_ (see line 10).
13. _u-mu-un silim-ma-a-ni eri ir-ir_
The lord whose decrees bind together the city.
_silim-ma-a-ni_ means “his decree”. Thus, _silim-ma-a_ equals noun, plus
phonetic complement, plus vowel prolongation. _silim_: we have had the
sign SARARU (in line 7), where it was given the value _di_; here,
however, the phonetic complement suggests the choice of the value
_silim_, from which we derive the meaning “decree”, although
“salutation” is a more primary meaning expressed by the Semitic value
_silim_ (from _šulmu_). The sign is apparently New-Babylonian.
_ni_ is one of the common nominal suffixes of the third person. Note
that Bel is addressed in the third person in this line, but we shall
find him addressed in the second person again in line 16.
_eri_ is ES for the EK _uru_. This value is substantiated by the name of
the city of Eridu = _Eri-ṭu_, (see MSL. p. 105). The name of the sign is
_ALU_. Our sign is old Babylonian and is not very different from the
hieroglyphic form which is supposed to represent a city (see AL. p. 121,
No. 21). It differs considerably from the New-Babylonian ALU which is
much like the Assyrian.
_ir-ir_ is an intensive form of the verb and therefore may be causative.
Bel is supposed to have aided kings especially in capturing cities. _ir_
may mean “bind”, expressed by _kamu_, but _kamu_ is not so often
represented by IR as by DIBBU or LALLU. _kamu_ may be represented by PA
(see line 9). Although _ir_ is said to be a Semitic value, it is used in this hymn syllabically and is the only value of the sign preserved (see line 1 and also _du_ in line 11 for further comment). |
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