The 11 Powers of Tiamat

Tiamat_p93

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The story of Tiamat and her eleven monsters derived from the Babylonian creation epic, the Enuma Elish, the epic exists in different versions both Babylonian and Assyrian. The best known version is the library of King Ashurbanipal dating from the 7th century BC. The legend, however, is much older is estimated to come from the 18th century BC, a time where the prominent status of the god Marduk, held the highest rank in the Babylonian pantheon, also occupies a central place in the story. The Enuma Elish was first discovered in 1849 by Henry Layard in Nieven and published by George Smith in 1876. It consists of seven tablets written thousands of lines, of which the fifth is badly damaged but has been completely restored. The central theme of the epic is the elevation of Marduk above all other Babylonian gods and their creation of the world and man’s primeval darkness and chaos, which he penned within the structures of the order. The epic was recited in Babylon during the celebration of the new year, on the second day, a priest of Marduk recited a hymn about God’s victory against Tiamat and its allies. On the third day, the artists made for holding two statues, one holding a snake and the other held a scorpion, both in their left hands, both animals represent monsters defeated Tiamat. On the fourth day, the priest recited the epic boss. On the sixth day, the heads of the statues were cut and burned, representing the fall of Tiamat’s army. The following days were devoted to pray to the gods and eleventh day the gods were returned to their temples and the celebration ended. The epic had a similar status in Assyria, but with one big difference, was replaced by Ashur Marduk, the chief god of the Assyrian deities.

According to legend, in the beginning there was nothing but the primordial waters, fresh waters of Apsu and Tiamat’s salt waters, the two primal gods, and Mummu, fog floating above the water. The primordial couple begat other deities, and the first was Lahmu Lahamu who became parents of Anshar and Kishar (identified with the sky and the earth) and they both had a son Anu, who was the father of Nudimmud the great among the gods (the god Ea). The young gods were loud and annoyed the two primal gods, Apsu and Tiamat. Apsu suggested that they should be murdered, but disagreed Tiamat. However, with the help of Mummu, he continued plotting the destruction of the gods. To prevent the murder, warned Nudimmud Tiamat, who put a spell on Apsu and killed him. From then on Nudimmud became the chief of the gods and his consort Damkina had a son, Marduk, who was more powerful than his father. But the other gods Tiamat convinced that she would seek revenge for the death of her husband. She took another consort, the god Kingu, and gave the command of his new army, the 11 terrible monsters she created to fight in the war. This 11 monsters representing his eleven dark powers who oppose the powers of light. Tiamat, also gave Kingu the Tablets of Destiny, the mystical emblem of supreme authority over the universe.These tables are sometimes identified with the concept of self, the divine decree, the power of the underlying foundation of all civilization: social institutions, religious practices, technology, and all moral and humane behavior. Until then, all these powers were entitled to the Mother Goddess, the supreme queen of the universe and all creation. The young gods Marduk chose as his squadron commander in the war and gave him power over the rooftops. Marduk defeated Tiamat and cut it into two parts, one of them formed the earth to the other, heaven, tears in her eyes created rivers and their breasts were formed mountains of the earth. He took the Tablets of Destiny from Kingu, and forced the gods who sided with Tiamat to work for him and the other gods. Finally, the killed Kingu and blood created man whose task was to replace the gods in their work. Babylon was established as the residence of the gods Marduk was elevated heads and getting fifty names in honor of his great powers.

Tiamat, the primordial goddess of the sea, was depicted as a monster, with a bestial and was imagined as a water snake or a dragon.However, not much is known about their appearance of myth itself. In this regard, it is identified with the sea monsters from other mythologies, like Leviathan or Yamm, Lotan of Hebrew myths or Tannin, the sea demon of Hebrew legends. Etymologically the name corresponds to the Greek word thalassa “sea”, tehom Semitic “abyss”, the Akkadian tamtu ti’amtum and “sea” and loves you and Sumerian meaning “life” and “mother”. There are many theories about the meaning of myth, where the original state of the “mixing of the waters” is interpreted as the meeting between salt and fresh water in the Persian Gulf, the creation of the gods and monsters are thought referring to the elevation of volcanoes and tectonic movements and the battle between Tiamat and Marduk is considered a cosmic catastrophe existing planets which were created. There is no unanimous interpretation, these myths provide space for large theories. Tiamat is the Ummu-HUBUR who formed all, the name “HUBUR” refers to the rivers of the underworld. She also refers to the Hebrew concept of Tehom, the great depths of the primordial waters of creation. Tiamat and Apsu embody the cosmic abyss filled with primordial energies that are the source of creation.

The ancient Mesopotamians believed that the world was a flat circular disc, surrounded by salt water. The land was a continent floating in a second sea, freshwater Apsu, the flowing waters of all the earth, cascas, rivers, lakes, etc. The sky was a solid album that was upon the earth. The sky and the interior of the gods were above the sky. Tiamat is the universal mother who gave life to all creation in her womb, the salt water. This was the original place of residence of the gods even before Marduk created the earth and chose Babylon as his residence, while the gods moved to live in heaven. Marduk did not have the raw power of creation, his power was divine discourse, an attribute of all patriarchal gods of the world religions. In Enumma Elish, he had to prove he possessed this power before being allowed to fight Tiamat. He possessed an outfit that had to destroy and rebuild the power of speech before it was recognized by the gods as their champion. In this sense, the mother of creation Tiamat is sometimes identified with the Sumerian goddess Nammu, the primeval waters lady who gave birth to An and Ki, heaven and earth, was often seen as the constellation of the sky North now known as “whale”. In ancient times its name was the sea monster: Tiamat or Cetus, located in the region of the sky known as water, related to other aquatic constellations like Aquarius, Pisces and Eridanus.

In the Kabbalah, Tehom is the name of the first seven “rooms hell” which correspond to the Qlipoth. The Qlipoth with “shells”, the land of evil, the dark side of the Kabbalistic Tree of Life. They are inhabited by demons and evil spirits responsible for all the evil in the world. The anti-Qlipoth are Sephirots structure of the Tree of Life, and while there are ten Sephirots mean unity and perfection of God, there are eleven Qlipoth disturbing the original balance represented by the number ten. The highest Qlipha, Thaumiel, which is the opposite of Kether, is split in two and is known as the Twin Gods. Each represents an aspect Qlipha corresponding adverse Sephira and is considered his anti-polo. These forces are sometimes identified with the eleven powers of Tiamat and her eleven demons. All Qliphotico tree is dark, feminine and female deities personified by, most of the time is is Lilith, who embodies the forces of chaos that exist outside the structures of creation and beyond the emanations of the Divine Light . In the myth, Marduk defeats Tiamat and its monsters but not destroyed.Instead, make an attempt to tame and suppress these forces including them in a new structure of the universe. Tiamat soldiers turned their trophies, were unarmed and many of them became servants of Marduk, and then watched as their symbolic animals. This happened for example with snake mušuššu. Tiamat became part of the world as living nature and embody the concept of “mother earth.” Kingu’s blood is believed to flow in humans. The primeval chaos archfiends are now part of the cosmic order.

The eleven monsters are mentioned in the Enuma Elish with terms about nature or species, but their names were not. Many of these terms are plural and can refer to a group of entities. The Babylonian epic literature contains analyzes of the creatures from a linguistic perspective and proposes some metaphorical possibilities, as their astrological connection, an area which the Babylonians had great handling. In this paper, we aim to analyze the monsters of Tiamat from an esoteric perspective and exploring their magical powers and can manifest as the modern practitioner. This analysis is esoteric part of a material that was collected during a project undertaken by the magic Magan lodge in the years 2007-2009. The ongoing project but the first two phases have been completed and the results are presented in this paper. The purpose of these two phases was to find information about the nature of these 11 entities, their magical powers and how they can be used in individual practice. This information will be included in the description of each particular entity. They are dark and destructive powers eleven of Tiamat and some of them can be compared with the Qabalistic Tree Qliphoticas forces of Night.

From mythology we learn that they had “sharp teeth and fangs ruthlessly”, their bodies had poison instead of blood, “taught terror”, covered with glory, were seen as gods and were powerful. Those who came were invaded by terror and no one could resist their attacks.Soil is referring to them as “matchless weapons” and are listed in the following order: snakes and dragons, monster Lahamu, hurricanes, rabid dogs, scorpion-men, storms, and men-mink.

Snakes and Dragons

By “vipers” researchers often refer to three types of snakes, which are mentioned in Babylonian sources, they are: Bašmu, Mušuššu andUšumgallu. The “dragon” is most likely Mušmahhu, the serpent-dragon Babylonian myths .

Bašmu The word can refer to two types of mythological serpents, one of them called “the venomous snake” or usum / Bašmu is interpreted sometimes nothing more or less like the mythological serpent man’s natural enemy. The other is known as “The Birth of the Serpent Goddess” or Mus-Sa-tur / Bašmu and was a type of horned serpent. Bašmu often described as a horned serpent and no end. It can also be a cobra with horns. There are also theories that describe it as a horned serpent with wings. His name is sometimes translated as “The Horned Serpent with a uterus” and is related to a constellation which was then known as the snake. After Marduk overcame Tiamat, Bašmu became one of the symbolic animals of God Ningishzida, chthoniana entity that resides in the underworld, and was regarded as a protective entity. Ningishzida sometimes appears in human form, with two horned serpents emerging from his shoulders. The image of the creature can be derived from the horned viper cerastes calls, an animal that lives in the desert, with horns on their eyes.

In magical work, the image of this entity frequently appears as a flying serpent, or golden brown, with small horns and limbs, sometimes with wings, sometimes without wings, but always high in the air planning. Seems to be a mediator between the principles of fire and water and can provide the practitioner with the ability to fly in the air, gives invisibility and teaches how to use the inner eyes to see the world around you. When the practitioner invokes the spirit in your body and in your mind, the astral form changes and there are glimmers of golds, two snakes emerge from their shoulders entwined around his forehead and expanding their consciousness. When used to Bašmublack intern, then collect a few drops of poison fangs and dump them in the third eye of the victim. The results often include accidents with severe blood loss and cuts from sharp objects.

The visions while working with such entities often primal cosmic order of the universe before the appearance of life, immersed in sunlight black, blood falling over all creation, or the opposite: the destruction of the world in a great fire. This may be connected with the spirit of Thagirion Black Sun, the central Qlipha the Kabbalistic Tree of Night, but this is only a possible association.

Another Mušuššu snake is known as the “Snake Furious” and is sometimes depicted as a creature made ​​with parts of snake, lion and bird.It is associated with various gods and various mythological characters, first Tišpak Ninazu and then with Ningishzida. It is also associated with the symbolic animal of Marduk. It is also connected with astrological constellations. His description below, shows the creature as a lion-headed dragon and without claws. Then the lion parts were replaced with parts of snakes. In mythology Mušuššu Ninazu originally served the god, the king of snakes and was a messenger of death, murdered by poison. She used to be known as “a murderer intrepid” and an entity so mortuary. In the astral work in this spirit, it is often seen as a feminine entity vampiric nature, connected with the powers of necromancy and death, that feeds on blood and sexual energy. It usually appears as a black dragon or bat shaped like a winged serpent. She provides the practitioner with the ability to transform his body astral shadows and fly through the astral plane as a ghost, a vampire can suck winged life force of a sleeping person. This concept highlights the nature or incubica sucubica and its connection with the demons vampires living on the dark side of the moon, the sphere of Gamaliel Qliphotica. From this comes the possible connection with this Qlipha. An offering Mušuššu are natural sexual fluids or blood. The invocation is experienced as a bitter-sweet union, the union of the powers of life and death, Eros and Thanatos. The snake comes to bite the practitioner, which becomes erotic, ecstatic, weakening the body and filling the hungry mind the essence of the lives of others. The spirit, can be used in practice vampirism and necromancy, magic works lunar or astral wars. The symbol of spirit must be projected on the eyebrows, that opens the third eye and help astral vision.

The third creature is Ušumgallu, which is often identified as a winged dragon. Sometimes this is confused with Bašmu creature and its attributes are uncertain. The word is a derivative Ušumgallu usum, which literally means “The Principal Poisonous Snake”, his most outstanding quality is that he is a determined to kill, kill mainly with their venom and terrifies even the gods.

In magical work, Ušumgallu often appears in the shape of a golden dragon or winged serpent golden. It provides the practitioner with the ability to use magic fire, both to purify and to destroy. The fire is attached in his hands and the practitioner pass through the astral plane and touching the subtle body of the person chosen to purify the energy of the person, such as a healing purpose, or to be used for destructive purposes, for example to burn the victim’s life force. When invoked, the spirit enters the body and mind, causing the aura shine and astral body assumes the shape of a dragon. The practitioner can use a dragon mask, painted gold to attract the spirit into the temple of the flesh. The spirit sometimes appears as a cobra, dancing and hypnotizing the practitioner with his movements and with glowing red eyes. Bite the third eye and fuses with its core staff, the center of all existence. When working with this organization, sometimes the astrological symbol for Jupiter appears in visions. From this comes the possible association with Qlipha Gha’agsheblah, level connected to these planetary influences. But this is only a possibility.

The group of snakes Tiamat’s monsters also include the snake-dragon Mušmahhu, is often described as a seven-headed snake or a dragon with seven heads and is identified with the constellation Hydra. For this reason, it is another creature Ningishzida associated with the god, is sometimes titled “The Great Serpent-Dragon”, and was represented as a horned, winged, serpent-dragon, and walking on all fours. From a magical perspective, the spirit seems to have the power of astral poison, the poison can be fatal but can also be used as magical protection and immunity. It appears as a horned serpent and holding her blind eye in its jaws, also appears as a snake with one eye. The eye burns and shines in a red and is connected to the third eye and inner vision. Also, seems to be an entity of female nature. When invoked, it enters the mind and provides the practitioner with the ability of astral shape change. For a time, the practitioner can become a serpent, rising to the highest cosmic space, it can also become spider climbing the Tree of Knowledge, and in another moment a butterfly drinking juices tree flowers. The practitioner’s astral form becomes hot and this is the energy of the spirit. The concept of tree or garden is recurrent in the insights gained during work with Mušmahhu, as dark portals or tunnels in the ground, which seem to be portals to the astral worlds where the practitioner can find the snake goddess. Their jaws are the caves of the earth, your teeth are sharp rocks your esophagus are the underground tunnels. Here, the possible correspondence with the Tree of Night may have to do with Lilith Qlipha, the lowest level of Qlipoth, whose function is to door across.

Lahamu

The monster Lahamu (aka Lahmu or Lahami) has the same name as the primeval gods created by Tiamat but appears as a distinct entity.Its name means “the creepy” and is sometimes identified with the Babylonian hero or protector deity associated with the god Enki or Marduk. The word is used to denote Lahama at fifty Enki serving spirits and then referred to them as guardian statues that were in the portals of the great temples. In Lahamu astral work often takes the form of a demon with fiery red hair and appears on battlefields and in places where blood is spilled. Sometimes he has lightning and snakes instead of arms or hands. His energy is very hot, extremely violent and destructive. He provides the practitioner with knowledge of the war and the use of magical lightning and fire. Lahamu also appears to have vampiric qualities. When invoked, he comes into consciousness with intense energy and this is experienced as being devoured private and personal life force, the nerves are filled with electricity and energetic spirit. This is often experienced as an ecstatic experience and erotic. For its most violent and destructive, it can be associated with Qlipha Golachab, the dark and fiery counterpart of Geburah, represented by spirits of violent anger. Because of their association and sexual male, it may also be associated with Ghagiel, ruled by the dark god of the apocalypse Qlipoth who brings destruction to the world and the universe.

Hurricanes

The spirit known as “hurricane” is Ugallu, also known as “The Demon of the Great Storm”. It is often described as a lion-headed demon and is associated with gods of the underworld as Nergal. Here is the punisher of offenders and bringing disease. Sometimes it is represented with a mace and a dagger and is seen as a protective entity. The spirit’s name is translated as “The Great Beast Climate” and is an adversary of the sun god or is associated with the storm god Adad. The violent weather events. The thunderstorm imagined as the “howls of heaven” were personified by lions and monstrous. Ugallu probably be one of those mythological creatures. From a magical perspective, the spirit seems to have powers connected with air, electricity and water. It also has a feminine nature and appears both as an abstract vortex energy or as an anthropomorphic female form, airy and translucent, accompanied by the essence of the shadows and dark clouds.She has the power to unleash violent storms with winds worldwide. When invoked, the spirit charge the participant with a lot of electricity, which can be used for magical purposes. When the focus, it is possible to exploit this energy in the astral as a powerful beam that can be used in magical combat. If you train, this practice can be a powerful magic weapon. It is simpler and more natural contact with this spirit through dreams. In the Tree of Night, this demon can be associated with A’arab Zaraq, the sphere of astral storms and lightning, connected with water and dark of Venus.

Rabid Dogs

“Rabid Dogs” is a term of the awards Uridimmu a creature known as also known as “Mad Dog” or as a human-headed lion. In the literature of Babylonian mythology it is unclear if a lion or a wolf, but is associated with the constellation of the Wolf / Lupus in the southern sky. He is described as a creature with a human head and torso of a lion. From a magical perspective, the spirit seems to rule the deserts devouring any light black. It occurs with a vague black form has distinctive canine features, sometimes consists of black clouds, sometimes as a means of crystallization in the cosmic void. Ripping the world and provides the practitioner with the ability to see beyond mundane reality. When invoked, ripping the practitioner’s body and frees the spirit, which is experienced as painful and enlightening. There is no specific for this entity Qlipha appropriate to the nature of this spirit, but it could be placed in the last and most abstract field, the Qlipha Thaumiel, where the consciousness of the practitioner is completely transformed.

Scorpion Man

Scorpion Man is the title given to the creature mentioned in the Enuma Elish as Girtablullû or Akrabamêlu. Akkadian In art he is depicted with a human head, bird legs, snake-headed penis, body and tail of a scorpion. Sometimes he has wings. Art In subsequent periods, these winged creatures appeared the sun god. The legend of Gilgamesh mentions a man and a woman scorpion scorpion, these were the guardians of the mountains, where the sun rose and fell. In the astral work, this entity appears both as a large black scorpion or a half man half scorpion body. The spirit seems to represent the concept of “poison” astral poisoning and transformation of consciousness through ecstasy of pain. It also relates to the change in astral form, especially predatory creatures which can inject poisonous venom in the aura of his victims. Girtablullû also appears as guardian of knowledge and forgotten civilizations, usually connected with deserts and places buried deep in desert sands, the other side of reality. For its poisonous power it can associate with Qlipha Samael, which contains spiritual poison chalice and is known as “The Poison of God”.

Powerful Storms

Another entity associated with weather events is Umu dabrūtu, the Mighty Tempest or “Fierce Demon of Storms”. His appearance is not specific, is believed to have factions lion and in accordance with another embodiment as a violent climate. In magical work, often appears as a vortex of chaos with a burning eye in the middle. The eye is so hot as yellow and resembles the eye of an animal or a beast.Sometimes this condition takes the form of a black tornado, a violent and destructive energy vortex. It is experienced by the practitioner as a great source of anger and aggression, a strong wave of emotions that can be directed and focused magical purposes. It is a malevolent experience but with joy and vigor. When used in a magical war, introduces a great chaos and havoc to the life of the person.The energy of this demon is very hot, sometimes appears as a living fire and when invoked, can transform the astral body of the practitioner in a fire elemental. The only concrete way that takes this spirit is that of an old man with tousled hair and smoldering eyes, surrounded by dark clouds. When it is associated with a level of the Tree of Night, the best connection with this demon is violent and fiery sphere Golachab.

Male Fish

The Fish Man is a creature known as Kulullû or Kulilu, this creature appears frequently in Babylonian art, usually in pairs, as man and woman, half human, half fish. This is a creature that has a great connection with the primordial waters, rivers of blood and bloody abyss and cults. Kulullû powers seems to have connected with the principles of death and decay, with the purification of consciousness through putrefaction. When invoked, it devours the practitioner in an erotic union, feels like diving into filth and rotten blood, feels suffocating or feel like drowning in sewage full of rotting bodies. In a magical war, she teaches the practitioner how to send energy with water as predatory, devouring the life force of the victim and leaves the body as an empty shell. Kulullû it can associate the Qlipha Satariel, ruled the level by demonesa Qlipoth prostitute of the Saturnian sphere of death and spiritual decline.

Male Mink

In Kusarikku magical work appears in deserts, like a giant, half man and half bull, he has the head and torso of a bull. The desert is the boss and the master of those who die there. Sometimes shown seated on a throne, in a large temple made of sand. In a magical war, he teaches the practitioner how to use the energies hot and dry to deprive a person of life energy and make the body crumble to dust. When invoked, it is experienced as a strong overwhelming power, abstract and atavistic. This literally deprives the practitioner the ability to speak, write or express thoughts orally at specific times, eg for a few hours or a few days. In the Tree of Night would be associated with Thaumiel Qlipha with the Devil Uridimmu Leon, who is an eternal fight, as the two governing Thaumiel demons – Satan and Moloch.

As can be seen, Tiamat’s creatures are opposing the cosmic order, after the defeat of Tiamat by Marduk, they were transformed into benevolent and protective entities whose names are invoked in prayers against other demons. But they can be summoned in its atavistic and primordial, which awaken the dark side of human nature. Like the other principles of darkness and chaos, as the forces Qliphoticas Tree of Night, they still exist outside edges of mundane reality and can access them with an open mind.

Maqlu Tablet 4 Transliteration/Translation

Maqlu Fragment tab7pic

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Maqlu Tablet IV

Incantation. Cook, cook, burn, burn!
ÉN biš-li biš-li qi-di-e qi-di-e
Meanness and evil, do not come in: go away!
rag-gu u si-e-nu e te-ru-ub at-lak
Who are you, whose son? Who are you, whose daughter?
at-ta man-nu mâr man-ni at-ti man-nu mârat man-ni
You who sit here and command your sorcery, your plots,
šá áš-ba-tu-nu-ma ip-še-ku-nu up-šá-še-ku-nu
5. That you have done against me!
5. te-te-ni-ip-pu-šá-ni ia-a-ši
May Ea the magician undo,
lip-šur dé-a mašmašu
And nullify your sorceries!
lis-bal-kit kiš-pi-ku-nu
Asarluhi, the magician of the gods, son of Ea the wise!
dasari-lú-du10 mašmaš ilimeš mâr dé-a apqallu
I bind you, I tie you up, I give you over,
a-kas-si-ku-nu-ši a-kam-mi-ku-nu-ši a-nam-din-ku-nu-ši
10. To Girra, who burns, incinerates, binds,
10. a-na dgira qa-mi-e qa-li-i ka-si-i
Overpowers and seizes the sorceress!
ka-ši-du šá fkaššapâtimeš
May incinerating Girra strengthen my arms!
dgira qa-mu-ú li-tal-lal i-da-ai
The magic, revolt, malediction, love, hate,
ip-šú bar-tu a-mat limuttim râmu zêru
Injustice, murder, paralysis of the mouth,
dipalâa zitarrutâa kadibbidâ KUŠ.HUNGA
15. Tearing of the insides, glowing of the face and insanity,
15. šabalbalâa su-ud pa-ni u šá-ni-e tè-e-mu
You have done, you have made others do, you have done, may Girra undo!
te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You marked me for a corpse, you have done, may Girra undo!
a-na lúpagri ta-hi-ra-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to the skulls, you have done, may Girra undo!
a-na gul-gul-la-ti tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to a ghost of my family, you have done, may Girra undo!
a-na etim kim-ti-ia tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
20. You turned me over to the ghost of a stranger, you have done, may Girra undo!
20. a-na etim a-hi-i tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to a wandering ghost who has no caretaker, you have done, may Girra undo!
a-na etimmi mur-tappi-du šá pa-qí-da la i-šu-u te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to a ghost inhabiting ruins, you have done, may Girra undo!
a-na etim har-bi na-du-ti tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to the steppes, the open country, the desert, you have done, may Girra undo!
a-na sêri ki-di u na-me-e tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to the inner wall and the outer wall, you have done, may Girra undo!
a-na dûri ù sa-me-ti tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
25. You turned me over to the mistress of the steppe and high ground, you have done, may Girra undo!
25. a-na dbe-lit sêri u ba-ma-a-ti tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You turned me over to the bread oven, the stove, the pail of coals and the bellows, you have done, may Girra undo!
a-na utûn la-ab-ti tinûri kinûni KI.UT.BA ù nap-pa-ha-ti tap-qí-da-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have given images of me to a corpse, you have done, may Girra undo!
salmânimeš-ia a-na lúpagri tap-qí-da te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have given images of me for a corpse, you have done, may Girra undo!
salmânimeš-ia a-na lúpagri ta-hi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have laid down images of me next to a corpse, you have done, may Girra undo!
salmânimeš-ia it-ti lúpagri tuš-ni-il-la te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
30. You have put down images of me in a corpse’s lap, you have done, may Girra undo!
30. salmânimeš-ia ina sûn lúpagri tuš-ni-il-la te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have buried images of me in the grave of a corpse, you have done, may Girra undo!
salmânimeš-ia ina qimah lúpagri taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have turned images of me over to skulls, you have done, may Girra undo!
salmânimeš-ia a-na gul-gul-la-ti tap-qí-da te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have locked images of me in the wall, you have done, may Girra undo!
salmânimeš-ia ina igâri tap-ha-a te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have put down images of me on the threshold, you have done, may Girra undo!
salmânimeš-ia ina asquppati tuš-ni-il-la te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
35. You have locked images of me in the entrance to the wall, you have done, may Girra undo!
35. salmânimeš-ia ina bi-‘ šá dûri tap-ha-a te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have buried images of me on the bridge so that people stepped over them, you have done, may Girra undo!
salmânimeš-ia ina ti-tur-ri taq-bi-ra-ma um-ma-nu ú-kab-bí-su te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have dug a hole in the basin of the wash-house and buried images of me there, you have done, may Girra undo!
salmânimeš-ia ina bu-ri iqi šá lúašlaki bûra tap-ta-a taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have dug a hole in a gardener’s ditch and buried images of me there, you have done, may Girra undo!
salmânimeš-ia ina iqi šá lúlâkuribbi bûra tap-ta-a taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
Images of me out of tamarisk, out of cedar, out of tallow,
salmânimeš-ia lu-u šá isbîni lu-u šá iserini lu-u šá lipî
40. Out of wax, out of sesame,
40. lu-u šá iškûri lu-u šá kuspi
Out of asphalt, out of clay, out of dough;
lu-u šá itti lu-u šá titi lu-u šá liši
Images, likenesses of my face and my figure you have modelled,
salmânimeš sir-ri-ia pa-ni-ia u la-ni-ia te-pu-šâ-ma
And given them to a dog, to a pig, to eat,
kalba tu-šá-ki-la šahâ tu-šá-ki-la
To the birds of the sky; have thrown them in the river;
issuru tu-šá-ki-la ana nâri taddâa
45. Images of me to Lamaštu, Anu’s daughter,
45. salmânimeš-ia a-na la-maš-ti mârat da-nim
You have given, you have done, you have made others do, may Girra undo!
tap-qí-da te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
Images of me you have given to Girra, you have done, may Girra undo!
salmânimeš-ia a-na dgira tap-qí-da te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have put down my water next to a corpse, you have done, may Girra undo!
mêmeš-ia it-ti lúpagri tuš-ni-il-la te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have put my water in a corpse’s lap, you have done, may Girra undo!
mêmeš-ia ina sûn lúpagri tuš-ni-il-la te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
50. You have buried my water in a corpse’s grave, you have done, may Girra undo!
50. mêmeš-ia ina qimah l;úpagri taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have buried my water in a corpse’s … you have done, may Girra undo!
ina ….. -tim mêmeš-ia taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have buried my water in a corpse’s … you have done, may Girra undo!
ina ….. -tim mêmeš-ia taq-bi-ra te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have scooped out my water in … you have done, may Girra undo!
ina ….. -me mêmeš-ia tah-ba-a te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have given my water to Gilgameš, you have done, may Girra undo!
mêmeš-ia ana dgilgameš ta-ad-di-na te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
55. You have picked me for … of the ditch, you have done, may Girra undo!
55. ana …. -li-e ta-hi-ra-in-ni te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat before Sin, you have done, may Girra undo!
zikurudâa a-na pa-ni dsin te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat before Šulpaea, you have done, may Girra undo!
zikurudâa a-na pa-ni dšul-

pa-è-a te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat before the constellations Cygnus and Lacerta, you have done, may Girra undo!
zikurudâa a-na pa-ni MULU4-KA-DU8-A
You have cut the throat…… you have done, may Girra undo!
58a. zikurudâa…………………………… te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat…… you have done, may Girra undo!
58b. zikurudâa…………………………… te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat…… you have done, may Girra undo!
58c. zikurudâa…………………………… te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat…… you have done, may Girra undo!
58d. zikurudâa…………………………… te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur
You have cut the throat…… you have done, may Girra undo!
58e. zikurudâa…………………………… te-pu-šá-ni tu-še-pi-šá-ni dgira lip-šur

(break of about 6 lines)

… …
59. ………….. GAB TIN taš-……..
60. … …
60. …………….meš u uhuli tu-ram-me-ki-in-ni
… …
………………… tap-qi-da……………
… …
……………. -a-ti tu-še-bi-la………..
… …
……………. bîtu tu-šá-áš-qi ai……….
In front of … … and the gate of the house,
ina pân………………….. -zi u bâb bîti ma-………..
65. In front of comrades, companions, and servants of the same,
65. ina pân ib-ri tap-pi u ki-na-at-ti KI.MINA
In front of the father and mother, brother and sister, son and daughter of the same,
ina pân abi u ummi ahi u ahati mâri u mârti KI.MINA
In front of the house and the gate, slave and maid, small and large, of the same,
ina pân bîti u bâbi ardi u amti sih-ri u ra-bi šá bîti KI.MINA
You made me … to whomever looks at me.
elî a-me-ri-ia tu-šam-ri-si-in-ni….
I have bound you, I have tied you up, I have surrendered you,
ak-ta-mi-ku-nu-ši ak-ta-si-ku-nu-ši at-ta-din-ku-nu-ši
70. To Girra who burns, incinerates, binds,
70. ana dgira qa-mi-i qa-li-i ka-si-i
And seizes the sorceresses.
ka-ši-du šá fkaššapâtimeš
May the burning Girra untie your knots,
dgira qa-mu-ú li-pat-tir rik-si-ku-nu
Undo your enchantments, remove your ropes,
li-pa-áš-šir kiš-pi-ku-nu li-na-as si-ir-qi-ku-nu
Upon the order of Marduk, son of Ea the wise,
ina qí-bit dmarduk mâr dé-a apqalli
75. And of Girra the praising, the wise, the son of Anu, the hero! Incantation formula.
75. u dgira a-ri-ru ap-qal mâr da-nim qar-du TU6.ÉN

Incantation. Who are you, sorceress, who committed murder?
ÉN at-ti man-nu fkaššaptu šá zitarrutâa êpušaša
Whether comrade or companion,
lu-u ib-ru lu-u tap-pu-u
Whether brother or friend,
lu-u ahu lu-u it-ba-ru
Whether stranger or fellow-citizen,
lu-u ú-ba-ra lu-u mâr âli
80. Whether known or unknown,
80. lu-u mu-du-u lu-u la mûdû
Whether sorcerer or sorceress,
lu-u lúkaššapu lu-u fkaššaptu
Whether man or woman, whether murderer or murderess,
lu-u zikaru lu-u sinništu lu-ú hab-lu lu-ú ha-bil-ti
Whether kurgarru-priest or sahhiru,
lu-u lúkur-gar-ru-u lu-u sah-hi-ru
Whether one … or a naršindu or a snake-charmer,
lu-u … lu-u nar-šin-du-u lu-u muš-lahhêe
85. Whether an agugilu or a foreigner who happens to be in the country,
85. lu-u a-gu-gi-lu-u lišanu nukur-tum šá ina mâti ibašši
… the weapon … to the land,
…….-tu giškak-ku-šu li-še-bir-ma
… … do not come close! Incantation formula.
………………. -mid-su-nu-te TU6.ÉN

Incantation. My murderess, my sorceress, my enchantress,
ÉN nir-ti-ià fkaššapti-ia5 u ku-šá-pa-ti-ia5
(10 lines missing)
(10 lines missing)
… …
is ……………….
90. … …
90. ma-……………
… …
a-……..-si-šú-nu-ti……
I grab you, … …

a-ta-am-ma-ak-šú-nu-ti ki-……….
I put you in the fire which burns,
a-šak-kan-šú-nu-ti ana pi-i dgira qa-mi-i
Burns, binds, seizes,
qa-li-i ka-si-i ka-ši-du
95. The sorceresses! Incantation formula.
95. šá fkaššapatimeš TU6.ÉN

Incantation. Who is the father of the sun, who his mother,
ÉN šá dšamšiši man-nu abu-šú man-nu ummu-šu
Who his sister and brother his judge,
man-nu a-hat-su-ma šu-ú da-a-a-nu
Of Marduk, Sin … …
šá dmarduk dsin d……………….
The perfect god … …
ilu git-ma-lu…………………
100. Šamaš … …
100. dšamaš ……………………….
And she, the goddess his judge,
ù ši-i diš-tar a-hat-su-ma šu-u da-a-a-nu
I destroy the sorcery,
kiš-pi ú-hal-laq…………..
Witchcraft, revolt, malediction,
ep-šu bar-tum âmat lemut-tim
Upon the order of … Incantation formula.
ú-pa-šar ………………………….TU6.ÉN

105. Incantation. It hexes, and it hexes all the time.
105. ÉN i-pu-šá-ni i-te-ni-ip-pu-šá-ni
The Cuthites, the Elamites,
gu-ti-e-ti e-la-ma-a-ti
The daughters of the Hanigalbatians.
ma-rat ha-ni-gal-bat-a-ti
Six on the land tie knots.
6 ina mâti i-rak-ka-sa-a-ni rik-si
Six are their knots; seven are my loosenings.
6 riksi-ši-na 7 pit-ru-ú-a
110. What they tie by night,
110. šá mûša ip-pu-sa-nim-ma
I untie by day.
šá kal u4-mu a-pa-áš-šar-ši-na-ti
What they tie by day,
šá kal u4-mu ip-pu-šá-nim-ma
I untie by night.
šá mûša a-pa-áš-šar-ši-na-ti
I put them in the fire which burns,
a-šak-kan-ši-na-a-ti ana pi-i dgira qa-mi-i
115. Incinerates, binds and seizes,
115. qa-li-i ka-si-i ka-ši-du
The sorceresses! Incantation formula.
šá fkaššapatimeš TU6.ÉN

Incantation. My danger is a witch, I am released.
ÉN ru-‘ú-a kaš-šá-pat ana-ku pa-ši-ra-ak
The witch is a witch, I am released.
fkaššaptu kas-šá-pat ana-ku pa-ši-ra-ak
The witch is an Elamite, I am released.
fkaššaptu e-la-ma-a-ti ana-ku pa-ši-ra-ak
120. The witch is a Cuthite, I am released.
120. fkaššaptu qu-ta-a-ti ana-ku pa-ši-ra-ak
The witch is a Sutian, I am released.
fkaššaptu su-ta-a-ti ana-ku pa-ši-ra-ak
The witch is a Lullubian, I am released.
fkaššaptu lul-lu-ba-a-ti ana-ku pa-ši-ra-ak
The witch is a Hanigalbatian, I am released.
fkaššaptu ha-bi-gal-ba-at ana-ku pa-ši-ra-ak
The witch is an agugiltu, I am released.
fkaššaptu a-gu-gi-lat ana-ku pa-ši-ra-ak
125. The witch is a naršindatu, I am released.
125. fkaššaptu nar-šin-da-at ana-ku pa-ši-ra-ak
The witch is snake-charmer, I am released.
fkaššaptu mušlahhat ana-ku pa-ši-ra-ak
The witch is a magic priestess, I am released.
fkaššaptu eš-še-ba-a-ti ana-ku pa-ši-ra-ak
The witch is a metal-worker, I am released.
fkaššaptu qur-qur-ra-a-ti ana-ku pa-ši-ra-ak
The witch is a bump on my gate, I am released.
fkaššaptu ši-i râbis bâbi-ia ana-ku pa-ši-ra-ak
130. The witch is a fellow-citizen of mine, I am released!
130. fkaššaptu mârat âli-ia ana-ku pa-ši-ra-ak
I have gathered her images, and I have sent them to the west.
áš-pur a-na e-rib dšamši salmânimeš-si-na il-qu-tu-ú-ni
The figures of the seven and seven witches,
šá 7 u 7 fkaššapâtimeš salmânimeš-ši-na
I have given over to Girra.
ana dgira ap-qid
In a portable oven I have burned them.
ana ú-tu-ni a-lik-ti a-šar-rap-ši-na-ti
135. Gibil, burn my warlock and my witch!
135. dgibil qu-mi lúkaššapi u fkaššapti
Gibil, incinerate my warlock and my witch!
dgibil qu-li lúkaššapi u fkaššapti
Gibil, burn them utterly!
dgibil qu-mi-ši-na-a-ti
Gibil, incinerate them utterly!
dgibil qu-li-ši-na-a-ti
Gibil, seize them!
dgibil kušus-si-na-a-ti
140. Gibil, devour them!
140. dgibil a-ru-uh-ši-na-a-ti
Gibil, take them away!
dgibil šu-ta-bil-si-na-a-ti
May the raging Gibil calm down!
ez-zu dgibil li-ni-ih-ka-na-ši
Gibil, … …
dgibil lu-li-mu li-…-ki-na-ši
The sorcerer and the sorceress, the enchanter and the enchantress,
lúkaššapu u fkaššaptu e-piš u e-piš-tum
145. May they truly … …
145. šu-nu lu-u …………… -kam-ma
But I, I let the water of the flood,
ana-ku mêmeš mîli-ma
come upon them! Incantation formula.
lu-u-ba-‘-ši-na-a-ti TU6.ÉN

Incantation. My enchanter and my enchantress.
ÉN e-piš-tum ù muš-te-piš-tum

Tablet IV of Maqlu.
tuppu IVkam ma-aq-lu-ú

Maqlu Tablet 3 Transliteration/Translation

Maqlu Fragment tab7pic

Greetings! I would like to welcome everyone to the Covenant of Babylon blog page. If this is your first time here, please feel free to review some of our previous articles and share your insights and comments. Stay Blessed. This is the 3nd Tablet of a 9 part series.

Maqlu Tablet III

Incantation. The witch, who goes on the roads,
ÉN fkaššaptu mut-tal-lik-tú šá sûqâtimeš
Who invades the houses,
mu-tir-rib-tum šá bîtâtimeš
Who walks in the alleys,
da-ai-li-tum šá bi-ri-e-ti
Who hunts over the square;
sa-ai-di-tum šá ri-ba-a-ti
5. She turns around, front and back,
5. a-na pani-šá ù arki-šá is-sa-na-ah-hur
She stays standing in the street, and turns her feet,
izzazaz ina sûqi-ma ú-sah-har šêpêII
In the square she blocks the way.
i-na ri-bi-ti ip-ta-ra-as a-lak-tú
She took away the strength of the beautiful man,
šá etli damqi du-us-su i-kim
She took away the fruit of the beautiful girl,
šá ardatu damiqtumtum i-ni-ib-šá it-bal
10. With one look she took away her attractiveness,
10. i-na ni-kil-mi-šá ku-zu-ub-šá il-qi
She saw the man and took away his strength,
etla ip-pa-lis-ma dûta-šu i-kim
She saw the girl and took away her step.
ardata ip-pa-lis-ma i-ni-ib-šá it-bal
The witch saw me, she followed me,
i-mu-ra-an-ni-ma fkaššaptu il-li-ka arki-ia
With her venom she blocked my way,
i-na im-ti-šá ip-ta-ra-as a-lak-tú
15. With her magic she hindered my gait.
15. i-na ru-hi-šá iš-di-hi ip-ru-us
She pushed my body away from my god and my goddess.
ú-šá-as-si ili-ia5 u dištar-ia5 ina zumri-ia5
For the witch I plucked clay from the potter’s wheel,
šá fkaššapti ina kul-la-ti aq-ta-ri-is tîta-šá
I made a figurine of my sorceress.
šá e-piš-ti-ia ab-ta-ni salam-šá
In your body I lay some tallow, the destroyer.
áš-kun i-na lìb-bi-ki lipû ha-bil-ki
20. In your kidney I put some eru-wood, that burns you,
20. ú-sa-an-niš ina kalatimeš-ki e-ra qa-ma-ki
Eru-wood, that burns you, to inhibit your venom!
e-ra qa-ma-ki a-mat-ki lip-ru-us
Above the city, I light up a fire;
e-li âli at-ta-pah i-šá-ti
Underneath the city I throw a potion.
ina šaplan âli at-ta-di lik-ti
Where you go in I light up a fire.
a-na bît ter-ru-ba at-ta-di i-šá-ti
25. When you arise, may Gibil devour you!
25. te-pu-šim-ma dgibil li-kul-ki
When you settle, may Gibil seize you!
tu-še-pi-šim-ma dgibil lik-šu-ud-ki
When you carry, may Gibil kill you!
tak-pu-di-ma dgibil li-duk-ki
When you draw, may Gibil burn you!
tu-šak-pi-di-ma dgibil lik-me-ki
To the land of no return may Gibil, your tormentor, let you go!
har-ra-an la ta-ri li-šá-as-bit-ki dgibil ha-bil-ki
30. May the furious Gibil burn your body! Incantation formula.
30. dgibil ez-zu zumur-ki li-ih-mut TU6.ÉN

Incantation. Two are the daughters of the sky-god Anu,
ÉN 2-ta ši-na mârâtimeš da-nim šá šamêe
Three are the daughters of the sky-god Anu!
3 ši-na mârâtimeš da-nim šá šamêe
They find a rope-ladder and descend from the sky!
tur-ri ul-ta-nim-ma ul-tu šamêe ur-ra-da-ni
When do you rise? Where do you go?
e-ka-a-ma te-ba-ti-na e-ki-a-am tal-la-ka
35. The sorcerer and the sorceress of N., son of N.?
35. a-na e-pi-ši u e-piš-ti šá annanna apil annanna
We went to cast a spell,
ana sahari ni-il-li-ka
We went to gather their branches of fruit,
a-na lu-uq-qu-ti šá hu-sa-bi-ši-na
We went to pick up their refuse,
a-na hu-um-mu-mi šá hu-ma-ma-ti-ši-na
We went in the evening to set fire to the huluppu-vessel!
šá li-la-a-ti hu-lu-pa-qa a-na ša-ra-pi ni-il-li-ka
40. Incantation. Sorceress, murderess,
40. ÉN fkaššaptu nir-ta-ni-tum
Nightmare, naršindatu,
e-li-ni-tum nar-šin-da-tum
Ašiputu, magic priestess,
a-ši-ip-tum eš-še-pu-ti
Snake-charmers, agugiltu,
mušlahhatumtum a-gu-gi-il-tum
Prostitute, hierodule,
fqadištu fnaditu
45. Ištar devotee, zermašitu,
45. dištar-i-tum zêr-ma-ši-tum
Who catches in the night,
ba-ai-r-tum šá mu-ši
Who hunts the whole day,
mu-la-‘-i-tum šá šamêe

Dirties the sky,
sa-ayyu-di-tum šá kal u-mi
Touches the earth,
mu-lap-pit-tum šá irsitimtim
50. Gags the mouths of the gods,
50. ka-mi-tum šá pî ilimeš
Who binds the knees of the goddesses together,
ka-si-tum šá bir-ki dištarâtimeš
Who kills the men,
da-ai-ik-tum šá etlêmeš
Who doesn’t spare the women.
la pa-di-tum šá dsinnišâtimeš
Destructor, evil woman,
šá-ah-hu-ti-tum sab-bu-ri-tu
55. Against your sorcery and witchcraft nobody can fight!
55. šá ana ip-ši-šá u ru-hi-šá la u-šar-ru man-ma
Now they saw you, now they grabbed you,
e-nin-na-ma e-tam-ru-ki is-sab-tu-ki
They changed you, they brought you imbalance,
uš-te-nu-ki uš-ta-bal-ki-tu-ki
They mixed up your magic word,
uš-ta-pi-lu a-mat ip-ši-ki
Ea and Marduk have surrendered you to Girra the hero!
dé-a u dmarduk id-di-nu-ki ana dgira qu-ra-di
60. Girra the hero! May he break your knot,
60. dgira qu-ra-du ri-kis-ki li-ih-pi
And all of your sorcery, may it fall back on you!
ù mimma ma-la te-pu-ši li-šam-hir-ki ka-a-ši

Incantation. I am the light, shining pure river.
ÉN dit el-lu nam-ru qud-du-šu ana-ku
My sorcerer is the wise one of the Apsu.
e-pi-šu-u-a apqallu šá apsî
My sorceresses are the daughters of the sky-god Anu.
e-pi-še-tu-ú-a mârâtimeš da-nim šá šamêe
65. They have cursed me, they have continuously and constantly cursed,
65. e-pu-šu-u-ni e-te-ni-ip-pu-šu-u-ni
They have cursed, they have spared my body nothing;
e-pu-šu-nim-ma ul ip-du-u zu-um-ri
They have continuously cursed, but they could not seize me!
e-te-ni-pu-šu-nim-ma ul i-li-‘-ú sa-ba-ti-ia
I have magic, and I grabbed their mouth.
a-na-ku e-pu-uš-ma ….. pi-šu-nu as-bat
I became shining like the river in my country.
e-te-bi-ib kima dit ina šadi-ia
70. I became pure like the shining one for my court appearance.
70. e-te-lil ki-ma nam-ru ana bît purussî-ia
My warlock and my witch,
šá lúkaššapi-ia5 u fkaššapti-ia5
The river … may they … do them!
dit……….. -ru na-bal-kat-ta-šú-nu lis-ku-nu-ma
May their tricks fall back on them,
kiš-pu-šu-nu elî-šu-nu li-bal-ki-tu-ma
And fall on their head and image!
a-na muh-hi-šu-nu u la-ni-šu-nu lil-li-ku
75. May their face become black as with ashes!
75. ki-ma di-iq-me-en-ni li-is-li-mu pa-ni-šú-nu
May they drip, melt, and dissolve,
li-hu-lu li-zu-bu u lit-ta-at-tu-ku
But I, like the river in my country, be pure! Incantation.
u ana-ku ki-ma dit ina šadî-ia lû ellêkuku ÉN

Incantation. There surrounds me the Sutite, the Elamite chases me!
ÉN la-man-ni su-tu-ú e-la-mu-ú ri-da-an-ni
I am surrounded by flood, furious storm flood!
kat-man-ni a-gu-ú e-du-ú sah-panan-ni
80. The witch is a Sutite whose attack is strong!
80. fkaššaptu su-ta-ta da-a-nu i-bit-su
The nightmare is an Elamite whose hit means death!
e-le-ni-tu e-la-ma-ta li-pit-sa mu-ú-tu
Gibil, companion of Šamaš, come closer!
dgibil tap-pi-e dšamaš i-ziz-za-am-ma
Like the mountain comes to rest through sulphur,
ki-ma šadi ina kibri-dit i-nu-uh-hu
So may the sorceresses and witches, the magic of my witches,
kiš-pi ru-hi-e ru-si-e šá fkaššapti-ia5
85. Of my nightmares, Gibil burn!
85. e-li-ni-ti-ia dgibil liq-mi
May the pure river break her heart!
dit ellu lib-ba-šá li-ih-pi
May the pure water dissolve her spell,
mêmeš ellûtimeš lip-šu-ra kiš-pi-šá
But I pure like the river in my country! Incantation.
u ana-ku ki-ma dit ina šadî-ia lu ellêkuku ÉN

Incantation. Who are you, witch,
ÉN at-ti nam-nu fkaššaptu šá bašûu
90. In whose heart lies the evil word against me,
90. a-mat limuttimtim-ia5 ina lib-bi-šá
On whose tongue the magic against me forms,
ina lišâni-šá ib-ba-nu-ú ru-hu-ú-a
On whose lip the spell against me starts?
ina šap-ti-šá ib-ba-nu-ú ru-su-ú-a
In the step you take stands death.
i-na ki-bi-is tak-bu-us izzazaz mu-ú-tum
Witch, I seize your mouth, I seize your tongue,
fkaššaptu as-bat pi-ki as-bat lišân-ki
95. I seize your seeing eyes,
95. as-bat ênêII-ki na-ti-la-a-ti
I seize your going feet,

as-bat šêpêII-ki al-la-ka-a-ti
I seize your walking knees,
as-bat bir-ki-ki e-bi-ri-e-ti
I seize your leading arms,
as-bat idêII-ki mut-tab-bi-la-a-ti
I tied your arms on your back!
ak-ta-si i-di-ki a-na ar-ki-ki
100. May Sin, the twin-shaped, destroy your body,
100. dsin el-lam-mi-e li-qat-ta-a pagar-ki
Throw you in a ditch of water and fire!
a-na mi-qit mêmeš u išâti lid-di-ki-ma
Witch, like the seal-cylinder warmer,
fkaššaptu ki-ma si-hir kunukki an-ni-e
May your face become burning and yellow!
li-su-du li-ri-qu pa-nu-ú-ki

Incantation. You there, who have bewitched me!
ÉN at-ti e šá te-pu-ši-in-ni
105. You there, who have charmed me!
105. at-ti e šá tu-še-pi-ši-in-ni
You there, who have cursed me!
at-ti e šá tu-kaš-ši-pi-in-ni
You there, who have oppressed me!
at-ti e šá tu-hap-pi-pi-in-ni
You there, who have seized me!
at-ti e šá tu-sab-bi-ti-in-ni
You there, who have squeezed me!
at-ti e šá tu-kan-ni-ki-in-ni
110. You there, who have destroyed me!
110. at-ti e šá tu-ab-bi-ti-in-ni
You there, who have tied me!
at-ti e šá tu-ub-bi-ri-in-ni
You there, who have bound me!
at-ti e šá tu-ka-si-in-ni
You there, who have besmirched me!
at-ti e šá tu-la-‘-in-ni
Who alienated my god and my goddess from me,
tap-ru-si itti-ia ili-ia5 u dištar-ia5
115. Who alienated my male friend, female friend, brother, sister, comrades, companions and servants!
115. tap-ru-si itti-ia še-‘ še-‘-tu ahu ahattu ib-ru tap-pu u ki-na-at-tu
I take flakes of ashes from the oven, soot from the pot,
a-liq-qa-kim-ma ha-ha-a šá utuni um-mi-nu šá diqâri
I mix them with water and I drip it on the head of your evil figurine.
a-mah-ha-ah a-tab-bak ana qaqqad rag-ga-ti šim-ti-ki

Incantation. Who bewitched me, cursed me?
ÉN šá e-pu-šá-ni uš-te-pi-šá-an-ni
Who bewitched me by high water in the river?
i-na mi-li nâri e-pu-šá-an-ni
120. Who bewitched me by low water in the river?
120. i-na mi-ti nari e-pu-šá-an-ni
Who said to the sorceress, “use sorcery!”?
a-na e-piš-ti ip-ši-ma iq-bu-ú
Who said to the inspiress of insanity, “make insane!”?
a-na sa-hir-ti suh-ri-ma iq-bu-ú
This is her barque.
an-ni-tu lu-u maqurru-šá
Like this barque crosses,
kima maqurru an-ni-tu ib-ba-lak-ki-tu
125. So may her spells cross and come back on her head,
125. kis-pu-šá lib-bal-ki-tu-ma ina muh-hi-šá
And her figure! Come!
u la-ni-šá lil-li-ku
May her right be defeated and my right prevail! Incantation.
di-in-šá lis-sa-hi-ip-ma di-e-ni li-šir ÉN

Incantation. Sin has built my barque,
ÉN maqurri-ia5 a-na dsin ú-še-piš
Between her horns stands the potion, as freight;
ina bi-rit qârnemeš-šá na-šat pi-šir-tum
130. Within it the warlock and the witch sit;
130. áš-bu ina lìb-bi-šá lúkaššapu u fkaššaptu
Within it the sorcerer and sorceress sit;
áš-bu ina lìb-bi-šá e-piš u e-piš-tú
Within it the inspirer of insanity and the inspiress of insanity sit.
áš-bu ina lib-bi-šá sa-hi-ru u sa-hir-tú
Let the mooring-rope be cut!
šá maqurri-ši-na lib-ba-ti-iq a-šá-al-šá
Let the moor be let go!
mar-kas-sa-ši-na lip-pa-tir-ma tar-kul-la-šá
135. May it go astray in the middle of the sea!
135. a-na qabal tam-ti liq-qil-pu ….. LU ….
May a strong tide push it out into the ocean!
e-du-u dan-nu a-na tam-tim li-še-si-šú-nu-ti
May powerful waves batter it!
šam-ru-ti a-gu-u e-li-šú-nu li-tel-lu4-u …
May a favourable wind not blow, may they not be found!
šar-šú-nu a-a i-zi-qa-am-ma a-a i-hi-ta-a-ni…
By the order of Nusku and Girra, the gods of their trial! Incantation.
ina qi-bit dnusku u dgirru ilimeš dini-šú-nu ÉN

140. Incantation. Latu of the streets, why do you press me constantly?
140. ÉN LA-tú šá su-qa-ti am-me-ni tug-da-nar-ri-ÉN-ni
Why your messages?
am-me-ni na-áš-pa-tu-ki it-ta-na-lak-a-ni
Witch, inhibited is the word!
fkaššaptu SAG.DUmeš a-ma-ti-ki
Why … …
am-me-ni it-ta-nak-šá-da a-na lu-…
I climb on the roof, I see you!
el-li a-na ú-ri ab-ta-ki a-….
145. I climb down to the ground, and I see you!
145. ú-rad a-na qaq-qa-ri-im-ma ú-sab-bi-tu
On your path I set the stool,
ina kib-si-ki râbisa ú-še-šab
I set the death-spirit of persecution on your path.
etim ri-da-a-ti harran-ki ú-šá-as-bit
I strike your skull, I confuse your mind,
a-mah-ha-as muh-ha-ki ú-šá-an-na tè-en-ki
I bring your insides into disarray so that you forget the flesh,
a-dal-lah lìb-ba-ki ta-maš-ši-i šêrêmeš-ki
150. Sorceress and deep sorceress!
150. e-piš-tum u muš-te-piš-tum
I am the sky; you cannot touch me.
šamûu a-na-ku ul tu-lap-pa-tin-ni
I am the earth, you cannot confuse me.
irsitumtum a-na-ku ul tu-ra-hi-in-ni
I am the point of the thorn, you cannot crush me.
si-hi-il isbal-ti a-na-ku ul tu-kab-ba-si-in-ni
I am the sting of the scorpion, you cannot touch me!
zi-qit aqrabi a-na-ku ul tu-lap-pa-tin-ni
155. I am a peaked mountain; your sorcery, your chanting,
155. šadúu zaq-ru a-na-ku kiš-pi-ki ru-hi-ki
You spell, your evil machinations,
ru-su-ú-ki up-šá-šu-ki limnûtimeš
Do not come close to me, do not approach me. Incantation.
la itehûmeš-ni la i-qar-ri-bu-u-ni ai-ši ÉN

Incantation. Hand, hand,
ÉN rit-tu-ma rit-tu
Powerful hand of man,
rit-tu dan-na-tu šá a-me-lu-ti
160. Which like a lion grabs the man,
160. šá kîma nêši is-ba-tu a-me-lu
Like a slingshot threw the man to the ground,
kima hu-ha-ri is-hu-pu it-lu
Like a net covered the strong one,
kima še-e-ti ú-kat-ti-mu qar-ra-du
Like a snare caught the leader,
kima šu-uš-kal-li a-šá-rid-du i-bar-ru
Like a trap covered the powerful!
kima giš-par-ri ik-tu-mu dan-na
165. So the warlock and the witch, may Girra burn your hand,
165. lúkaššapu u fkaššaptu rit-ta-ku-nu dgira liq-mi
So may Girra devour, may Girra drink, may Girra remove!
dgira li-kul dgira liš-ti dgira liš-ta-bil
May Girra scream against your powerful hand!
dgira lil-sa-a elî dan-na-ti rit-te-ku-nu
Because your hand has performed sorcery, may it burn your body!
šá rit-ta-ku-nu e-pu-šu zu-mur-ku-nu li-ih-mut
May the son of Ea, the magician, destroy your power!
li-is-pu-uh illat-ku-nu mâr dé-a mašmašu
170. May the breath of Girra envelop your face!
170. qut-ri dgira li-ri-ma pa-ni-ku-nu
Like an oven through its defective places,
ki-ma ti-nu-ri ina hi-ta-ti-ku-nu
Like the pots through their soot,
ki-ma di-qa-ri ina lu-hu-um-me-ku-nu
May the furious Girra destroy you!
li-is-pu-uh-ku-nu-ši dgira iz-zu
So your witchcraft, your evil spell, may not come close to me!
ai ithumeš-ni kiš-pi-ku-nu ru-hi-ku-nu lim-nu-ti
175. Climb like the fish in my water,
175. e-til-la-a kima nûnêhi.a ina mêmeš-e-a
Like the pig in my mud,
kîma šahi ina ru-šum-ti-ia
Like the maštakal-plant from the meadow,
kîma šammaštakal ina ú-sal-li
Like the grass on the bank of the canal,
kîma šamsassati ina a-hi a-tap-pi
Like the seed of the ebony tree on the shore!
kîma zêr isuši ina a-hi tam-tim
180. Shining Ištar, who lightens the evening,
180. el-lit dištar mu-nam-me-rat šim-ti
Over to fate I am given,
ú-su-rat balati us-su-ra-ku ana-ku
By the order which the powerful Girra has spoken,
ina qi-bit iq-bu-ú dgira ra-šub-bu
And the burning Girra, son of Anu, the hero!
ù dgira a-ri-ru mâr da-nim qar-du

Incantation. Hand, hand,
ÉN rit-tum-ma rit-tum
185. Powerful hand of man!
185. rit-tum dan-na-tum šá a-me-lu-ti
Witch, because of your slanderous mouth,
fkaššaptu áš-šú pi-i-ki da-ab-bi-bu
Because of your powerful hand,
áš-šú dan-na-ti rit-ta-ki
I brought you the word from the city,
álu a-ma-tum áš-šak-ki
From the house I look for the word for you.
bitu a-ma-tum ú-ba-a-ki
190. Warlock and witch, sorcerer and sorceress,
190. lúkaššapu u fkaššaptu e-piš u e-piš-tú
I lay down your hand, I will throw it in the fire. Incantation.
bi-il rit-ta-ku-nu-ma ana išâti lud-di ÉN

Incantation. Cook, cook, burn, burn!
ÉN biš-li biš-li qi-di-e qi-di-e

Tablet III of Maqlu.
tuppu IIIkam ma-aq-lu-ú

Maqlu Tablet 2 Transliteration/Translation

Maqlu Fragment tab7pic

Greetings! I would like to welcome everyone to the Covenant of Babylon blog page. If this is your first time here, please feel free to review some of our previous articles and share your insights and comments. Stay Blessed. This is the 2nd Tablet of a 9 part series.

Maqlu Tablet II

Incantation. Mighty Nusku, counsellor of the great gods!
ÉN dnusku šur-bu-ú ma-lik ilîmeš rabû-timeš
Overseer of the sacrifices of all Igigi,
pa-qid nindabêmeš šá ka-la digigê
Who founds cities, who reviews the seats of the gods!
mu-kin ma-ha-zi mu-ud-di-šu parakkêmeš
Brilliant day, the promise of which is sublime,
u4-mu nam-ru šá qi-bit-su si-rat
5. Messenger of Anu, who is obedient to the secret of Enlil,
5. sukkal da-nim še-mu-ú pi-ris-ti den-lil
Obedient to Enlil, counsellor of the Igigi,
še-mu-ú den-lil ma-li-ku ša-du-ú digigê
Powerful in the fight, and whose rising is powerful,
gaš-ru ta-ha-zu šá ti-bu-šú dan-nu
Brilliant Nusku, who blinds his enemies to the Earth,
dnusku a-ri-ru mu-šab-riq za-ai-ri
Without you there is no meal in Ekur,
ina ba-li-ka ul iš-šak-kan nap-ta-na ina é-kur
10. Without you, the great gods do not smell incense,
10. ina ba-li-ka ilîmeš rabûtimeš ul is-si-nu qut-rin-nu
Without you, the judge Šamaš does not hold his court.
ina ba-li-ka dšamaš daiânu ul i-da-a-ni di-i-nu
Whoever remembers your name, you save him from difficulty, you spare him from distress.
ha-sis šu-me-ka te-it-tir ina i-dir-ti ta-ga-mil ina pušqi
I, your servant N., son of N., whose god is N., whose goddess is N.,
ana-ku ardu-ka annanna apil annanna šá ilu-šú annanna dištar-šú annannitumtum
I have turned to you, I have sought you out, my hands are raised, and at your feet throw myself;
as-hur-ka eš-e-ka na-šá-a qâtâ-ai šá-pal-ka ak-mis
15. Burn the warlock and the witch,
15. qu-mi kaš-šá-pi ù kaš-šap-ti
Away my warlock and my witch, lose their life fast and swiftly,
šá lúkaššapi-ia5 u fkaššapti-ia5 ár-hiš ha-an-tiš napišta-šú-nu lib-li-ma
Spare my life so I will be indebted, so I can praise your greatness!
ia-a-ši bul-lit-an-ni-ma nar-bi-ka lu-šá-pi dà-li-li-ka lud-lul

Incantation. To dissolve a spell with the help of an image made of tallow.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam lipî-KÉ

Incantation. Girra, perfect master; “you are powerful” is the meaning of your name.
ÉN dgira bêlu git-ma-lu gaš-ra-a-ta na-bi šum-ka
20. Nanna, you see everything.
20. dnanna-ra-ta na-bi šùm-ka
You lighten the dark house, eternally renewed light of the countries.
tuš-nam-mar bitatimeš ka-la-ma
You light up everything; I stand in front of you,
tuš-nam-mar gi-im-ra ka-liš ma-ta-a-ti
Because you restore justice.
áš-šu at-ta ta-az-za-zu-ma
Like Sin and Šamaš you make right,
ki-ma dsin ù dšamaš ta-din-nu di-i-nu
25. So restore my right, make my decision!
25. di-e-ni di-ni purussâ-a-a purusus
To your brilliant light I come,
a-na nûri-ka nam-ri az-ziz
To the shining torch, I come,
a-na elle-ti ti-pa-ri-ka az-ziz
Master, I am grabbing the hem of your coat,
bêlu sissiktu-ka as-bat
The hem of your divine coat I am grabbing.
sissikat ilu-ti-ka rabi-ti as-bat
30. She has packed the heart,
30. ………. -si il-ta-si eli-ia
the head, the neck and the face;
is-bat lìb-bi qaqqadi kišâdi-ia5 u muh-hi
She packed my looking eyes,
is-bat ênê-ia5 na-ti-la-a-ti
Packed my going feet,
is-bat sêpê-ia5 al-la-ka-a-ti
Packed my walking knees,
is-bat bir-ki-ia5 ib-bi-ri-e-ti
35. Packed my guiding arms.
35. is-bat idê-ia5 mut-tab-bil-a-ti
Now, in front of your great divinity,
e-nin-na ina ma-har ilu-ti-ka rabîtiti
The crossed copper images,
salmânimeš siparri it-gu-ru-ti
Of my warlock and my witch,
lúkaššapi-ia5 u fkaššapti-ia5
My sorcerer and my sorceress,
e-piš-ia5 u muš-te-piš-ti-ia5
40. My stupefier and my stupefyress,
40. sa-hir-ia5 u sa-hir-ti-ia5
My enchanter and my enchantress,
ra-hi-ia5 u ra-hi-ti-ia5
My lord opponent and my lady opponent,
bêl ik-ki-ia5 u bêlit ik-ki-ia5
My lord enemy and my lady enemy,
bêl sir-ri-ia5 u bêlit sir-ri-ia5
My lord persecutor and my lady persecutor,
bêl ri-di-ia5 u bêlit ri-di-ia5
45. My lord accuser and my lady accuser,
45. bêl di-ni-ia5 u bêlit di-ni-ia5
My lord slanderer and my lady slanderer,
bêl amâti-ia5 u bêlit amâti-ia5
My lord detractor and my lady detractor,
bêl dabâbi-ia5 u bêlit dabâbi-ia5
My lord nemesis and my lady nemesis,
bêl egirri-ia5 u bêlit egirri-ia5
My lord evil-doer and my lady evil-doer;
bêl limuttimtim-ia5 u bêlit limuttimtim-ia5
50. They gave me over to a corpse;
50. ana lúmiti pu-qu-du-in-ni
They subjected me to ridicule,
nam-ra-su kul-lu-mu-in-ni
To the evil Utukku or the evil Alu or the evil Etemmu,
utukku lim-nu lu-u alû lim-nu lu-u etim-mu lim-nu
The evil Gallu or the evil god or the evil Rabisu,
gallû lim-nu lu-u ilu lim-nu lu-u râbisu lim-nu
The Lamaštu or the Labasu or the Ahhazu,
dlamaštu lu-u dlabasu lu-u dahhazu
55. The Lilu or the Lilitu or the Ardat Lili,
55. lúlilu lu-u flilitu lu-u ardat lili
Or fever, the Sibit Šadi disease,
lu-u li-‘-bu si-bit šadi
Or epilepsy, the product of Šulpaea,
lu-u be-en-nu ri-hu-ut dšul-pa-è-a
Or Antašubba or evil god,
lu-u AN-TA-ŠUB-BA lu-u DINGIR-HUL
Or hand of god, or hand of goddess,
lu-u ŠU-DINGIR-RA lu-u ŠU-dIN-NIN-NA
60. Or hand of the Etemmu, or hand of the Utukki
60. lu-u ŠU-GIDIM-MA lu-u ŠU-UDUG
Or hand of the human, or Lamaštu, the young daughter of Anu,
lu-u ŠU-NAM-LÚ-LÍL-LU lu-u la-maš-tu sihirtutú marat da-nim
Or Saghulaza, the record-keeper of debts,
lu-u SAG-HUL-HA-ZA mu-kil rêš li-muttim
Or cooking of the flesh, paralysis, consumption,
lu-u di-kis šêrêmeš šim-ma-tú ri-mu-tú
Or everything bad that does not have a name,
lu mimma lim-nu šá šu-ma la na-bu-u
65. Or everything that does bad things among human beings,
65. lu mimma e-piš li-mut-ti šá a-me-lu-ti
Which holds me prisoner during the night, which chases me during the day,
šá sab-ta-ni-ma mu-ša u ur-ra iredú-nimeš-ni
Which destroys my flesh, which seizes me,
ú-hat-tu-ú šêrêmeš-ia kal u4-mi sab-ta-ni-ma
Which does not let me free for one night!
kal mu-si la ú-maš-šar-an-ni
Now, in front of your divine greatness,
e-nin-na ina ma-har ilu-ti-ka rabîtiti
70. I burn them, I incinerate them completely with pure sulphur.
70. ina kibri-dit ellititi a-qal-li-šú-nu-ti a-šar-rap-šú-nu-ti
Look at me, master, tear them out of my body,
nap-li-sa-an-ni-ma be-lum ú-suh-šú-nu-ti ina zumri-ia5
Dissolve their spell!
pu-šur kiš-pi-šú-nu lim-nu-ti
You, Girra, master who walks on my side:
at-ta dgira be-lum a-li-ki i-di-ia
If you keep me alive, I will praise you, I will adore and serve you!
bul-lit-an-ni-ma nar-bi-ka lu-šá-pi dà-li-li-ka lud-lul

75. Incantation to undo a spell with a copper figure and sulphur.
75. INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam siparri kibri-dit-KÉ

Incantation. Burning Girra, first-born of Anu,
ÉN dgira a-ri-ru bu-kur da-nim
Who leads my hearing and speaks my decision, you are;
da-‘-in di-ni-ia at-me-e pi-ris-ti at-ta-ma
You lighten up the darkness,
ik-li-e-ti tu-uš-nam-mar
You bring order to what is disordered, destroyed;
e-šá-a-ti dal-ha-a-ti tu-uš-te-eš-šir
80. To the great gods you grant a resolution,
80. a-na ilimeš rabûtimeš purussâa ta-nam-din
While for you no god makes any decision.
šá la ka-a-ta ilu ma-am-man purussâa ul i-par-ra-as
It is you who give order and direction;
at-ta-ma na-din ur-ti ù te-e-me
You bind the evil-doer,
e-piš lum-ni at-ta-ma ar-hiš ta-kam-mu
You strike quickly the evil enemy.
lim-nu ai-bu ta-kaš-šad ar-hiš
85. I, N., son of his god, whose god is N., and whose goddess is N.,
85. a-na-ku annanna mar ili-šu šá ilu-šú an-nanna dištar-šu annannitum
With witchcraft I am bewitched: this is why I have come to you!
ina kiš-pi lu-up-pu-ta-ku-ma ma-har-ka az-ziz
In front of god and king I am encircled: that is why I have turned to you!
ina pân ili u šarri na- ..zu-ra-ku-ma du .. ana mah-ri-ka
To whomever sees me, I am an unpleasant sight: this is why I have thrown myself in front of you!
elî a-me-ri-ia mar-sa-ku-ma šá-pal-ka ak-mis
Great Girra, radiant god!
dgira šur-bu-ú ilu el-lu
90. Now, before your great divinity,
90. e-nin-na ina ma-har ilu-ti-ka rabîtiti
I have made two images of the warlock and the witch, in copper, by your hand;
2 salmanimeš lúkaššapi u fkaššapti šá siparri e-pu-uš qa-tuk-ka
Before you I have crossed them, I have given them to you.
ma-har-ka ú-gir-šú-nu-ti-ma ka-a-šá ap-kid-ka
They may die; but may I live!
šu-nu li-mu-tu-ma ana-ku lu-ub-lut

They may detour; but may I go straight!
šu-nu li-ti-ib-bi-ru-ma ana-ku lu-ši-ir
95. They may reach their limit; but may I grow!
95. šu-nu liq-tu-ú-ma ana-ku lu-um-id
They may become weak, but I strong!
šu-nu li-ni-šu-ma ana-ku lu-ud-nin
Powerful Girra, illustrious among the gods,
dgira šar-hu si-ru šá ilimeš
Who seizes the evil and the enemy: seize them while I do not perish,
ka-šid lim-ni u ai-bi kušus-su-nu-ti-ma a-na-ku la ah-hab-bil
That I, your servant, may stay alive, may be safe, may stay standing in front of you!
ana-ku ardu-ka lul-ub-lut lu-uš-lim-ma ma-har-ka lu-uz-ziz
100. You are my god, you are my master!
100. at-ta-ma ili-ia5 at-ta-ma be-li
You are my judge, you are my helper!
at-ta-ma da-ai-ni at-ta-ma ri-su-ú-a
You are my avenger! Incantation formula.
at-ta-ma mu-tir-ru šá gi-mil-li-ia TU6.ÉN

Incantation to undo the spell with a bronze figure.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam siparri-KÉ

Incantation. Burning Girra, first-born son of Anu!
ÉN dgira a-ri-ru mar da-nim qar-du
105. You are the sternest among your brothers,
105. iz-zu ahemeš-šú at-ta
You who makes right like Sin and Šamaš.
šá ki-ma dsin u dšamaš ta-da-an-nu di-i-nu
Give me justice, make my decision!
di-i-ni di-ni purussâ-ai purusus
Burn the warlock and the witch!
qu-mi kaš-šá-pi ù kaš-šap-ti
Girra, burn the warlock and the witch!
dgira qu-mu lúkaššapi u fkaššapti
110. Girra, fry the warlock and the witch!
110. dgira qu-li lúkaššapi u fkaššapti
Girra, incinerate them!
dgira qu-mi-šú-nu-ti
Girra, fry them!
dgira qu-li-šú-nu-ti
Girra, get them!
dgira ku-šu-us-su-nu-ti
Girra, devour away!
dgira a-ru-uh-šú-nu-ti
115. Girra, take them away!
115. dgira su-ta-bil-šú-nu-ti
They who inflict the evil witchcraft and malevolent spell,
e-piš kiš-pi lim-nu-ti u ru-hi-e la tabûtimeš
Who thought of me with evil intention:
šá a-na li-mut-ti ik-pu-du-ni ia-a-ši
Let a criminal take their possessions!
dan-nu ma-ak-kur-šu-nu šu-ul-qi
Let a thief steal their property!
šu-bil bu-šá-šu-nu ik-ki-e-ma
120. Let a looter invade their residence!
120. elî ma-na-ha-te-šu-nu hab-ba-ta šur-bi-is
Furious Girra, perfect and all-powerful,
dgira iz-zu git-ma-lu ra-šub-bu
In Ekur where you go back, as fast as possible calm down!
ina é-kur a-šar tal-lak-ti-ka tu-šap-šah-šu-nu-ti a-di sur-riš
By the word of Ea, your procreator, and of Šamaš, I have become radiant;
ina a-mat dé-a ba-ni-ka ù dšamaš an-nam-ru
May the seven Aphkallu of Eridu think of them with evil intention! Incantation formula.
7 apqallê šuut eri-du10 lik-pi-du-šú-nu-ti ana limnuttimtim TU6.ÉN

125. Incantation to undo the spell with an image made of dough.
125. INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam liši-KÉ

Incantation. Powerful Girra, terrible weather!
ÉN dgira gaš-ru u4-mu na-an-du-ru
You lead gods and princes right!
tuš-te-eš-šir ilimeš u ma-al-ki
You lead the trial of the oppressed man and the oppressed woman;
ta-da-a-ni di-ÉN hab-li u ha-bil-ti
Come to my trial! Like Šamaš the hero,
ina di-ni-ia i-ziz-za-am-ma ki-ma dšamaš qu-ra-du
130. Lead my trial, and make my decision.
130. di-i-ni di-ni purussâ-ai purusus
Burn the warlock and the witch!
qu-mi kaš-ša-pi u kaš-šap-ti
Eat my enemies! Devour those who wish evil!
a-kul ai-bi-ia a-ru-uh lim-nu-ti-ia
May they catch your ferocious weather! Incantation formula.
ûm-ka iz-zu lik-šu-us-su-nu-ti TU6.ÉN

Incantation to undo the spell with an image made of bronze.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam titi-KÉ

135. Incantation. Majestic Girra, first-born of Anu!
135. ÉN dgira šar-hu bu-kur da-nim
Radiant offspring of the great Šalaš!
i-lit-ti ellitimtim šá-qu-tum dša-la-aš
Majestic, forever becoming, constant word of the gods,
šar-hu id-di-šu-u zik-ri ilimeš ka-ai-nu
Who distributes the offerings to the gods the Igigi,
na-din nin-da-bi-e ana ilimeš digigê
Who gives brilliance to the Anunnaki, the great gods!
šá-kin na-mir-ti a-na da-nun-na-ki ilimeš rabûtimeš
140. Furious Girra, who destroys the conduit,
140. iz-zu dgira muš-har-mit a-pi
Strong Girra, who destroys wood and stone,
dgira al-la-lu-ú mu-ab-bit isemeš u ab-nemeš
Who burns the evil offspring of the warlock and the witch,
qa-mu-ú lim-nu-ti zêr lúkaššapi u fkaš-šapti
Who destroys the wicked offspring of the warlock and the witch!
mu-hal-liq rag-gi zêr lúkaššapi u fkaš-šapti
Today come to my trial furiously,
ina u4-mi an-ni-i ina di-ni-ia i-ziz-za-am-ma
145. You, who makes submission … seize the evil!
145. e-piš bar-ti te-na-na-a ku-šu-ud lim-nu
As these figures drip, melt and dissolve,
kima salmânimeš an-nu-ti i-hu-lu i-zu-bu u it-ta-at-tu-ku
So may the warlock and the witch drip, melt, and dissolve!
lúkaššapu u fkaššaptu li-hu-lu li-zu-bu u lit-ta-at-tu-ku
Incantation to release witchcraft with a figure made of asphalt.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam itti-KÉ

Incantation. Keš, Libeš, Kideš!
ÉN ki-e-eš li-bi-iš ki-di-eš
150. Arabbeš Nadreš!
150. a-ra-ab-bi-eš na-ad-ri-eš
Who carries the torch, rides the wind!
nâš ti-pa-a-ri ra-kib šá-a-ri
Lirun Hunti!
li-ru-un hu-un-ti-i
Kasayašu Izannun!
ka-sá-a-šu i-za-an-nun
Rain like Heaven on them!
ki-ma šá-ma-me el-ku-un
155. Like a snake may they come in, go hither!
155. ki-ma siri li-te-ru-ba-ma i-sá-a
May the furious great incantation of Ea the magician,
lik-tum-ku-nu-si siptu iz-zi-tú rabîtutú šá dé-a mašmaši
Fall on you of Ninahaquddu,
ù tu6-kug-ga-e šá dnin-a-ha-qud-du
May they destroy your appearance! Incantation formula.
li-la-ap-pit bu-un-na-an-ni-ku-nu TU6.ÉN

Incantation to undo the spell with a figure of kuspum.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam kuspi-KÉ

160. Incantation. They did magic, they did ceaseless magic!
160. ÉN e-pu-šu-ni e-te-ni-ip-pu-šu-ni
They tried to roll me like a ball of wool!
ki-ma ki-i-ti ana ka-pa-li-ia
They tried to clap me to the ground like a bird-clapper!
ki-ma hu-ha-ri ana sa-ha-pi-ia
They tried to destroy me like a chip of rock!
ki-ma ka-a-pi ana a-ba-ti-ia
They tried to cover me like a net!
ki-ma še-e-ti ana ka-ta-me-ia
165. They tried to roll me like a wick!
165. ki-ma pi-til-ti ana pa-ta-li-ia
They tried to climb me like a wall of clay!
ki-ma pi-ti-iq-ti ana na-bal-ku-ti-ia
They tried to fill me with dirty water!
ki-ma mêmeš mu-sa-a-ti a-sur-ra-a ana mal-li-ia
They tried to sweep me out the door like household refuse!
ki-ma šu-šu-rat bîti ana bâbi ana na-sa-ki-ia
But I, by order of Marduk, the master of the holy evening,
ana-ku ina qi-bit dmarduk bêl nu-bat-ti
170. And Asarluhi, the master of magic,
170. u dasari-lú-du10 bêl a-ši-pu-ti
The sorcerer and sorceress,
e-pi-šu u e-piš-ti
Like a ball of wool I roll them!
ki-ma ki-i-ti a-kap-pil-šu-nu-ti
Like a bird-clapper I throw them to the ground!
ki-ma hu-ha-ri a-sa-hap-šu-nu-ti
Like a chip of rock I destroy them!
ki-ma ka-a-pi ab-ba-šu-nu-ti
175. Like a net I cover them!
175. ki-ma še-e-ti a-kat-tam-šu-nu-ti
Like a wick I roll them!
ki-ma pi-til-ti a-pat-til-šu-nu-ti
Like a wall of clay I climb them!
ki-ma pi-ti-iq-ti ab-ba-lak-kit-šu-nu-ti
Like dirty water I fill them!
ki-ma mêmeš mu-sa-a-ti a-sur-ra-a ú-ma-al-la-šú-nu-ti
Like household refuse I sweep them out the door!
ki-ma šu-šu-rat bîti ana bâbi a-na-as-sik-šú-nu-ti
180. May the image of the warlock and the witch become ashes! Incantation.
180. titalliš lil-li-ka salam lúkaššapi u fkaššapti ÉN

Incantation to undo a spell with a figure of asphalt covered with plaster.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam ittî šá gassa bullulu-KÉ

Incantation. Who are you, witch, who took the clay from my river?
ÉN at-ti man-nu fkaššaptu šá ina nâri im-lu-‘ tita-ai
Who burned my figures in her dark house?
ina bîti e-ti-i ú-tam-me-ru salmanimeš-ia
Who spilled my water over a grave?
ina qab-rì it-mi-ru mu-ú-a
185. Who gathered sprigs of my fruit trees in the corners?
185. ina tub-qi-na-ti ú-laq-qí-tu hu-sa-bi-e-a
Who cut the seam of my robe in the house of the tanner?
ina bit lúašlaki ib-tu-qu sissikti-ia
Who gathered up the dust of my feet on the threshold?
ina askuppati iš-bu-šu epirhi.a šêpê-ia
I sent to the mouth of the harbour, where tallow was bought for you;
áš-pur ana bâb ka-a-ri i-šá-mu-ú-ni li-pa-a-ki
I sent to the moat, where clay was picked up for you;
áš-pur ana hi-rit ali iq-ri-su-ú-ni ti-i-ta-ki
190. I sent against you a portable furnace,
190. áš-ta-pa-rak-kim-ma a-li-ku ti-nu-ru
The fire already lit,
dgira mu-un-na-ah-zu
The forever becoming Girra, constant light of the gods;
dgira id-di-šu-u nur ilimeš ka-ai-nu
Sin in Ur, Šamaš in Larsa,
dsin ina uruki dšamaš ina larsaki
Nergal together with his people,
dnergal a-di um-ma-na-ti-šú
195. Ištar in Akkad at her house:
195. dištar a-ga-deki a-di ku-um-mi-šá
May they seize the offspring of the warlock and the witch,
a-na la-qa-at zêri lúkaššapi u fkaššapti
However numerous they are,
ma-la ba-šu-ú
May they kill the witch, but I stay alive!
fkaššapta li-du-ku-ma ana-ku lu-ub-lut
Because I did not bewitch her, she bewitched me!
áš-šu la e-pu-šá-áš-šim-ma i-pu-šá
200. Because I did not use sorcery on her, she used sorcery on me!
200. áš-šu la as-hu-ra-áš-šim-ma is-hu-ra
She trusts the spell that she designed,
ši-i tak-lat ana kiš-pi šá kit-pu-du-ú-ti
But I trust my judge Gibil!
ù a-na-ku a-na ez-zu dgibil da-a-a-nu
Girra, burn her! Girra, incinerate her!
dgira qu-mi-ši dgira qu-li-ši
Girra, strike her! Incantation formula.
dgira šu-ta-bil-ši TU6.ÉN

205. Incantation with a clay figure dipped in tallow.
205. INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam titi šá lipâ bullulu-ké

Incantation. Who are you, witch, who visits me continuously?
ÉN at-ti man-nu kaššaptu šá tub-ta-na-in-ni
Who continuously looks for me with evil intentions?
a-na li-mut-ti taš-te-ni-‘-in-ni
Who continuously looks for me with unfavourable intentions?
a-na la ta-ab-ti ta-as-sa-na-ah-hur-in-ni
I do not know your city, I do not know your house, I do not know your name, I do not
know your residence.
al-ki ul i-di bit-ki ul i-di šum-ki ul i-di šu-bat-ki ul i-di
210. May the Šedu visit you,
210. dšêdêmeš li-ba-‘-ki
May the Utukku look for you,
utukkêmeš liš-te-‘-u-ki
May the Etemmu hover around you,
etimmêmeš lis-sah-ru-ú-ki
May a bad epilespy fall upon you!
be-en-nu la ta-a-bu eli-ki lim-qut
So may the evil stool “lift your head,”
rabisêmeš li-mut-ti li-kil-lu rêš-ki
215. May the god … and Šulpaea kill you!
215. d………….u dšul-pa-è-a li-na-ru-ki
May the god … … wash you out!
d…………. en ši ……… -ki li-ip-šit
May furious Gibil, who knows no pity, steal reason from you!
dgibil iz-zu la pa-du-u lìb-bi-ki lí-is-su-uh
May Gula, the great physician, strike your cheek!
dgu-la a-zu-gal-la-tu rabitutu li-it-ki li-im-has
May furious Gibil burn your body!
dgibil iz-zu zu-mur-ki li-ih-mut
220. Pure daughter of the sky-god Anu,
220. ….. ellitumtum mârat da-nim šá šamê
Who is spread in the vessel,
šá ina kar-pat na-an-hu-za-at [isatu]
… of the heart … Gibil the hero …
… libbi …. dgibil qar-du sa-ma-a …
… … which the sky,
……. ….. šá-ma-mi ik-šu-du
… … burn …
…………….. qu-li i kat-ta………
225. Incinerate as fast as possible! Of my warlock and my witch,
225. qu-mi ha-an-tiš šá lúkaššapi-ia5 u fkaššapti-ia5
Uproot their life!
na-piš-ta-šú-nu lib-li-ma
Let me live, so I can praise your greatness;
ia-a-ši bul-lit-an-ni-ma nar-bi-ka lu-šá-pi
So I can adore you!
dà-li-li-ka lud-lul TU6.ÉN

Incantation to undo the spell with a figure of tamarisk or cedar-wood.
INIM-INIM-MA ÚH-BÚR-RU-DA sa-lam isbini salam iserini-KÉ

230. Incantation. The witch, who goes on the roads.
230. ÉN kaššaptu mut-tal-lik-tum šá sûqâ-timeš
Tablet II of Maqlu.
tuppu IIkam ma-aq-lu-ú

Maqlu Tablet 1 Transliteration/Translation

Maqlu Fragment tab7pic

Greetings! I would like to welcome everyone to the Covenant of Babylon blog page. If this is your first time here, please feel free to review some of our previous articles and share your insights and comments. Stay Blessed. This will be a series of 9 tablets of protection against sorcery called the Maqlu Rite.

Maqlu Tablet I

Incantation. I have called upon you, gods of night,
ÉN al-si-ku-nu-ši ilimeš mu-ši-ti
With you I have called upon night, the veiled bride,
it-ti-ku-nu al-si mu-ši-tum kal-la-tum ku-túm-tum
I have called on twilight, midnight, and dawn,
al-si ba-ra-ri-tum qab-li-tum u na-ma-ri-tum
Because a sorceress has bewitched me,
áš-šú fkaššaptu ú-kaš-šip-an-ni
5. A cunning woman has accused me,
5. e-li-ni-tum ub-bi-ra-an-ni
Caused my god and my goddess to be estranged from me;
ili-ia5 ù distar-ia5 ú-šis-su-ú eli-ia5
I have become pathetic to those who see me,
elî a-me-ri-ia5 am-ru-u a-na-ku
I am unable to rest day or night,
im-di-ku la a-la-lu mûša ù ur-ra
And a gag continually filling my mouth,
qu-ú im-ta-na-al-lu-ú pî-ia
10. Has kept food far from my mouth,
10. ú-pu-un-ti pi-ia5 ip-ru-su
Has lessened the water passing through my throat;
mêmeš maš-ti-ti-ia5 ú-ma-u-ú
My praise has become lament, my rejoicing mourning:
e-li-li nu-bu-ú hi-du-ti si-ip-di
Stand by me great gods, give heed to my suit,
i-zi-za-nim-ma ilimeš rabutimeš ši-ma-a da-ba-bi
Judge my case, grant me a decision.
di-ni di-na a-lak-ti lim-da
15. I have formed a figure of my sorcerer and my sorceress,
15. e-pu-uš alam amelkaššapi-ia5 u fkaššapti-ia5
Of my enchanter and my enchantress;
šá e-piš-ia5 u muš-te-piš-ti-ia5
Have laid them in the fire for you to bring me a judgement;
áš-kun ina šap-li-ku-nu-ma a-dib-bu-ub di-ni
Because she did evil against me, false charges she conjured up against me:
áš-šú i-pu-šá lim-ni-e-ti iš-te-‘-a la ba-na-a-ti
May she die, but I live!
ši-i li-mut-ma a-na-ku lu-ub-lut
20. Her bewitchments, her magic, her spells must be undone!
20. kiš-pu-šá ru-hu-šá ru-sú-u-šá lip-pa-áš-ru
The tamarisk, tall at the crown, purifies me!
ibînu lil-lil-an-ni šá qim-ma-tú ša-ru-ú
The date-palm, which catches all the wind, frees me!
igišimmaru lip-šur-an-ni ma-hi-rat ka-lu-ú šáru
The maštakal-plant, which fills the Earth, cleanses me!
šammaštakal li-bi-ban-ni šá iritimtim ma-la-a-ta
The pine-cone, which is full of seeds, frees me!
terînatu lip-šur-an-ni šá še-am ma-la-a-ta
25. In front of you I became light, as light as grass;
25. ina mah-ri-ku-nu e-te-lil ki-ma šamsassati
I am clean and pure, like nard.
e-te-bi-ib az-za-ku ki-ma la-ar-di
The spell of the sorceress is hateful;
tu-ú-šá šá fkaššapti li-mut-te
Let her word come back in her mouth, let her tongue be tied!
tu-ur-rat amât-sa ana pî-šá lišân-šá qa-a-rat
Let the gods of the night overcome her spell!
in elî kiš-pi-šá lim-ha-u-ši ilimeš mu-ši ti
30. Let the three night-watches dissolve her evil spell!
30. 3 maarâtimeš šá mu-ši lip-šu-ru ru-hi-šá lim-nu-ti
Let her mouth be tallow, let her tongue be salt,
pú-šá lu-ú lipû lišân-šá lu-ú âbtu
Which spoke the baneful magic formula, let it disintegrate like tallow!
šá iq-bu-ú amât limuttimtim-ia5 ki-ma lipî lit-ta-tuk
The magic she has done, let it dissolve like salt!
šá i-pu-šú kiš-pi ki-ma âbti liš-har-mi
Her knots are undone, her machinations are destroyed,
qi-is-ru-šá pu-u-u-ru ip-še-tu-šá hul-lu-qú
35. All her words fill the steppe,
35. kal a-ma-tu-šá ma-la-a êra
Upon this command that the gods of the night have given! Incantation formula.
ina qi-bit iq-bu-ú ilimeš mu-ši-tum TU6 ÉN

Incantation. O Netherworld, Netherworld, yes Netherworld!
ÉN irsitumtum irsitumtum irsitumtum-ma
Gilgameš is the master of your curses!
dgilgameš bêl ma-mi-ti-ku-nu
What sorcery you have performed, I know it;
min-mu-ú at-tu-nu te-pu-šá ana-ku i-di
40. What sorcery I have performed, you do not know it.
40. min-mu-ú ana-ku ip-pu-šu at-tu-nu ul ti-da-a
What sorcery my sorceresses practiced is confused, and nobody can undo it, it has no
min-mu-ú fkaššapatimeš-ia5 ip-pu-šá e-ga-a pa-ti-ra pa-šir lâ
unbinder! Incantation formula.
irašši TU6.ÉN

Incantation. My city Zabban! My city Zabban!
ÉN ali-ia5 zab-ban ali-ia5 zab-ban
My city Zabban has two gates:
šá ali-ia5 zab-ban 2-ta abullatimeš-šú
One to its east, the second to its west.
1-it ana sit dšamši šá-ni-tu ana erib dšamši
45. One to its sunrise, one to its sunset.
45. 1-it ana si-it dšamšiši šá-ni-tu ana e-rib dšamšiši
I am lifting toward you the bloom of maštakal-plant;
a-na-ku e-ra ha-as-ba šammaštakal na-šá-ku
To the gods of the sky I bring water.
a-na ilimeš šá šamêe mêmeš a-nam-din
As I do cleanse you,
kîma ana-ku ana ka-a-šú-nu ul-la-lu-ku-nu-ši
So cleanse me! Incantation formula.
at-tu-nu ia-a-ši ul-li-la-in-ni TU6.ÉN

50. Incantation. I have barred the river-crossing, I have barred the harbour,
50. ÉN ak-la ni-bi-ru ak-ta-li ka-a-ru
I held back the magic spells of all countries;
ak-li ip-ši-ši-na šá ka-li-ši-na ma-ta-a-ti
Anu and Antu have sent me.
da-nim u an-tum iš-pu-ru-in-ni
Whom should I send to Belit-seri?
man-nu lu-uš-pur a-na dbe-lit sêri
In the mouth of my warlock and my witch stuff a gag!
ana pî lúkaššapi-ia5 u fkaššapti-ia5 i-di-i hur-gul-li
55. Through the incantation of the sage of the gods, Marduk!
55. i-di-i šipat-su šá apqal ilimeš dmarduk
They should call you, but do not answer them;
lil-sa-ki-ma la tap-pa-li-ši-na-a-ti
They should address you, but do not listen to them.
liq-ba-nik-ki-ma la ta-šim-me-ši-na-a-ti
Should I call you, answer me;
lu-ul-si-ki-ma a-pu-ul-in-ni
Should I address you, listen to me,
lu-qu-ba-ki-ma ši-min-ni ia-a-ti
60. To the order that Anu, Antu and Belet-seri have given! Incantation formula.
60. ina qí-bit iq-bu-u da-nim an-tum u dbe-lit sêri TU6.ÉN

Incantation. I am sent, I go; I am ordered, I speak;
ÉN šap-ra-ku al-lak ‘-ú-ra-ku a-dib-bu-ub
Against my warlock and witch Asarluhi, the master of the art of incantations, has sent me.
a-na li-it lúkaššapi-ia5 u fkaššapti-ia5 dasar-lú-du10 bêl a-ši-pu-ti iš-pur-an-ni
Be aware of what is in the sky! Take notice what is on the Earth!
šá šamê qu-la šá irsitimtim ši-ma-a
Be aware of what is in the river! Take notice of the word of what is on the land!
šá nâri qu-la-ni šá na-ba-li ši-ma-a amât-su
65. Wind that is the carrier of the stick and hammer, strike it!
65. šaru na-zi-qu tur-ru-uk e tal-lik
The image of the stick is broken, strike it!
šá gišhatti u gišmar-te-e tur-ru-uk e tal-lak
Let them stand on the way of the daughter of the great gods,
li-iz-zi-iz har-ra-an mârat ilimeš ra-butimeš
Until I speak the word of my warlock and my witch.
a-di a-mat lúkaššapi-ia5 u fkaššapti-ia5 a-qab-bu-ú
The lamb will free! The sheep will free!
šu’u i-pa-áš-šar immeru i-pa-áš-šar
70. Their word may be loosed, but my word will not be loosed.
70. a-mat-su-nu lip-pa-šir-ma a-ma-ti la ip-pa-áš-šar
The word that I speak, their word cannot impede it!
a-mat a-qab-bu-ú a-mat-su-nu ana pân amâti-ia5 lâ iparrik
Upon the order of Asarluhi, the master of the art of incantations! Incantation formula.
ina qi-bit dasari-lú-du10 bêl a-ši-pu-ti TU6.ÉN

Incantation. O Nusku, these images of my sorcerer,
ÉN dnusku an-nu-tum salmânimeš e-piš-ia5
These images of my sorceress;
an-nu-ti salmânimeš e-piš-ti-ia5
75. These images of my warlock and my witch,
75. salmânimeš lúkaššapi-ia5 u fkaššapti-ia5
These images of my enchanter and my enchantress,
salmânimeš e-piš-ia5 u muš-te-piš-ti-ia5
These images of my stupefier and my stupefyress,
salmânimeš sa-hir-ia5 u sa-hir-ti-ia5
These images of my bewitcher and my bewitchress,
salmânimeš ra-hi-ia5 u ra-hi-ti-ia5
These images of my lord opponent and my lady opponent,
salmânimeš bêl ik-ki-ia5 u bêlit ik-ki-ia5
80. These images of my lord enemy and my lady enemy,
80. salmânimeš bêl sir-ri-ia5 u bêlit sir-ri-ia5
These images of my lord persecutor and my lady persecutor,
salmânimeš bêl ri-di-ia5 u bêlit ri-di-ia5
These images of my lord accuser and my lady accuser,
salmânimeš bêl di-ni-ia5 u bêlit di-ni-ia5
These images of my lord slanderer and my lady slanderer,
salmânimeš bêl amâti-ia5 u bêlit amâti-ia5
These images of my lord detractor and my lady detractor,
salmânimeš bêl daba-bi-ia5 u bêlit daba-bi-ia5
85. These images of my lord nemesis and my lady nemesis,
85. salmânimeš bêl egirri-ia5 u bêlit egirri-ia5
These images of my lord evil-doer and my lady evil-doer,
salmânimeš bêl limutti-ia5 u bêlit limut-ti-ia5
Judge Nusku, you know them, I do not know them,
dnusku da-a-a-nu tidu-šú-nu-ti-ma ana-ku la i-du-šú-nu-ti
Their trick, magic, spell, evil plotting,
šá kiš-pu ru-hu-u ru-su-u up-šá-še-e lim-nu-ti
Sorcery, pressure, evil word, love, hate,
ip-šá bar-tum a-mat li-mut-ti râmu zêru
90. Fact-twisting, murder, paralysis of the mouth,
90. dipalaa zitarrutâa kadibbidâa kúš-hunga
Change of heart, glowing of face, folly,
šabalbalâa su-ud pa-ni ša-ni-e tè-mu
Everything that exists, everything they have drawn to them,
ma-la ibšu-u-ni is-hu-ru-ni u-šá-as-hi-ru-ni
These are they; these are their images,
an-nu-tum šú-nu an-nu-ti salmânimeš-šu-nu
Because they cannot stand for themselves, I lift them toward you.
kima šu-nu la iz-za-az-zu salmânimeš-šu-nu na-šá-ku
95. You, Nusku, judge, who catches the bad and the enemies, catch them before I am destroyed!
95. at-ta dnusku daiânu ka-šid lim-nu u a-a-bi kušus-su-nu-ti-ma ana-ku la ah-hab-bil
Those that made my images, have imitated my shape,
šá salmânimeš-ia5 ib-nu-u bu-un-na-an-ni-ia5 ú-maš-ši-lu4
They attack my face, they tied my neck,
pani-ia5 ú-sab-bi-tú kišâdi-ia5 ú-tar-ri-ru
They hit my breast, they bent my back,
irti-ia5 id-i-bu esemti-ia5 ik-pu-pu
They made my arms weak, they robbed my virility,
a-hi-ia5 un-ni-šu ni-iš lib-bi-ia5 is-ba-tu
100. They made the heart of god angry with me, they weakened my strength,
100. lib-bi ilimeš itti-ia5 ú-za-an-nu-ú emûqi-ia5 un-ni-šu
They shook the strength away from my arms, they bound my knees with paralysis,
li-it a-hi-ia5 iš-pu-ku bir-ki-ia5 ik-su-ú
They filled me with fainting,
man-ga lu-‘-tú ú-mal-lu-in-ni
They let me eat cursed food,
akâlemeš kaš-šá-pu-ti ú-šá-ki-lu-in-ni
They let me drink cursed water,
mêmeš kaš-šá-pu-ti iš-qu-in-ni
105. They washed me with dirty water,
105. rim-ki lu-‘-ti ú-ra-me-ku-in-ni
They smeared me with the juice of bad weeds,
nap-šal-ti šam-me lim-nu-ti ip-šu-šu-in-ni
They mocked me like a dead person,
ana lúmiti i-hi-ru-in-ni
They put my life-essence in the grave,
mêmeš napištimtim-ia5 ina qab-rì uš-ni-lu
They made god, king, master and prince angry with me;
ilu šarru bêlu u rubû it-ti-ia ú-za-an-nu-ú
110. You, O Girra who burns the warlock and witch,
110. at-ta dgira qa-mu-ú lúkaššapu u fkaššaptu
Who kills the bad offspring of warlock and witch,
mu-hal-liq rag-gi zêr lúkaššapi u fkaš-šapti
Who destroys the bad people; that is you!
mu-ab-bit lim-nu-ti at-ta-ma
I have called on you, like Šamaš the judge,
ana-ku al-si-ka ki-ma dšamaš daiânu
Right me, make my decision!
di-i-ni di-ni purussâ-ai purusus
115. Burn the warlock and witch,
115. qu-mu lúkaššapu u fkaššaptu
Eat my enemies, consume the ones who wish me evil!
a-kul ai-bi-ia a-ru-uh lim-nu-ti-ia
May they catch your tempest!
ûm-ka iz-zu lik-šu-šu-nu-ti
May they find their end like sewer water!
ki-ma mêmeš nâdi ina ti-qi liq-tu-ú
May their fingers like those of stonemasons be cut off!
ki-ma ti-rik abnêmeš ubânâtimeš-šú-nu liq-ta-as-si-sú
120. Upon your majestic command, which does not change,
120. ina qi-bi-ti-ka sir-ti šá lâ innakaruru
And your promise, which does not waver! Incantation formula.
ù an-ni-ka ki-nim šá lâ innennuú TU.ÉN

Incantation. Mighty Nusku, offspring of Anu,
ÉN dnusku šur-bu-ú i-lit-ti da-nim
True image of your father, first born of Enlil,
tam-šil abi bu-kur den-lil
Offspring of the Apsu, product of the lord of Heaven and Earth,
tar-bit apsî bi-nu-ut dbêl šamêe irsitim
125. I picked up the torch, I have illuminated you,
125. áš-ši tipâra ú-nam-mir-ka ka-a-šá
The warlock who has cursed me; now curse him with the spell that he used on me!
lúkaššapu ik-šip-an-ni kiš-pi ik-šip-an-ni ki-šip-šú
The witch who has cursed me; now curse her with the spell that she used on me!
fkaššaptu tak-šip-an-ni kiš-pi tak-šip-an-ni ki-šip-ši
The sorcerer who has used sorcery on me; now use sorcery on him with the spell that he used on me!
e-pi-šu i-pu-šá-an-ni ip-šú i-pu-šá-an-ni e-pu-su
The sorceress who has used sorcery on me; now use sorcery on her with the spell that she used on me!
e-piš-tu te-pu-šá-an-ni ip-šú te-pu-šá-an-ni e-pu-si
130. The enchantress who has enchanted me; now enchant her with the spell that she used on me!
130. muš-te-piš-tu te-pu-šá-an-ni ip-šú te-pu-šá-an-ni e-pu-si
Who made these images in my image; who reproduced my shape;
šá salmânimeš ana pi-i salmânimeš-ia5 ib-nu-ú bu-un-na-an-ni-ia5 ú-maš-ši-lu
They took my saliva, they ripped my hair,
ru’ti-ia5 il-qu-ú šârti-ia5 im-lu-su
They cut off the hem of my robe, and took the earth from where my feet fell.
sissikti-ia5 ib-tu-qu e-ti-qu epirhi.a šêpê-ia5 is-bu-su
O Girra, the hero, undo their incantation! Incantation formula.
dgira qar-du šipat-su-nu li-pa-áš-šir TU6.ÉN

135. Incantation. I raise up the torch and burn the figures,
135. ÉN anašiši ti-pa-ru salmânimeš-šú-nu a-qal-lu
Of the Utukku, the Šedu, the Rabisu, the Etemmu,
šá ú-tuk-ku še-e-du ra-bi-su e-tim-mu
The Lamaštu, the Labasu, the Ahhazu,
la-maš-ti la-ba-si ah-ha-zu
The Lilu, the Lilitu, the Ardat Lili,
lúlilu flilitu ardat lili
And any evil that seizes humanity;
ù mimma lim-nu mu-sab-bi-tu a-me-lu-ti
140. Dissolve, melt, drip ever away!
140. hu-la zu-ba u i-ta-at-tu-ka
May your smoke rise ever skyward,
qu-tur-ku-nu li-tel-li šamê
May the sun extinguish your embers!
la-‘-mi-ku-nu li-bal-li dšamši
May the son of Ea, the magus, extinguish your emanations! Incantation formula.
lip-ru-us ha-a-a-ta-ku-nu mâr dé-a maš-mašu TU6.ÉN

Incantation. Mighty Nusku, counsellor of the great gods!
ÉN dnusku šur-bu-ú ma-lik ilimeš rabû-timeš
145. Tablet I of Maqlu.
145. tuppu Ikam ma-aq-lu-ú

Jinn Physics

jinn1

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Can the jinn be explained in terms of our current knowledge of basic physics? Twenty years ago, in an article called ‘Jinn from a Scientific (?) Viewpoint’, UFO writer Chris Line made a (for some, surprisingly level-headed) case that they can.

His theory is that the jinn are ‘beings which dwell on a parallel level to man, but due to their existing at a different vibratory rate, they are not normally visible to us or detectable by us.’ Despite the fact that jinn are usually invisible, when they materialize, an energy change results – one that scientists can theoretically measure in the electromagnetic spectrum.

Line’s starting point is Islamic tradition, in particular the Qur’an, which contains information of a metaphysical nature, some of which deals with the jinn. As we have seen, the jinn are described as having ‘bodies of essential flame’, ‘smokeless flame’, or ‘smokeless fire’.

Line proposes that jinn’s bodies radiate energy from the infrared part of the spectrum. Angels, meanwhile, are described in the Qur’an as having ‘bodies of light’. Since angels are generally presumed to be invisible to humans, Line suggests that angels’ bodies are made of an invisible energy from the opposite end of the spectrum – that is, the ultraviolet.

Microwave radiation is found just below infrared in the electromagnetic spectrum. Line’s theory suggests that man’s release of microwaves into the Earth’s atmosphere may well disrupt or disturb the bodies of the jinn and/or the medium in which they live.

Islamic tradition maintains that jinn can materialize or vanish at will. According to Line, this suggests one of three things:

1 The jinn are able to control the matter that we call ‘everyday reality’,
2. They possess control over certain aspects of the human psyche and can create in people’s minds the subjective experience of matter; or
3. They can create external and very realistic illusions in the same manner that our technology creates holograms. (This last suggestion may include the first.)

Various researchers on the cutting edge of quantum physics, such as the Australian physicist Paul Davies, and in borderline medicine, such as biologist and human aura scanner Harry Old field, have speculated about the possible existence of some kind of blueprint for physical beings and objects – perhaps an electromagnetic lattice or hologram that in effect instructs each atom or molecule what to do and where to go.

Such speculation arises quite naturally because man’s present scientific knowledge is inadequate to explain the high degree of specialization exhibited by many atoms, molecules and biological cells.

Chris Line hypothesises that the jinn are able to construct and destroy these electromagnetic blueprints. He also proposes that these lattices attract, from the surrounding environment, the minerals, gases and other substances required to make up physical forms. When the blueprint is removed or destroyed, the physical form disintegrates.

In ascribing intelligent behaviour to the jinn, Line believes that these beings function on at least two levels: (1) in a system of electromagnetic energy, and (2) as a finer, psychic energy. The first level might be the equivalent of the concept of the ‘etheric’ in the Western mystery tradition – the lowest level of the human energy field or ‘aura’. The second might be the same as what this same tradition calls ‘astral’ or higher-level energy, he says.

Line says he conducted an investigation of the Earth’s atmosphere and its practical structure, based on the hypothesis that there are various different planes in the unseen world surrounding the Earth and that these planes might be connected with electromagnetic energy.

High-energy radiation from the Sun and beyond, such as cosmic rays, penetrate the Earth’s atmosphere and get absorbed by the planet, to be re-emitted as infrared radiation, thus producing most of the warmth we experience. Reflected downward by clouds and by the ionosphere and ozone layer, the infrared radiation is restricted to the lower part of the atmosphere.

Lower-frequency infrared penetrates deep into the Earth. ‘Consequently,’ Line proposes, ‘if a being had a body of low-frequency infrared, it could live deep down inside the Earth, interpenetrating what we consider to be solid materiality.’

Considering that angels are believed to possess bodies of light – corresponding to the lighter or finer end of the spectrum, the ultraviolet – one may be able to explain the age-old tradition that angels live ‘in the clouds’, that is, up above the ozone layer where ultraviolet prevails.

Line concludes,

The tradition that unseen beings originate from diff erent areas within the etheric (i.e., dense etheric) may be explained by variations in frequency of infrared: i.e., dense etheric around 1012 Hz and finer etheric nearer 1014 Hz, which would seem to imply that there should be a corresponding frequency gradient through the lower part of the atmosphere, the frequency rising with the height above the Earth’s surface.

He concedes that this hypothesis remains unproven.

* * *
Another scientifi c perspective on the nature of jinn is provided by Professor Ibrahim B. Syed, an American Muslim born in India who teaches nuclear medicine at the University of Louisville in Kentucky. Syed, who also heads the Islamic Research Foundation of Louisville, earned his doctorate in radiological sciences from Johns Hopkins University.

Syed points to the incredibly hot temperatures inside stars such as our Sun, where we find the state of matter called plasma – free-moving electrons and ions, or atoms separated from their electrons. Here, Syed suggests, may be where jinn are born. ‘Plasma could be interpreted as the smokeless Fire described in the Quran,’ he says.

Scientists have long speculated about the existence of life forms in stellar plasma. Some have called such life forms ‘plasma beasts’. Syed contends, Plasma beasts can be construed as nothing but the Jinns. Life on Earth is called Chemical life, whereas the life in the Plasma of the Sun is based on Physical life. In the Plasma, the positively charged ions and the freely floating electrons (negative ions) are both acted on by intense magnetic forces present in the sun (star). The Jinns are interpreted to be composed of patterns of magnetic force, together with groups of moving charges in a kind of symbiosis.

Syed postulates a complex existence for the inhabitants of ‘plasma land’, or the jinn, involving both charges and magnetic forces. ‘The positive and negative ions interact and respond to the presence of magnetic forces,’ he says.

The stable structure and movement of the Jinns is influenced by the magnetic forces. In physics we know that the moving charges influence the motion of these electrical charges or ions. This situation is similar to the influence of proteins and nucleic acids in Earth life. Finally these processes result in a favored form. For this to take place supply of free energy is required which is obtained from the fl ow of radiation within the sun. Therefore the Jinn can be construed to use radiant energy in their vital processes.

The notion that jinn may be plasma life forms has also been advanced by writer-researcher Jay Alfred, author of Our Invisible Bodies: Scientific Evidence for Subtle Bodies and other books. Echoing Chris Line’s theory, Alfred says that as plasma creatures, jinn ‘exist at a different “vibratory rate” or “energy level” and, therefore, are not normally visible or detectable by us,’ he says. ‘In other words, they can be said to be living in a parallel world which interpenetrates our own.’

Alfred believes that most jinn have difficulty seeing humans clearly – that people appear to them as ‘blurred images’. Some jinn can see humans more clearly than others and are the equivalent of psychics in their parallel world. Most jinn would probably regard humans as ‘ghosts’ living as we do in a parallel Earth.

As seen previously, Alfred says that it is clear from descriptions in the Qur’an that jinn, like humans, must be organised into different  religions – Muslims, Christians, Jews and others – and have their own mosques, churches and temples. ‘In other words,’ he adds, ‘jinns operate in societies, communities and within political systems and are startlingly similar to humans. Their plasma-based civilization has probably a longer history than ours.’

Plasma life forms would be electromagnetic, employing magnetic fields to form structures and electric fields as ‘agents of transport’ much as water serves as an agent of transport for carbon-based life forms. Alfred asserts that, similar to biological cells in the human body, complex plasma can exist in a liquid-crystal state. ‘Particles in a
liquid-crystal phase are free to move about in much the same way as in a liquid,’ he explains, ‘but as they do so they remain oriented in a certain direction. This feature may make it superior to water in its ability to support life in a higher energy location or universe.’

While the human carbon-based body has a brain composed of billions of neurons and neural networks that can encode vast quantities of information, the jinn’s bioplasma body may possess sophisticated holographic memory systems that employ plasma liquid crystal.

‘If we strip away the folklore and superstitions that have mired the study of the jinns through more than a millennium we will see that there is probably a kernel of truth that can be extracted from the literature to establish jinns as one category of plasma life forms,’ Alfred concludes.

The physics of the jinn phenomenon is a topic not just for fringe science publications. In 2006, The Economist sent a correspondent to Somalia and Afghanistan in search of information on the jinn phenomenon, including its possible scientific basis. Among other things, the reporter found the following:

A Parallel Universe

Islam teaches that jinn resemble men in many ways: they have free will, are mortal, face judgement and fill hell together. Jinn and men marry, have children, eat, play, sleep and husband their own animals. Islamic scholars are in disagreement over whether jinn are physical or insubstantial in their bodies. Some clerics have described jinn as bestial, giant, hideous, hairy, ursine. Supposed yeti sightings in Pakistan’s Chitral are believed by locals to be of jinn. These kinds of jinn can be killed with date or plum stones fired from a sling.

But to more scholarly clerics jinn are little more than an energy, a pulse form of quantum physics perhaps, alive at the margins of sleep or madness, and more often in the whispering of a single unwelcome thought. An extension of this electric description of jinn is that they are not beings at all but thoughts that were in the world before the existence of man. Jinn reflect the sensibilities of those imagining them, just as in Assyrian times they were taken to be the spirits responsible for manias, who melted into the light at dawn.

On the Term and Concept of Jinn

Jinn_of_Infinite_Eyes

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In order to grasp the purport of the term jinn as used in the Qur’an, we must dissociate our minds from the meaning given to it in Arabian folklore, where it early came to denote all manner of ‘demons’ in the most popular sense of this word. This folkloristic image has somewhat obscured the original connotation of the term and its highly
significant – almost self-explanatory – verbal derivation. The root verb is janna, ‘he [or ‘it’] concealed’ or ‘covered with darkness’: cf. 6:76, which speaks of Abraham ‘when the night over shadowed him with its darkness (janna ‘alayhi)’. Since this verb is also used in the intransitive sense (‘he [or ‘it’] was [or ‘became’] concealed’, resp. ‘covered with darkness’), all classical philologists point out that al-jinn signifies ‘intense [or ‘confusing’] darkness’ and, in a more general sense, ‘that which is concealed from [man’s] senses’, i.e., things, beings, or forces which cannot normally be perceived by man but have, nevertheless, an objective reality, whether concrete or abstract, of their own.

In the usage of the Qur’an, which is certainly different from the usage of primitive folklore, the term jinn has several distinct meanings. The most commonly encountered is that of spiritual forces or beings which, precisely because they have no corporeal existence, are beyond the perception of our corporeal senses: a connotation which includes ‘satans’ and ‘satanic forces’ (shayatin) as well as ‘angels’ and ‘angelic forces’, since all of them are ‘concealed from our senses’ (Jawhari, Raghib). In order to make it quite evident that these invisible manifestations are not of a corporeal nature, the Qur’an states parabolically that the jinn were created out of ‘the fire of scorching winds’ (nar as-samum, in 15:27), or out of ‘a confusing flame of fire’ (marij min nar, in 55:15), or simply ‘out of fi re’ (7:12 and 38:76, in these last two instances referring to the Fallen Angel, Iblis). Parallel with this, we have authentic ahadith [recorded traditions] to the effect that the Prophet spoke of the angels as having been ‘created out of light’ (khuliqat min nur: Muslim, on the authority of ‘A’ishah) – light and fire being akin, and likely to manifest themselves within and through one another.

The term jinn is also applied to a wide range of phenomena which, according to most of the classical commentators, indicate certain sentient organisms of so fine a nature and of a physiological composition so different from our own that they are not normally accessible to our sense-perception. We know, of course, very little as to what can and what cannot play the role of a living organism; moreover, our inability to discern and observe such phenomena is by no means a sufficient justification for a denial of their existence. The Qur’an refers often to ‘the realm which is beyond the reach of human perception’ (al-ghayb), while God is frequently spoken of as ‘the Sustainer of all the worlds’ (rabb al-‘alamin): and the use of the plural clearly indicates that side by side with the ‘world’ open to our observation there are other ‘worlds’ as well – and, therefore, other forms of life, different from ours and presumably from one another, and yet subtly interacting and perhaps even permeating one another in a manner beyond our ken.

And if we assume, as we must, that there are living organisms whose biological premises are entirely different from our own, it is only logical to assume that our physical senses can establish contact with them only under very exceptional circumstances: hence the description of them as ‘invisible beings’. Now that occasional, very rare crossing of paths between their life-mode and ours may well give rise to strange – because unexplainable – manifestations, which man’s primitive fantasy has subsequently interpreted as ghosts, demons and other such ‘ supernatural’ apparitions.

Occasionally, the term jinn is used in the Qur’an to denote those elemental forces of nature – including human nature – which are ‘concealed from our senses’ inasmuch as they manifest themselves to us only in their eff ects but not in their intrinsic reality. Instances of this connotation are found, e.g., in 37:158 ff . (and possibly also in 6:100), as
well as in the earliest occurrence of this concept, namely, in 114:6.

Apart from this, it is quite probable that in many instances where the Qur’an refers to jinn in terms usually applied to organisms endowed with reason, this expression either implies a symbolic ‘personification’ of man’s relationship with ‘satanic forces’ (shayatin) – an implication evident, e.g., in 6:112, 7:38, 11:119, 32:13 – or, alternatively, is a
metonym for a person’s preoccupation with what is loosely described as ‘occult powers’, whether real or illusory, as well as for the resulting practices as such, like sorcery, necromancy, astrology, soothsaying, etc.: endeavours to which the Qur’an invariably refers in condemnatory terms (cf. 2:102; also 6:128 and 130, or 72:5–6).

In a few instances (e.g., in 46:29–32 and 72:1–15) the term jinn may conceivably denote beings not invisible in and by themselves but, rather, ‘hitherto unseen beings’.
Finally, references to jinn are sometimes meant to recall certain legends deeply embedded in the consciousness of the people to whom the Qur’an was addressed in the first instance (e.g., in 34:12–14) – the purpose being, in every instance, not the legend as such but the illustration of a moral or spiritual truth.

On the Jinn, or Genii

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The Muslims, in general, believe in three different species of created intelligent beings; namely, Angels, who are created of light; Genii, who are created of fi re; and Men, created of earth. The fi rst species are called ‘Meláïkeh’ (sing. ‘Melek’); the second, ‘Jinn’ or ‘Ginn’ (sing. ‘Jinnee’ or ‘Ginnee’); the third, ‘Ins’ (sing. ‘Insee’). Some hold that the
Devils (Sheytáns) are of a species distinct from Angels and Jinn; but the more prevailing opinion, and that which rests on the highest authority, is that they are rebellious Jinn … .

The species of Jinn is said to have been created some thousands of years before Adam. According to a tradition from the Prophet, this species consists of five orders or classes; namely, Jánn (who are the least powerful of all), Jinn, Sheytáns (or Devils), ‘Efreets, and Márids. The last, it is added, are the most powerful; and the Jánn are transformed Jinn; like as certain apes and swine were transformed men (Kur-án 5:65). It must however, be remarked here, that the terms Jinn and Jánn are generally used
indiscriminately, as names of the whole species (including the other orders above mentioned) whether good or bad; and that the former term is the more common. Also, that ‘Sheytán’ is commonly used to signify any evil Jinnee. An ‘Efreet is a powerful evil Jinnee: a Márid, an evil Jinnee of the most powerful class. The Jinn (but generally speaking, evil ones) are called by the Persians ‘Deevs’; the most powerful evil, ‘Narahs’ (which signifies ‘males’, though they are said to be males and females); the good Jinn, ‘Perees’; though this term more commonly applies to females.

In a tradition from the Prophet, it is said, ‘The Jánn were created of a smokeless fire.’ The word which signifies ‘a smokeless fire’ has been misunderstood by some as meaning ‘the flame of fire’: El-Jóharee (in the Seháh) renders it rightly; and says that of this fire was the Sheytán (Iblees) created. ‘El-Jánn’ is sometimes used as a name for Iblees; as in the following verse of the Kur-án: – ‘And the Jánn [the father of the Jinn, i.e. Iblees] we had created before [i.e. before the creation of Adam] of the fire of the samoom [i.e. of the fire without smoke].’ ‘Jánn’ also signifies ‘a serpent’; as in other passages of the Kur-án; and is used in the same book as synonymous with ‘Jinn’. In the last sense it is generally believed to be used in the tradition quoted in the commencement of this paragraph. There are several apparently contradictory traditions from the Prophet which
are reconciled by what has been above stated: in one, it is said, that Iblees was the father of all the Jánn and Sheytáns; Jánn being here synonymous with Jinn: in another, that Jánn was the father of all the Jinn; here, Jánn being used as the name of Iblees.

‘It is held,’ says El-Kazweenee, that the Jinn are aerial animals, with transparent bodies, which can assume various forms. People diff er in opinion respecting these beings: some consider the Jinn and Sheytáns as unruly men; but these persons are of the Moatezileh [a sect of Muslim freethinkers]: and some hold, that God, whose name be exalted, created the Angels of the light of fi re, and the Jinn of its fl ame [but this is at variance with the general opinion] and the Sheytáns of its smoke [which is also at variance with the common opinion]; and that [all] these kinds of beings are [usually] invisible to men, but that they assume what forms they please, and when their form becomes condensed they are visible.

– This last remark illustrates several descriptions of Jinnees in this work; where the form of the monster is at first undefined, or like an enormous pillar, and then gradually assumes a human shape and less gigantic size. The particular forms of brutes, reptiles, &c., in which the Jinn most frequently appear will be mentioned hereafter.

It is said that God created the Jánn [or Jinn] two thousand years before Adam [or, according to some writers, much earlier]; and that there are believers and infidels and every sect among them, as among men. Some say that a prophet, named Yoosuf, was sent to the Jinn: others, that they had only preachers, or admonishers: others, again, that seventy apostles were sent, before Mohammed, to Jinn and men conjointly.

It is commonly believed that preadamite Jinn were governed by forty (or, according to some, seventy-two) kings, to each of which the Arab writers give the name of Suleymán (or Solomon); and that they derive their appellation from the last of these, who was called Jánn Ibn- Jánn, and who, some say, built the pyramids of Egypt. The following account of the preadamite Jinn is given by El-Kazweenee.

It is related in histories, that a race of Jinn, in ancient times, before the creation of Adam, inhabited the earth and covered it, the land and the sea, and the plains and the mountains; and the favors of God were multiplied upon them, and they had government, and prophecy, and religion, and law; but they transgressed and offended, and opposed their prophets, and made wickedness to abound in the earth; whereupon, God, whose name be exalted, sent against them an army of Angels, who took possession of the earth, and drove away the Jinn to the regions of the islands, and made many of them prisoners; and of those who were made prisoners was ‘Azázeel [afterwards called Iblees, from his despair]; and a slaughter was made among them. At that time, ‘Azázeel was young: he grew up among the Angels [and probably for that reason was called one
of them], and became learned in their knowledge, and assumed the government of them; and his days were prolonged until he became their chief; and thus it continued for a long time, until the aff air between him and Adam happened, as God, whose name be exalted, hath said, ‘When we said unto the Angels, Worship ye Adam, and
[all] worshipped except Iblees, [who] was [one] of the Jinn.’

‘Iblees,’ we are told by another authority, ‘was sent as a governor upon the earth, and judged among the Jinn a thousand years, after which he ascended into heaven, and remained employed in worship until the creation of Adam.’ The name of Iblees was originally, according to some,  ‘Azázeel (as before mentioned; and according to others, El-Hárith: his patronymic is Aboo-Murrah, or Abu-l-Ghimr. It is disputed whether he was of the Angels or of the Jinn. There are three opinions on this point.

1. That he was of the Angels, from a tradition from Ibn-‘Abbás.
2. That he was of the Sheytáns (or evil Jinn); as it is said in the Ku-rán, ‘except Iblees, [who] was [one] of the Jinn’: this was the opinion of El-Hasan El-Basree, and is that commonly held.
3. That he was neither of the Angels nor of the Jinn; but created alone, of fire.

Ibn-‘Abbás founds his opinion on the same text from which El-Hasan El-Basree derives his: ‘When we said unto the Angels, Worship ye Adam, and [all] worshipped except Iblees, [who] was [one] of the Jinn’ (before quoted: which he explains by saying, that the most noble and honourable among the Angels are called ‘the Jinn’, because they are
veiled from the eyes of the other Angels on account of their superiority; and that Iblees was one of these Jinn. He adds, that he had the government of the lowest heaven and of the earth, and was called the Táoos (literally, Peacock) of the Angels; and that there was not a spot in the lowest heaven but he had prostrated himself upon it: but when the Jinn rebelled upon the earth, God sent a troop of Angels who drove them to the islands and mountains; and Iblees being elated with pride, and refusing to prostrate himself before Adam, God transformed him into a Sheytán. – But this reasoning is opposed by other verses, in which Iblees is represented as saying, ‘Thou hast created me of fire, and hast created him [Adam] of earth.’ It is therefore argued, ‘If he were created originally of fi re, how was he created of light? For the Angels were [all] created of light.’

The former verse may be explained by the tradition, that Iblees, having been taken captive, was exalted among the Angels; or perhaps there is an ellipsis after the word ‘Angels’; for it might be inferred that the command given to the Angels was also (and à fortiori) to be obeyed by the Jinn.

According to a tradition, Iblees and all the Sheytáns are distinguished from the other Jinn by a longer existence. ‘The Sheytáns,’ it is  added, ‘are the children of Iblees, and die not but with him: whereas the [other] Jinn die before him’; though they may live many centuries.

But this is not altogether accordant with the popular belief: Iblees and many other evil Jinn are to survive mankind; but they are to die before the general resurrection; as also even the Angels; the last of whom will be the Angel of Death, ‘Azraeel: yet not all the evil Jinn are to live thus long: many of them are killed by shooting stars, hurled at them from heaven; wherefore, the Arabs, when they see a shooting star (shiháb), often exclaim, ‘May God transfi x the enemy of the faith!’

Many also are killed by other Jinn; and some, even by men. The fire of which the Jinnee is created circulates in his veins, in place of blood: therefore, when he receives a mortal wound, this fi re, issuing from his veins, generally consumes him to ashes.

The Jinn, it has been already shown, are peccable. They also eat and drink, and propagate their species, sometimes in conjunction with human beings; in which latter case, the off spring partakes of the nature of both parents. In all these respects they diff er from the Angels. Among the evil Jinn are distinguished the five sons of their chief, Iblees; namely, Teer, who brings about calamities, losses, and injuries; El-Aawar, who encourages debauchery; Sót, who suggests lies, Dásim, who causes hatred between
man and wife; and Zelemboor, who presides over places of traffic.

The most common forms and habitations or places of resort of the Jinn must now be described.
The following traditions from the Prophet are the most to the purpose that I have seen.

• The Jinn are of various shapes; having the forms of serpents, scorpions, lions, wolves, jackals, &c.
• The Jinn are of three kinds; one on the land; one in the sea; and one in the air. The Jinn consist of forty troops; each troop consisting of six hundred thousand.
• The Jinn are of three kinds; one have wings, and fl y; another are snakes, and dogs; and the third move about from place to place like men. – Domestic snakes are asserted to be Jinn on the same authority.

The Prophet ordered his followers to kill serpents and scorpions if they intruded at prayers; but on other occasions, he seems to have required first to admonish them to depart, and then, if they remained, to kill them. The Doctors, however, diff er in opinion whether all kinds of snakes or serpents should be admonished first; or whether any should; for the Prophet, say they, took a covenant of the Jinn [probably after the above-mentioned command], that they should not enter the houses of the faithful: therefore, it is argued, if they enter, they break their covenant, and it becomes lawful to kill them without previous admonishment. Yet it is related that ‘Áïsheh, the Prophet’s wife, having killed a serpent in her chamber, was alarmed by a dream, and, fearing that it might have been a Muslim Jinnee, as it did not enter her chamber when she was undressed, gave in alms, as an expiation, twelve thousand dirhems (about £300), the price of the blood of a Muslim.

The Jinn are said to appear to mankind most commonly in the shapes of serpents, dogs, cats or human beings. In the last case, they are sometimes of the stature of men, and sometimes of a size enormously gigantic. If good, they are generally resplendently handsome: if evil, horribly hideous. They become invisible at pleasure (by a rapid extension or rarefaction of the particles which compose them), or suddenly disappear in the earth or air, or through a solid wall. Many Muslims in the present day profess to have seen and held intercourse with them.

The Zóba’ah, which is a whirlwind that raises the sand or dust in the form of a pillar of prodigious height, often seen sweeping across the deserts or fields, is believed to be caused by the flight of an evil Jinnee. To defend themselves from a Jinnee thus ‘riding in the whirlwind’, the Arabs often exclaim ‘Iron! Iron!’ (Hadeed! Hadeed!), or, ‘Iron! Thou unlucky! (Hadeed! yá mashoom!), as the Jinn are supposed to have a great dread of that metal: or they exclaim, ‘God is most great!’ (Alláhu akbar!), A similar superstition prevails with respect to the water-spout at sea, as the reader may have discovered from the first instance of the description of a Jinnee in the present work, which occasions this note to be here inserted.

It is believed that the chief mode of the Jinn is in the mountains of Káf, which are supposed (as mentioned on a former occasion) to encompass the whole of our earth. But they are also believed to pervade the solid body of our earth, and the firmament; and to choose, as their principal places of resort, or of occasional abode, baths, wells, the latrina, ovens, ruined houses, market-places, the junctures of the roads, the sea, and rivers. The Arabs, therefore, when they pour water, &c., on the ground, or enter a bath, or let down a bucket into a well, or visit the latrina, and on various other occasions, say, ‘Permission!’ or ‘Permission, ye blessed!’ (Destoor! Or, Destoor yá mubarakeen!). –

The evil spirits (or evil Jinn), it is said, had liberty to enter any of the seven heavens till the birth of Jesus, when they were excluded from three of them: on the birth of Mohammed, they were forbidden the other four. They continue, however, to ascend to the confines of the lowest heaven, and there listening to the conversation of the Angels respecting things decreed by God, obtain knowledge of futurity, which they sometimes impart to men, who, by means of talismans, or certain invocations, make them to serve the purposes of magical performances. To this particular subject it will be necessary to revert.

What the Prophet said of Iblees, in the following tradition, applies to the evil Jinn over whom he presides: – His chief abode [among men] is the bath; his chief places of resort are the markets, and the junctures of roads; his food is whatever is killed without the name of God being pronounced over it; his drink, whatever is intoxicating; his muëddin,
the mizmár (a musical pipe; i.e. any musical instrument); his kur-án, poetry; his written character, the marks made in geomancy; his speech, falsehood; his snares are women.

That particular Jinnees presided over particular places, was an opinion of the early Arabs. It is said in the Kur-án, ‘And there were certain men who sought refuge with certain of the Jinn.’ In the commentary of the Jeláleyn, I fi nd the following remark on these words: – ‘When they halted, on their journey, in a place of fear, each man said, “I seek refuge with the lord of this place, from the mischief of his foolish ones!” ’

In illustration of this, I may insert the following tradition, translated from El-Kazweenee: – ‘It is related by a certain narrator of traditions, that he descended into a valley, with his sheep, and a wolf carried off a ewe from among them; and he arose, and raised his voice, and cried, “O inhabitant of the valley!” whereupon he heard a voice saying,
“O wolf, restore to him his sheep!” and the wolf came with the ewe, and left her, and departed.’ – The same opinion is held by the modern Arabs, though probably they do not use such an invocation. – A similar superstition, a relic of ancient Egyptian credulity, still prevails among the people of Cairo. It is believed that each quarter of the city has its peculiar guardian-genius, or Agathodæmon, which has the form of a serpent.

It has already been mentioned that some of the Jinn are Muslims; and others, infidels. The good Jinn acquit themselves of imperative duties of religion; namely, prayers, alms-giving, fasting during the month of Ramadán, and pilgrimage to Mekkeh and Mount ‘Arafát: but in the performance of these duties they are generally invisible to human beings. Of the services and injuries done by Jinn to men, some account must be given.

It has been stated, that, by means of talismans, or certain invocations, men are said to obtain the services of Jinn; and the manner in which the latter are enabled to assist magicians, by imparting to them the knowledge of future events, has been explained. No man ever attained such absolute power over the Jinn as Suleymán Ibn-Dáood (Solomon, the Son of David). This he did by virtue of a most wonderful talisman, which is said to have come down to him from heaven. It was a seal-ring, upon which was engraved ‘the most great name’ of God; and was partly composed of brass, and partly of iron. With the brass he stamped his written commands to the good Jinn; with the iron (for a reason before mentioned), those to the evil Jinn, or Devils. Over both orders, he had unlimited power; as well as over the birds and the winds, and, as is generally said, the wild beasts. His Wezeer, Ásaf the son of Barkhiya, is also said to have been acquainted with ‘the most great name’, by uttering which, the greatest miracles may be performed; even that of raising the dead.

By virtue of this name, engraved in his ring, Suleymán compelled the Jinn to assist in building the Temple of Jerusalem, and in various other works. Many of the evil Jinn he converted to the true faith; and many others of this class, who remained obstinate in infidelity, he confined in prisons. He is said to have been monarch of the whole earth. Hence, perhaps, the name of Suleymán is given to the universal monarch of the preadamite Jinn; unless the story of his own universal dominion originated from confounding him with those kings of the Jinn.

The injuries related to have been inflicted upon human beings by evil Jinn are of various kinds. Jinnees are said to have often carried off beautiful women, whom they have forcibly kept as their wives or concubines. I have mentioned in a former work, that malicious or disturbed Jinnees are asserted often to station themselves on the roofs,
or at the windows, of houses, and to throw down bricks and stones on persons passing by. When they take possession of an uninhabited house, they seldom fail to persecute terribly any person who goes to reside in it. They are also very apt to pilfer provisions, &c. Many learned and devout persons, to secure their property from such depredations, repeat the words ‘In the name of God, the Compassionate, the Merciful!’ on locking the doors of their houses, rooms, or closets, and on covering the bread-basket, or anything containing food. During the month of Ramadán, the evil Jinn are believed to be confined in prison; and therefore, on the last night of that month, with the same view, women sometimes repeat the words above mentioned, and sprinkle salt upon the floors of the apartments of their houses. To complete this sketch of Arabian mythology, an account must be added of several creatures believed to be of inferior orders of the Jinn.

One of these is the Ghool, which is commonly regarded as a kind of Sheytán, or evil Jinnee, that eats men; and is described by some as a Jinnee or an enchanter who assumes various forms. The ghools are said to appear in the forms of various animals, and of human beings, and in many monstrous shapes; to haunt burial-grounds and other sequestered spots; to feed upon dead human bodies; and to kill and devour any human creature who has the misfortune to fall in their way: whence the term ‘Ghool’ is applied to any cannibal. An opinion quoted by a celebrated author, respecting the Ghool, is, that it is a demoniacal animal, which passes a solitary existence in the deserts, resembling both man and brute; that it appears to a person travelling alone in the night and in solitary places, and, being supposed by him to be itself a traveller, lures him out of his way. Another opinions stated by him is this: that, when the Sheytáns attempt to hear words by stealth [from the confines of the lowest heaven], they are struck by shooting stars; and some are burnt; some, falling into the sea, or rather a large river (bahr), become converted into crocodiles; and some, falling upon the land, become Ghools.

The same author adds the following tradition: – ‘The Ghool is any Jinnee that is opposed to travels, assuming various forms and appearances’; and affirms that several of the Companions of the Prophet saw Ghools in their travels; and that ‘Omar, among them, saw a Ghool while on a journey to Syria, before El-Islám, and struck it with his sword. – It appears that ‘Ghool’ is, properly speaking, a name only given to a female demon of the kind above described: the male is called ‘Kutrub’. It is said that these beings, and the Gheddár, or Gharrár, and other similar creatures which will presently be mentioned, are the off spring of Iblees and of a wife whom God created for him of the fi re of the Samoon (which here signifies, as an instance before mentioned, ‘a smokeless fire’); and that they sprang from an egg. The female Ghool, it is added, appears to men in the deserts, in various forms, converses with them, and sometimes prostitutes herself to them.

The Sealáh, or Saaláh, is another demoniacal creature, described by some [or rather, by most authors] as of the Jinn. It is said that it is mostly found in forests; and that when it captures a man, it makes him dance, and plays with him as the cat plays with the mouse. A man of Isfahán asserted that many beings of this kind abounded in his country;
that sometimes the wolf would hunt one of them by night, and devour it, and that, when it had seized it, the Sealáh would cry out, ‘Who will liberate me? I have a hundred deenárs, and he shall receive them!’ but the people knowing that it was the cry of the Sealáh, no one would liberate it; and so the wolf would eat it. – An island in the sea of Es-Seen (or China) is called ‘the Island of the Sealáh’, by Arab geographers, from its being said to be inhabited by the demons so named: they are described as creatures of hideous forms, supposed to be Sheytáns, the off spring of human beings and Jinn, who eat men.

The Ghaddár, or Gharrár (for its name is written differently in two different MSS. In my possession), is another creature of a similar nature, described as being found in the borders of El-Yemen, and sometimes in Tihámeh, and in the upper parts of Egypt. It is said that it entices a man to it, and either tortures him in a manner not to be described, or merely terrifies him, and leaves him.

The Delhán is also a demoniacal being, inhabiting the islands of the seas, having the form of a man, and riding on an ostrich. It eats the flesh of men whom the sea casts on the shore from wrecks. Some say that a Dalhán once attacked a ship in the sea, and desired to take the crew; but they contended with it; whereupon it uttered a cry which caused them to fall upon their faces, and it took them. – In my MS. Of Ibn-El-Wardee, I fi nd the name ‘Dahlán’. He mentions an island called by this name, in the Sea of ‘Omán; and describes its inhabitants as cannibal Sheytáns, like men in form, and riding on birds resembling ostriches.

The Shikk is another demoniacal creature, having the form of half a human being (like a man divided longitudinally); and it is believed that the Nesnás is the off spring of a Shikk and of a human being. The Shikk appears to travellers; and it was a demon of this kind who killed, and was killed by, ‘Alkameh, the son of Safwán, the son of Umeiyeh; of whom it is well known that he was killed by a Jinnee. So says El-Kazweenee.

The Nesnás (above mentioned) is described as resembling half a human being; having half a head, half a body, one arm, and one leg, with which it hops with much agility; as being found in the woods of El-Yemen; and that one was brought alive to El-Mutawekkil: it resembled a man in form, excepting that it had but half a face, which was in its breast, and a tail like that of a sheep. The people of Hadramót, it is added, eat it; and its flesh is sweet. It is only generated in their country. A man who went there asserted that he saw a captured Nesnás, which cried out for mercy, conjuring him by God and by himself. A race of people whose head is in the breast is described as inhabiting an island called Jábeh (supposed to be Java), in the Sea of El-Hind, or India. A kind of Nesnás is also described as inhabiting the Island of Ráïj, in the Sea of Es-Seen, or China, and having wings like those of the bat.

The Hátif is a being that is heard, but not seen; and is often mentioned by Arab writers. It is generally the communicator of some intelligence in the way of advice, or direction, or warning.

Lost ‘Epic of Gilgamesh’ Verse Depicts Cacophonous Abode of Gods

A serendipitous deal between a history museum and a smuggler has provided new insight into one of the most famous stories ever told: “The Epic of Gilgamesh.”

The new finding, a clay tablet, reveals a previously unknown “chapter” of the epic poem from ancient Mesopotamia. This new section brings both noise and color to a forest for the gods that was thought to be a quiet place in the work of literature. The new found verse also reveals details about the inner conflict the poem’s heroes endured.

In 2011, the Sulaymaniyah Museum in Slemani, in the Kurdistan region of Iraq, purchased a set of 80 to 90 clay tablets from a known smuggler. The museum has been engaging in these backroom dealings as a way to regain valuable artifacts that disappeared from Iraqi historical sites and museums since the start of the American-led invasion of that country, according to the online nonprofit publication Ancient History Et Cetera.

Among the various tablets purchased, one stood out to Farouk Al-Rawi, a professor in the Department of Languages and Cultures of the Near and Middle East at the School of Oriental and African Studies (SOAS) at the University of London. The large block of clay, etched with cuneiform writing, was still caked in mud when Al-Rawi advised the Sulaymaniyah Museum to purchase artifact for the agreed upon $800.

With the help of Andrew George, associate dean of languages and culture at SOAS and translator of “The Epic of Gilgamesh: A New Translation” (Penguin Classics, 2000), Al-Rawi translated the tablet in just five days. The clay artifact could date as far back to the old-Babylonian period (2003-1595 B.C.), according to the Sulaymaniyah Museum. However, Al-Rawi and George said they believe it’s a bit younger and was inscribed in the neo-Babylonian period (626-539 B.C.).

Al-Rawi and George soon discovered that the stolen tablet told a familiar story: the story of Gilgamesh, the protagonist of the ancient Babylonian tale, “The Epic of Gilgamesh,” which is widely regarded as the first-ever epic poem and the first great work of literature ever created. Because of the time period when the story was written, the tale was likely inscribed on “tablets,” with each tablet telling a different part of the story (kind of like modern chapters or verses).

What Al-Rawi and George translated is a formerly unknown portion of the fifth tablet, which tells the story of Gilgamesh, king of Uruk, and Enkidu (the wild man created by the gods to keep Gilgamesh in line) as they travel to the Cedar Forest (home of the gods) to defeat the ogre Humbaba.

The new tablet adds 20 previously unknown lines to the epic story, filling in some of the details about how the forest looked and sounded.

“The new tablet continues where other sources break off, and we learn that the Cedar Forest is no place of serene and quiet glades. It is full of noisy birds and cicadas, and monkeys scream and yell in the trees,” George said.

In a parody of courtly life, the monstrous Humbaba treats the cacophony of jungle noises as a kind of entertainment, “like King Louie in ‘The Jungle Book,'” George said. Such a vivid description of the natural landscapes is “very rare” in Babylonian narrative poetry, he added.

Other new found lines of the poem confirm details that are alluded to in other parts of the work. For example, it shows that Enkidu and Humbaba were childhood buddies and that, after killing the ogre, the story’s heroes feel a bit remorseful, at least for destroying the lovely forest.

“Gilgamesh and Enkidu cut down the cedar to take home to Babylonia, and the new text carries a line that seems to express Enkidu’s recognition that reducing the forest to a wasteland is a bad thing to have done, and will upset the gods,” George said. Like the description of the forest, this kind of ecological awareness is very rare in ancient poetry, he added.

The tablet, now mud-free and fully translated, is currently on display at the Sulaymaniyah Museum. A paper outlining Al-Rawi and George’s findings was published in 2014 in the Journal of Cuneiform Studies.

New Horizons For the Site

To all our online followers …. Been awhile since i’ve been on wordpress and lots has happened in that time. We started a big information site but its no longer there. But we have been round the clock on a native american indian shop. But now we are taking this site to that level as well. We here at the Covenant of Babylon will be hosting magical services to the world and a nice supply shop as well. So keep in touch for in the next few days we will be moving this page another.

Babylonian Harmonics

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In ancient Mesopotamia, music, mathematics, art, science, religion, and poetic fantasy were fused. Around 3000 B.C., the Sumerians simultaneously developed cuneiform writing, in which they recorded their pantheon, and a base-60 number system. Their gods were assigned numbers that encoded the primary ratios of music, with the gods’ functions corresponding to their numbers in acoustical theory. Thus the Sumerians created an extensive tonal/arithmetical model for the cosmos. In this far-reaching allegory, the physical world is known by analogy, and the gods give divinity not only to natural forces but also to a “supernatural,” intuitive understanding of mathematical patterns and psychological forces.

The cuneiform mathematical notation, invented by Sumer, was fully exploited by the virtuoso arithmetical calculations of Babylon, politically ascendant in the second millennium.

The notation employs few symbols, which are distributed in patterns easily understood by the eye. Thus, few demands are made on memory. In Mesopotamia, mythology took concrete form; for example, important activities of the gods can be read as “events” in a multiplication table notated as a matrix of Sumerian bricks. Classical Greece abstracted all of the rational tonal concepts embedded in this Sumerian/Babylonian allegory for 2000 years, simply waiting to be demythologized. Moreover, because the religious
mythologies of India, China, Babylon, Greece, Israel, and Europe use Sumerian sources and numerology, theology needs to be studied from a musicological perspective.

If science is conceived of as knowledge and philosophy as love of wisdom, then the invention of musical theory clearly is one of the greatest scientific and philosophical achievements of the ancient world. When, where, and how did it happen?

Assuming that Cro-Magnon man processed sound with the same biology we possess, humans have shared some fifty thousand years of similar auditory experiences. Musical theory as an acoustical science begins with the definition of intervals, the distance between pitches, by ratios of integers, or counting numbers, a discovery traditionally credited to Pythagoras in the 6th century B.C.

Not until the sixteenth century A.D., when Vincenzo Galilei (Galileo’s father, an accomplished musician) tried to repeat some of the experiments attributed to Pythagoras, was it learned that they were apocryphal, giving either the wrong answers or none at all. Today, as the gift of modem archaeological and linguistic studies, our awareness of cultures much older than that of Greece has been phenomenally increased; this permits us to set aside the tired inventions about Pythagoras and tell a more likely story, involving anonymous heroes in other lands.

My story is centered in Mesopotamia. It demonstrates how every element of Pythagorean tuning theory was implicit in the mathematics and mythology of that land for at least a thousand years, and perhaps two thousand, before Greek rationalists finally abstracted what we are willing to recognize as science from its long incubation within mythology.

What seems most astounding in ancient Mesopotamia is the total fusion of what we separate into subjects: music, mathematics, art, science, religion, and poetic fantasy. Such a fusion has never been equaled except by Plato, who inherited its forms. Socrates’ statement about the general principles of scientific studies in book 7 of Plato’s Republic, with the harmonical allegories that follow directly in books 8 and 9, guides my exposition here. The Mesopotamian prototypes to which they lead us fully justify Socrates’ treatment of his own tale as an “ancient Muses’ jest,” inherited from a glorious, lost civilization. Scholars who have become too unmusical to understand mankind’s share in divinity, as Plato feared might happen, still can lean on him for understanding, for all of his many writings about harmonics and music have survived. (I must suppress here, for reasons of space, the extensive harmonical allegories of the Jews, whose parallel forms infuse the Bible with related musical implication from the first page of Genesis to the last page of Revelation.)

Music was as important in ancient India, Egypt, and China as it was in Mesopotamia and Greece. All these cultures had similar mythic imagery emphasizing the same numbers, which are so important in defining musical intervals; this raises doubts about whether any people ever “invented” acoustical theory. For instance, in any culture that knows the harp as intimately as it was known in Egypt and Mesopotamia, its visible variety of string lengths and economy of materials (strings require careful and often onerous preparation) encourage builders, as a sheer survival strategy, to notice the correlation between a string’s length and its intended pitch.

Similarly, in China, where by 5000 B.C. the leg bones of large birds, equipped with tone holes appropriate for a scale, appear as paired flutes in ritual burials, the importance of suitable materials conditioned pipemakers to be alert to lengths. The basic ratios could have been discovered many times in many places, more likely by loving craftsmen and practitioners than by philosophers. Certainly, the discovery came no later than the 4th millennium B.C., before even the 1st Egyptian dynasty was founded or the Greeks had reached the Mediterranean shore.

A Newly Emerging Perspective

In the fourth millennium B.C., the Sumerians, a non-Semitic people of uncertain origin, developed a high civilization in Mesopotamia, now the southern part of Iraq. For reasons that have been vigorously argued but remain unclear, they developed a base-60 number system. Waiting to be recognized within it–and in ways obvious to any scribal adept, although invisible to the illiterate–were the main patterns of harmonical theory that appear later in India, Babylon, and Greece. Sumerian tombs of this early period yield a harvest of harps, lyres, and pipes, and the literature surviving on clay tablets abounds in elaborate hymns.

In the cuneiform writing of the Sumerians, which was invented concurrently with the base-60 number system, the pantheon of deities is rationalized by assigning to the high gods the base-60 numbers that, as we shall see, encode the primary ratios of music. The glyph, or symbol, for heaven or star, followed by the appropriate number, functions as a “god nickname.” (See fig. 1. The numerical values of the deities are given in Budge 1992.) The numbers reveal their significance in triangular arrays of pebble counters.

Furthermore, in the mythology of their religion, the responsibilities and behavior of the gods correspond with the functions of the god numbers in base-60 acoustics. Sumerian cosmology is grounded in the metaphorical copulation of the male A and female V numerical arrays, from which the Greek “holy tetraktys” is abstracted.

For example, the head of the pantheon and father of the gods is the sky god An (Anu), god 60, written in cuneiform as an oversize 1 sign (see fig. 5). Because base-60 numbers enjoy potentially endless place value meanings as multiples or submultiples of 60 (like the unit, 1, in decimal arithmetic), An = 60 (written as 1) functions as the center of the whole field of rational numbers. In mathematical language, An is its geometric mean, being the mean between any number and its reciprocal.

Anu/An, therefore, is essentially a do-nothing deity, as he was later accused of being-, a reference point, perfectly suited to represent simultaneously the middle band of the sky, the center of the number field, and the middle, reference tone (the Greek mese) in a tuning system. He was fated to be deposed by more active leaders among his children,
as harmonical logic focused more clearly on structure and sheer virtuosity in computation became subordinated to deeper mathematical insight.

Theology, from its birth as “rational discourse about the gods” and in many later cultures influenced by Sumer, is mathematical allegory with a deeply musical logic. Tuning theory today remains a fossil science with no change at all in its basic parameters–structured by the gods themselves in numerical guise–since it premiered in Sumer about 3300 B.C.

To glimpse this new vision requires that we lay aside our algebra, our computers, and our pride in rational superiority and represent numbers to ourselves as the ancients did: concretely. We must learn to do musical arithmetic with a handful of pebbles in a triangular matrix, as the Pythagoreans teach us, imitating the pattern of bricks in the Sumerian glyph for mountain.

Then, like Socrates, we must show ourselves the harmonical implications of that arithmetic with a circle in the sand, for that circle is the cosmos, viewed as endlessly cyclical, like the tones of the musical scale (fig. 2).

In what follows I am presenting Mesopotamian arithmetic as Plato still practiced it in the fourth century B.C., studying his mathematical allegories for clues to earlier examples. Plato is the last great harmonical mythographer of the European world; never again did a major philosopher so thoroughly ground his thinking in music.

In retrospect, decoding Sumerian-Platonic harmonics proves astonishingly simple. Anyone, even a child, who can count to ten and sing or play the scale can make self-evident the scale constructions that once modeled the cosmos.

Because 60 is integrally divisible by 2, 3, 4, 5, 6, 10, 12, 15, 20 and 30, base-60 arithmetic can correlate many subsystems, allowing fluent manipulation of fractions. This very early mastery of fractions ensured adequate arithmetical definition of pitch ratios–presumably as string-length ratios on early harps, approximate length ratios on the flutelike panpipes, or tone-hole ratios on the aulos–no matter how many tones are involved and whether pitch patterns rise or fall.

About 1800 B.C., the Babylonians became politically ascendant and reorganized the Sumerian pantheon, keeping its god numbers and related mathematical terminology. They developed base-60 computation to a level of arithmetical virtuosity not equaled in Europe until about A.D. 1600 and not understood in modern times until the middle of our own century (see Neugebauer 1957). Not until 1945, when Neugebauer and A. Sachs published the translation of cuneiform tablet YBC 7289 from the Yale collection, did the world learn that ancient Babylon (1800-1600 B.C.) possessed a base-60 formula for the square root of 2 accurate to five decimal places (1.41421+), or the formula for generating all Pythagorean triples (a triangle with sides of 3, 4, and 5 units is merely an example) a thousand years before Pythagoras explicated the first one.

The Greeks, still thinking in terms of Egyptian unit fractions (so that a descending whole tone of 8:9, for instance, was constructed by laboriously adding to the reference length 1/8 of itself), would have been astonished to learn that the Egyptians, whom they revered, had like themselves been far surpassed in computational facility by an ancient neighbor.

The paucity of surviving Sumerian mathematical texts requires scholars to make many inferences from later Babylonian survivals, and much Sumerian literature remains untranslated or inaccessible. Thus, as further linguistic evidence becomes available, the story I tell here will require revision, becoming more certain in dating, clearer in meaning, and richer in detail.

To look ahead in history and see the persistence of Sumerian/Babylonian methods, Ptolemy, in the 2nd century A.D., in the Harmonica, recorded all of the some twenty Greek tunings known to him with sexagesimal (base-60) fractions. Between about 500 B.C. and A.D. 150, Babylonian and Greek astronomy thrived on base-60 computation. It was still used by Copernicus in the fifteenth century and endures in modern astronomy The Chinese calendar is still reckoned by 60’s. Astronomy, however, as the science of precise measurement that it later became, “was practically unknown in ancient Sumer; at least as of today we have only a list of about twenty-five stars and nothing more” (Kramer 1963).

How Base-60 Survives In Time Measurement

Analog clocks and watches equipped with rotating hands for hours, minutes, and seconds are living fossils of the Sumerian arithmetical mind-set (fig. 3).

a. Numbers have visible and tangible markers on the dial (representing the fixity of the recurring temporal cycle), restricting burdens on memory and permitting operations to be reduced to counting and adding.

b. Sixty can be conceived of, when we please, as a large unit (one rotation of the second or minute hand), conversely giving the small unit the implication of 1/60.

c. The large unit, alternately, can be conceived of as a higher power of 60 (correlating the simultaneous rotations of both second and minute hands), for 602 = 3,600 seconds is also one hour, conversely giving our small unit the implication of 1/3,600.

d. Twelve hours constitutes a still larger unit (one rotation of the hour hand) of 12 x 60 = 720 minutes, and 12 x 3,600 = 43,200 seconds, conversely giving the smallest unit the implication of 1/720 or 1/43,200.

e. We avoid confusion between these alternate arithmetical meanings the same way the Sumerians did, namely, by remembering the context of the questions we are trying to answer.

f. The existence of alternative ways of expressing a unit, as in the examples above, indicates and emphasizes
the importance of reciprocals.

Musicians, following Plato, still project their tones into a circle that eliminates cyclic octave repetitions (Plato, in the Timaeus, insists that God makes only one model of anything). Thus today, using our modern, equal-tempered scale, we can identify any musical interval as some multiple of a standard semitone, to the envy of calendar makers, who, having to deal with the irregularities of days, months, and years, are jealous of our perfect twelve-tone symmetry. But the nearest approximation of our twelve-tone, equal-tempered scale in small integers remains that provided by ancient base-60 arithmetic.

Sumerian Numbers

Sumerian numbers were impressed on small clay tablets with a stylus, at first round, later triangular, held slanted for some numbers and vertically for others (fig. 4). Numbers from 2 to 9 were built up by repetitions of the unit, made with the edge of the stylus. A 10 was imprinted with the end; a 60 was made as a large 1 by pressing the stylus more firmly into the clay. The equation 602 = 3,600 was scratched in as a circle (see van der Waerden 1963). Only a few symbols were needed, and repetition made them easy to decode, minimizing burdens on memory. The idea of a number was actually embodied in the strokes required to notate it (fig. 5).

Computation was made easy by tables of “reciprocals, multiplications, squares and square roots, cubes and cube roots, …exponential functions, coefficients giving numbers for practical computation,…and numerous metrological calculations giving areas of rectangles, circles” (Kramer 1963). Many copies of these tables have come down to us.

The standard multiplication tables pair each number with its reciprocal and give special prominence to the favored subset of “regular” numbers, whose prime factors are limited to 2, 3, and 5 (larger prime factors necessarily lead to approximations in the reciprocals). “Regular numbers” up to 60 are shown (fig. 6) with their reciprocals, transcribed, for instance, so that the reciprocal of 40/60 = 2/3 reads 1,30, meaning 90/60 = 3/2. Notice that only the most important fractions of 60 are deified (1/6, 1/5, 1/4, 1/3, 1/2, 2/3, and 5/6). The tone names are nearest equivalents in modern notation. Several values require 3 sexagesimal “places” (indicated by commas); auxiliary tables freely employ 6, 7, and even more places.

Sumerian Symmetry Of Opposites

A telling clue to the psyche–of Sumerians, of Plato, and of ourselves–is affection for the symmetry of opposites. Inverse, or bilateral, symmetry conditions base-60 computation, as it conditioned Platonic dialectics. (“Some things are provocative of thought and some are not…Provocative things…impinge upon the senses together with their opposites.” Republic 524d) When facing a mirror we exhibit to ourselves, with varying degrees of perfection, this symmetry of left/right opposites across an imaginary “plane of reflection.”

The old-fashioned scale, or balance beam, epitomizes this notion (fig. 7). The balance owes its functioning to gravity, but its appeal to us, its attractiveness, is due to our ear, which in addition to being the organ of hearing is also the personal organ of balance. Our empathic human feelings for the balance beam affect the inverse, or bilateral, physical symmetry because of the experience of balancing our own bodies, an activity dependent on the ear, not the eye. All of the computations presented later will be aligned
in this basic symmetry, with Anu/An = 60 (meaning 1) on the balance point. Sumerian art greatly elaborates this symmetry of opposites (fig. 8).

The Deification Of Tone Numbers

The deified Sumerian numbers, taken over by Babylon, are 10, 12, 15, 20, 30, 40, and 50, all fractional parts of “father” Anu/An = 60, head of the pantheon. Their fractional values and god names are indicated here with a brief description of their mythological functions.

Anu/An, 60, written as a large 1, “father of the gods” and earliest head of the pantheon, is any reference unit. He is equivalent in our notation to 60/60 = 1, where he functions, according to modern concepts, as “geometric mean in the field of rational numbers.”

Enlil, 50 (5/6), “god on the mountain” possessing 50 names, is mankind’s special guardian and was promoted to head the pantheon circa 2500 B.C. Enlil deities in base 60 what the Greeks knew as the human prime number, 5, in their base-10 harmonics. By generating major 3rds of 4:5 and minor 3rds of 5:6, he saved Sumerians tremendous arithmetical labor, as we shall note in due course.

Ea/Enki, 40 (2/3), “god of the sweet waters” and perhaps the busiest deity in Sumer, “organizes the earth,” including the musical scale. He deifies the divine prime number, 3, in the ratio of the musical 5th 2:3, the most powerful shaping force in music after the octave. (Notice that the trio of highest gods (40, 50, 60) defines the basic musical triad of 4:5:6 (do, mi, sol, rising, and mi, do, la, falling). The ratio 4:5 defines a major 3rd and the ratio 5:6 defines a minor 3rd, taken either upward or downward within the matrix of the musical octave.)

Sin, 30 (1/2), the Moon, establishes the basic Sumerian octave matrix as 1:2 30:60.

Shamash, 20 (1/3), the Sun, judges the gods.

Ishtar, 15 (1/4), is the epitome of the feminine as virgin, wife, and everybody’s mistress.

Nergal, 12 (1/5), is god of the underworld.

Bel/Marduk, 10 (1/6), the biblical Baal, originally was a minor deity but eventually became head of the Babylonian pantheon in the 2nd millennium B.C. He inherited all the powers of the other gods, including Enlil’s 50 names, in a giant step toward a “Pythagorized” monotheism built on the first 10 numbers.

Greek Harmonical Principles In Sumerian Arithmetic

Here are the principal arithmetical symmetries of base-60 Sumerian harmonics, summarized in the inverse “heraldic” symmetry displayed above but expressed as modern fractions. Every tone in the scale will be found to participate in numerous god ratios, and all other ratios are their derivatives via multiplication (which is what Plato means by “marriage” in his elaborate metaphor in the Republic). All of the harmonical concepts in my analysis, however, are Greek. Plato’s formula for this particular
construction can be found in the Republic, book 8; his discussion of general harmonical principles is in the Timaeus.

 

All pitch classes generated by the prime numbers 2, 3, and 5, up to the index of 60, are represented here (fig. 9).
Remember that all doubles are equivalent, so that 3, 6, 12, and 24 define the same pitch as 48, for example.

a. Tones are defined by numbers.

b. The significance of a number lies only in its ratio with other numbers.

c. Numerosity is governed by strict arithmetic economy. Because Sumerian double meanings were assumed, the numbers 30, 32, 36,… are in smallest integers for this context. This economy is obscured somewhat by writing ratios as fractions; mentally eliminate the superfluous reference 60’s.

d. Every number is employed in two senses, as great and small, displayed here as reciprocal fractions.

e. The double meanings of great and small require the basic model octave to be extended across a double octave
from 30/60 = 1/2 to 60/30 = 2.

f. Tones are grouped by tetrachords (that is, in groups of fours) whose fixed boundaries always show the musical proportion 6:8 = 9:12, defining the octave (6:12 = 1:2), the 5th (2:3, that is, 6:9 and 8:12), and the 4th (3:4 or 6:8 and 9:12).

Notice how the arithmetic mean 9 and the harmonic mean 8 establish perfect inverse symmetry (see fig. 10) and define the standard whole tone as 8:9. These ratios define the only fixed tones in Pythagorean tuning theory, and they are invariant. Pythagoras reputedly and plausibly brought this proportion home from Babylon in the sixth century B.C. In base 60, these “framing” numbers necessarily are multiplied by 5 into 30:40 = 45:60.

Notice that Ea/Enki, god 40, defines these frames (DA falling and G:D rising) in his double role as 40:60 and 60:40 and thus literally “organizes the earth” (as represented by the string) into do, fa, sol, do, harmonic foundations of the modern scale.

g. The Enlil = 50 tones of pitch classes b and f always belong to the opposite scale, for the god shares these tones with 36
(that is, 30:36 = 50:60 and 30 and 60, “beginning and end,” coincide); thus, Enlil is free to supervise the system by
reminding us of the symmetry of opposites.

Enlil’s promotion to head the pantheon possibly symbolizes this insight. He plays a very active role, also generating several intervals that actually reduce numerosity,
whereas the primal procreator, Anu/An = 60, a do-nothing deity of little account in Sumer and Babylon, remains purely passive.

Platonic dialectics, however, emphasize anew the importance of an invariant t4 seat in the mean,” thus turning Anu/An’s passiveness as geometric mean into the greatest possible Socratic virtue as “the One Itself.”

h. The falling or descending version of this scale, as notated [in Figure 9], is in our own familiar major mode. It is more commonly notated one tone lower, on the white keys of the C octave. The rising scale on the right, its symmetric opposite, is the basic scale of ancient Greece, India, and Babylon. It is more simply notated one tone higher, on the white keys in the E octave.

My choice of D as reference pitch is dictated by the necessity of showing opposites simultaneously, in the Sumerian normative arithmetical habit that Plato later required of his students in dialectic. Future philosopher-guardians in idealized cities needed to become expert in weighing the merits of contradictory claims, requiring the ability to see opposites simultaneously. Music provided the opportunity to do this, par excellence, and so childhood training began with it. 

An Overview of Calendar and Scale

o coalesce the musical opposites shown above into one Sumerian/Platonic overview, eliminating all octave replication and laying bare the irreducible structure (“God’s only model”), we need only project these tones into the same tone circle.

From Plato’s mythology (in the Critias) come “Poseidon and his five pairs of twin sons” (see fig. 11), aligned in perfect inverse Sumerian symmetry across the central vertical plane of reflection. (Poseidon, at twelve o’clock, Greek successor to the water god Ea/Enki, is self-symmetric, being both beginning and end of the octave no matter whether we traverse it upward or downward.) These eleven tones constitute the only pitch class symmetries up to an index of 60.

But to coalesce opposite fractions so that the numbers–like the tones–show the same ratios when read in either direction, we must expand the numerical double 1:2 into 360:720 (see fig. 12). If we confine ourselves to three-digit numbers, there is, in addition to Poseidon’s ten sons, only one other pair of symmetric numbers, namely, 405 and 640 (since 405:720 = 360:640). These are notated here as C and E to indicate their very slight and melodically insignificant difference from c and e. This microtonal “comma” difference of 80:81, barely perceptible in the laboratory and then only by a good ear, was taken by the Greeks as the smallest theoretically useful unit of pitch measure and is approximately 1/9 of their standard whole tone of 8:9. The whole-tone interval between A and G (in figs. 11 and 12) invites similar subdivision, and symmetry requires a point directly opposite our reference, D. This locus is defined by the square root of 2, lying beyond the ancient concept of number, and so we must search for an approximation.

A musically acceptable candidate (its error is actually less than a comma) now appears at a-flat = 512, or, alternately,
g-sharp = 512, only slightly askew our ideal value and with the “god ratio” of 4:5 with C or E.

Plato’s Poseidon and his ten sons are shown again (in fig. 12), together with the new symmetry pair C/E and the alternate a-flat/g-sharp pair (one of which is always missing in the 360:720 octave). My vertical pendulum now swings gently back and forth to either side of six o’clock as the numbers are read alternately in rising and falling scale order (that is, as great and small).

At 512, where a-flat is not quite equivalent to g-sharp, the ancients had little choice but to accept this arithmetical
compromise with perfect inverse symmetry.

How did they rationalize such a complicated, inverse symmetry, one ultimately defeated because of the compromise? Remembering the quite ancient correlations of scale and calendar, let us apply imagination to their problem.

This base-60 model can be imagined as an appropriate correlate to the lunar calendar of Sumer and Babylon, as it later became the map of an idealized circular city in Plato’s Laws, calendar and musical scale being assumed to have a similar cosmogony. Notice the following correspondences:

a. The basic seven-tone scale requires the thirty digits in the 30:60 octave, and 30 is deified as Sin, the Moon, and the basic octave limit.

b. The two opposite seven-tone scales and the symmetrically divided tone circle correspond with Sumer’s two agricultural seasons, in which irrigation during the dry summer complemented the rainy winter harvest.

c. In the octave double between 360 and 720, which coalesces opposites, there are 360 units to correspond with the schematic calendar count of 12 x 30 = 360 days.
(Eventually, astronomers in India and Babylon defined these units as tithis, meaning 1/360 of a mean lunar year of 354 days, hence slightly less than a solar day. Greek astronomers eventually defined the same 360 units geometrically as degrees. Neither development is relevant to ancient Sumer.)

d. Tonally acceptable but acoustically inaccurate semitones, alternately small (24:25) and large (15:16), correspond with
the lunar months embodied in ritual, alternating between 29 and 30 days.

e. Between a-flat = 512 and g-sharp 512 (in the opposite sense), a gap corresponds with the excess of a solar year over 360
and the defect of a lunar year of 354 days from 360. (Five and a quarter extra solar days are about a 1/69 of 360,
while the gap in the reduced comma is actually about 1/60 of an octave, a remarkable near-correspondence.)

Because any successful agricultural society must find some way to accommodate lunar, solar, ritual, and schematic cycles with
the growing cycle, we need not suppose that Sumerians or anyone else ever really believed the year contained 360 days.
Only a musicology dedicated to numerical precision and economy finds 720 days and nights (that is, 360 days and 360 nights) cosmogonically correct.

Matrix Arithmatic

All of the tonal, arithmetical, and calendrical relations discussed above are coincidences. They exist among base-60 numbers whether or not anyone is aware of them, mainly because 60 is divisible by three prime numbers, 2, 3, and 5, and no others, and 60 is being used in the way we use a floating-point decimal system.

If Sumerian mythology did not offer persuasive evidence that Sumerians were conscious of tonal implications, then their establishment of a base-60 system, which included such perfect models for a lunar-oriented culture and for Pythagorean harmonics two thousand years later, would be pure serendipity, meaning that it resulted from “the gift of finding valuable or agreeable things not sought for.” But the most interesting evidence for Sumerian harmonical self-consciousness is yet to be shown via Plato’s kind of triangular matrices, functioning as “mothers” in harmonical arithmetic.

In Plato’s Greece, the harmonical wisdom of Babylon and India was transformed into political theory. Men now acted out the roles once assigned to gods. Plato’s four model cities–Callipolis (in the Republic), Ancient Athens and Atlantis (both in the Critias), and Magnesia (in the Laws)–were each associated with a specific musical-mathematical model, all generated from the first ten integers. All are reducible to a study of four primes: 2, 3, 5, and 7.

In the Republic and Laws, idealized citizens–represented as number–generate only in the prime of life. For Plato, this means that 2 never really generates anything beyond the model octave 1:2, for this “virgin, female” even number–with all of its higher powers–designates the same pitch class as any reference 1. (Multiplication by 4, 8, 16,… generates only cyclic identities, different octaves of tones we already possess. They are Plato’s “nursemaids,” carrying tone children until they are old enough to “walk” as integers; hence, as he says, his “nurses” require exceptional physical strength.)

The multiplication table for the 3 x 5 male odd numbers, however, generates endless spirals of musical fifths (or fourths) and thirds; within the female octave 1:2, new pitches are generated at the same invariant ratios. The Greek meaning of symmetry is to be in the same proportion. Thus, a “continued geometric proportion” (like 1, 3, 9, 27,…or 1, 5, 25,…) constitutes “the world’s best bonds,” maximizing symmetry, which is obscured by mere appearances when these values are doubled to put them into some preferred scale order. The multiplication table for 3 x 5 graphs multiple sets of geometric tonal symmetries (Plato’s only reality) as far as imagination pleases.

Greece inherited its arithmetical habits from Egypt, including an affection for unit fractions in defining tunings (the ratio 9:8 was thought of as “eight plus one- eighth of itself,” and so on). It awoke to number theory only when it became acquainted with Mesopotamian methods. Thus, the travels of Pythagoras, whether legendary or not, played an important role. Those methods apparently were new enough in Plato’s fourth century B.C. to invite his extensive commentary, yet old enough so any novelty on Plato’s part was absolutely denied by Aristoxenus (fl. circa 330 B.C.) within fifty years.

Plato is responsible for an astonishing musical generalization of the base-60 tuning formula as 4:3 mated with the 5. His 3, 4, and 5 correspond with Sin = 30, Ea = 40, and Enlil = 50 and remind us that all tones are linked by perfect fourths, 4:3, which define possible tetrachord frames, or by perfect thirds, 4:5. The last Pythagorean who really understood Platonic “marriages” may have been Nicomachus in the second century A.D.; he promised an exposition but none survives.

Babylonian Reorganization of a Pantheon

In the second millennium B.C., the Babylonians reorganized the inherited Sumerian pantheon in a way that very strongly points toward its Pythagorean future. To avoid destruction by Enlil, who is disturbed by their confusion and noise, the gods reorganize under the leadership of Marduk, god 10, the biblical Baal, to whom all the other gods cede their powers.

Herein lies a beautiful reduction of Sumerian expertise with reciprocal fractions to a more philosophical overview of harmonics as being generated exclusively by the first ten integers (Socrates’ “children up to ten,” in the Republic, beyond which age he doubted citizens were really fitted for ideal communities).

To celebrate their survival after Marduk defeats the female serpent Tiamat, sent to destroy them, the gods decree him a temple; the bricks require two years (2 x 360 = 720) to fabricate. This mythologizes 720, the Sumerian unit of brick measure, and the smallest tonal index able to correlate seven-tone opposites into a twelve-tone calendrical octave. When Marduk’s tonal/arithmetical bricks are aligned in matrix order, we see that the general shape of his temple (with an index of 720) is an enlarged form of Enlil’s temple (with an index of 60); Enlil now confers his 50 names on Marduk. This temple makes Marduk’s face shine with pleasure, we are told.

Let me conclude our discussion of Marduk’s victory over the dragon, Tiamat.

‘Great Dragon’ Tuning

It is now a normal part of a child’s musical education to learn to view the scale as a spiral of musical fifths and fourths, as they are actually tuned–for the convenience of the ear–and to be shown those tones in a tone circle. That up-and-down, alternating cycle of pitches inspires, I propose, the dragon and great serpent lore of ancient mythology (fig. 13).

Serpentine undulations are visible to any harpist in the lengths of successive strings when taken in tuning order (as they still necessarily are), and the undulations can be seen in any set of pitch pipes when similarly aligned, as in China. Because the same tone numbers function reciprocally as multiples of frequency and of wavelength, they have the same double meanings today that they enjoyed in Sumerian times. It is entirely appropriate, therefore, to represent this spiral both forward and backward, simultaneously, with intertwined serpents.

In the mythological account, Marduk slays the dragon (which is presumably the continuum of possible pitches represented by the undivided string) by first cutting it in half to establish the octave 1:2. Further cutting presumably “sections” the other pitches. No numbers larger than Marduk’s–meaning 10–play any role in geometrical sectioning of the string.

This “serpentine” double meaning–rising and falling musical fifths and fourths–lies at the very heart of our consciousness of musical structure. Sumer did not hesitate to make the double serpent the center of symmetry, as on this steatite vase of Gudea (fig. 14), priest-king of Lagash circa 2450 B.C., where they are flanked symmetrically by gryphons.

Large and unwieldy numbers can be avoided if the 4:5 and 5:6 ratios introduced by Enlil are used to define the seven-tone scale (in which case all the numbers are of two digits). Used for the twelve-tone scale, his numbers need only three digits. Thus, in Sumer, Enlil = 50, base-60 deification of the human, male prime number 5, grossly reduces our computational labors from six-digit Pythagorean numerosity (in which a twelfth tone requires 311 = 177,147) to no more than three, and without noticeably diminishing melodic usefulness (fig. 15). Only the five central tones (CGDAE) from the Great Serpent appear in figure 12, where they are indicated by solid radial lines. All other tones are owed to Enlil.

Historically, European music reintroduced this Just tuning system in the fifteenth century A.D. to secure perfect 4:5:6 triads for its new harmonies without exceeding twelve tones. The ancients probably loved it more for its arithmetical economy than for its triadic purity. Microtonalists today, equipped with a powerful new technology, are again searching for an effective employment of these ancient Sumerian god ratios.

Personal Conclusions

The ultimate origins of music theory, as opposed to the Sumerian codification that I deduce here, remain lost in the far more distant past, like the origin of our sense for number. They are grounded in a common aural biological heritage, some of which we share with other animals, and are by no means dependent, as Aristotle noted, on precise numerical definition. As eminent contemporary musicologist William Thompson explained in our correspondence,

In adapting to our complex environment, our sensory ingestive systems have become…forgiving filters, enabling us to generalize….This, I’m convinced, is a product of very early adaptive behavior, a part of our survival good fortune…in that our neural system has developed myriads of networks which are overachievers when it comes to doing some simple jobs.

Socrates never believed in the possibility of perfect justice. The great aim of Plato’s Republic was to help readers become more “forgiving filters” for alternative cultural norms. There remains a certain fuzziness about a scientific definition of musical intervals, as there is about the Republic’s days and nights and months and years, and art has turned that into something for which we all can be grateful. Sumerian “overachievers”–and these “black-headed people,” as they called themselves, proved historically to be as aggressive as the great heroes they knew or invented–achieved a tremendous synthesis of cultural values. They challenge
us to do as well.

 

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