Selasa, 02 September 2008

Masamune's Swords

Swords

Honjo Masamune

The Honjo Masamune[4] represented the Shogunate during most of the Tokugawa era and had been passed down from one Shogun to another. It is one of the best known of the swords created by Masamune and is believed to be one of the finest Japanese swords ever made. It was made a Japanese National Treasure (Kokuhô) in 1939. The name Honjo possibly came about due to this swords connection to the general Honjo Shigenaga 本庄越前守重長 (Honjo "Echizen no kami" Shigenaga) who gained the sword in battle.

Honjo Shigenaga, general of Uesugi Kenshin[4] in the 16th century, was attacked by Umanosuke who already possessed a number of trophy heads. Shigenaga was attacked with the Honjo Masamune which split his helmet, but he survived and took the sword as a prize. The blade had a number of chips from the great battle but was still usable. The blade was kept by Shigenaga until he was sent to Fushimi Castle, Bunroku around 1592-1595. Shigenaga ran out of funds and was forced to sell the sword to Toyotomi Hidetsugu, Toyotomi Hideyoshi's nephew and retainer. It was bought for 13 Mai, 13 O-Ban, which was 13 large gold coins. The blade was later valued in the Kyoho Meibutsu Cho at 1,000 Mai.

It then went to Toyotomi Hideyoshi 豊臣秀吉, Shimazu Hyogo Yoshihiro 島津義弘, again to Hideyoshi, Tokugawa Ieyasu 徳川家康, Tokugawa Yorinobu 徳川頼宣, and finally Tokugawa Ietsuna 徳川家綱. It remained in the Kii 紀伊 branch of the Tokugawa family, the last known owner being Tokugawa Iemasa 徳川家正 at the end of World War II.

Apparently Tokugawa Iemasa gave the Honjo Masamune and 14 other swords to a police station at Mejiro in December of 1945. Shortly thereafter in January 1946, the Mejiro police gave these swords to Sgt. Coldy Bimore (U.S. 7th Cavalry). The Honjo Masamune is with out a doubt the most important of the missing Nihonto, still today the current location of the sword is unknown.[8]

Fudo Masamune

As previously mentioned this is one of the few blades signed by Masamune that is not in question. It was bought by Toyotomi Hidetsugu[4] in 1601 for 500 Kan and was passed to Shogun Ieyasu and from him to Maeda Toshiie. Maeda Toshitsune presented it again to the Shogun, possibly on his retirement. Later, the sword was handed down among the Owari Tokugawa. This blade is a tantō approximately 25 cm (8 sun 6.5 bun) with a carving of roots on the Omote (Front, outer edge) side. It also has chopstick like grooves (Gomabashi 護摩箸) on the back and a Dragon at the ura part of blade (Kurikara 倶利伽羅). The blade features an engraving of Fudo Myo-o, the buddhist deity which gives this blade its name[9].

Hōchō Masamune

The "Hōchō" Masamune refers to any one of three particular and unusual tantō[9] attributed to Masamune. These tanto have a wide body, unlike his normal slim and elegant work, making them appear quite similar to a Japanese Chef's knife, or in other words, a kitchen knife (a hōchō or bōchō). One of the three blades has a Gomabashi in cutout (Sukashi). It was restored around 1919 and sold for approximately 10 Hiki which was worth around 14¢ US at the time. Even taking inflation into account the price is still amazingly low. It is presently on display in the Tokugawa Art Museum [1].

Kotegiri Masamune

The Kotegiri (or Kote giri) is a kendo strike to the wrist [10], the reason for the choice of name comes from this tachi being used by Asakura Ujikage [4] to cut the steel mail off an opposing samurais arm in the battle of Toji in Kyôto. Oda Nobunaga gained possession of this sword and had it shortened to its present length. In 1615 it eventually passed down to the Maeda clan who in 1882 presented it as a gift to Emperor Meiji, a known sword collector.

Helmet Breaker

The Helmet Breaker is a fascinating blade[2] inscribed by Masamune and is purported to read:

  • Made by the Japanese Swordsmith
  • Priest Goro Masamune made this
  • A lucky day in the first month of the first year of Genko (1331)
  • Made for Kusunoki Masanari

Masamune in Harry S Truman Library

Masamune's Student

Students

Masamune is believed to have trained a great number of sword smiths, 15 are known, 10 of which are considered to be the Juttetsu or 'Ten Famous Students' or "10 Great Disciples of Masamune".

Great Juttetsu


(備州長船住長義作 - Bishu Osafune Ju Chogi Saku) (備前國長船住長義 - Bizen Kuni Osafune Ju Chogi)
Although probably not a direct student of Masamune[5] due to the dates when he was forging, his works are greatly influenced by Masamune's work and the Soshu tradition as well as the work of the Soden Bizen swordsmiths.

[edit] Kanemitsu

(備前國長船住兼光 - Bizen Kuni Osafune Ju Kanemitsu) (備州長船住兼光 - Bishu Ssafune ju Kanemitsu) (備前國長船住左衛門尉藤原兼光 - Bizen no Kuni Osafune ju Saemonjo Fujiwara Kanemitsu)
Considered to have created some of the sharpest swords ever known[5], Kanemitsu produced swords for many great men and generals. Another student who most likely wasn't taught by Masamune directly but was influenced by the Soshu and Soden Bizen revolution.

[edit] Shizu Saburo Kaneuji

(兼氏 - Kaneuji)
Lived in Yamato province before going to Mino to study under Masamune where his style radically changed. His swords are most like those of Masamune and quite often confused with his. The Mishina school can trace its history back to Kaneuji and through him back to Masamune.[6]

[edit] Kinju

(金重)
Kinju along with Kaneuji are founders of the Mino style. He was a monk at the Seisen-ji in Tsuruga, he led to the creation of Echizen sword making like Kuniyuki, moving to Mino around the time of Ryakuo (1338-1342) creating the Seki tradition.[7]

[edit] Kunishige

(長谷部国重 - Hasebe Kunishige)
Created the Hasebe school producing swords in the style of the second period of Soshu and Yamashiro. His swords are considered by some to be equal to Akihiro and Hiromitsu. He created the Heshikiri Hasebe Image (The Forceful Cutter) listed in the Kyoho Meibutsu Cho, owned by Toyotomi Hideyoshi and then Oda Nobunaga. It bears a gold appraisal inlay of Honami Kotoku called a Kinzogan (金象嵌). Today the sword is a family heirloom of the Kuroda Daimyo Ke. The sword takes its name from the story of Oda Nobunaga drawing it to cut through a table to kill Kannai, a tea master who betrayed him.

[edit] Kunitsugu

(来源国次 - Rai Minamoto Kunitsugu)
Also goes by the name Kamakura Rai as he is the grandson of Rai Kuniyuki. The influence of the Soshu and Yamashiro traditions can be observed in his works.

[edit] Saemonzaburo

(左 - Sa) (筑州左 - Chikushu Sa) (筑前國住左 - Chikuzen no Kuni ju Sa)
Believed to go by the name Yasuyoshi but signed his work using the first two letters of his given name. Considered by some to be one of the greatest of Masamune's students. As well as being a Soshu swordsmith he also created the Chikuzen tradition.

[edit] Saeki Norishige

(則重 - Norishige, 佐伯 - Saeki)
Historically considered one of the best of Masamune's students, he is numbered among the Juttetsu. However, current research indicates that he was a senior student to Masamune, junior to Yukimitsu, under the great teacher Shintogo Kunimitsu. He, like Go, hails from Etchu province and is well known as the only smith to have mastered the style of matsukawa-hada (pine tree bark pattern steel), making his work unique.

[edit] Go Yoshihiro

(郷(江)- Go, 義弘 - Yoshihiro)
Very few works exist by this swordsmith due to his death at the young age of 27, No known signed works exist. He is believed to have gone by the names of Go Yoshihiro or simply Go, the name of the town from which he came. As well as being a Soshu sword smith he is a member of the Etchu tradition.

[edit] Naotsuna

(石州出羽直綱作 - Sekishu Izuwa Naotsuna Saku) (直綱作 - Naotsuna Saku)
Many theories exist that he may in fact have been a student of Saemonzaburo among others. His work is considered by many to have been infleunced by Soshu(相州) even if not taught by Masamune directly, he is also influenced by the Soden Bizen(備前) and Iwami province (石州) style.

[edit] Other Students

  • Fuji
  • Hiroki
  • Tomishi
  • Hiromitsu (相模國住人廣光 - Sagami Kuni Junin Hiromitsu) - Along with Akihiro brought about the second period of the Soshu style.
  • Sadamune - A student and possibly son or adopted son of Masamune. Like his father he left no signed work, but is considered peerless in the Soshu tradition after Masamune.
  • Akihiro (相州住秋廣 - Soshu Ju Akihiro) (相模國住人秋廣 - Sagami Kuni Junin Akihiro) - A direct student of Masamune, along with Hiromitsu was responsible for refineing the Soshu style to create the Soshu second period.

masamune

Masamune

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Masamune Portrait
Masamune Portrait

Masamune Okazaki[1] (岡崎 正宗 Okazaki Masamune), also known as Goro Nyudo Masamune (Priest Goro Masamune)[2], is widely recognized as Japan's greatest swordsmith. As no exact dates are known for Masamune's life, he has reached an almost legendary status. It is generally agreed that he made most of his swords in the late 13th and early 14th centuries, 1288 - 1328. He created swords, known as tachi in Japanese and daggers called tantō, in the Soshu tradition. He is believed to have lived and worked in the Sagami Province. An award for swordsmiths exists called the Masamune prize which is awarded at the Japanese Sword Making Competition. Although not awarded every year it is presented to a swordsmith who has created an exceptional work.[3]

Masamune is believed to have worked in Sagami Province during the last part of the Kamakura Era (1288 - 1328), and it is thought that he was trained by swordsmiths from Bizen and Yamashiro provinces, such as Kunitsuna and Kunimitsu.


Style

The swords of Masamune have a reputation for superior beauty and quality, remarkable in a period where the steel necessary for swords was often impure. He is considered to have brought the art of 'nie' (martensitic crystals embedded in pearlite matrix, thought to resemble stars in the night sky) to its perfection.

Masamune studied under Shintogo Kunimitsu and made blades in suguha (straight temper line) but he made magnificent notare hamon, where the leading edge of blade slowly undulates where it was quenched. There are also some blades with ko-midare (small irregularities) which appears to have been copied from the Old Bizen and Hoki Province styles. His works are well characterized by rich chikei (clear grey lines on the leading edge) and kinsuji (lines like lightning streaking across the blade), and beautiful nie (a grey shadow on the front of the blade caused by quenching).

Swords created by Masamune often are referred to with the smith's name (much the same way that other pieces of artwork are), often with a name for the individual sword as well. The Honjo Masamune, a symbol of the Tokugawa shogunate and passed down from one shogun to another, is perhaps the best known Masamune sword.

Signed works of Masamune are rare. The examples "Fudo Masamune", "Kyogoku Masamune", and "Daikoku Masamune" are accepted as his genuine works. Judging from his style, he was active from the late Kamakura period to the Nanboku-cho era.

His swords are the most frequently cited among those listed in the Kyôho Meibutsu Cho[4], a catalogue of excellent swords in the collections of daimyos edited during the Kyoho era by the Hon'ami family of sword appraisers and polishers. The catalogue was created on the orders of the Tokugawa Yoshimune of the Tokugawa Shogunate in 1714 and consists of three books. The first book known as the Nihon Sansaku is a list of the three greatest sword smiths in the eyes of Toyotomi Hideyoshi including Etchu Matsukura Go Umanosuke Yoshihiro, Awataguchi Toshiro Yoshimitsu, and lists 41 blades by Goro Nyudo Masamune. The three books together list 61 blades by Masamune. There are far more blades listed for Masamune than the next two sword smiths combined. It is known that Hideyoshi had a passion for Soshu sword smiths which may explain this. A third of all swords listed are Soshu blades by many of the greatest Soshu masters including Masamune's students.

[edit] Comparison with Muramasa

The swords of Masamune are often contrasted with those of Muramasa, another Japanese swordsmith. Muramasa has alternatively been described (incorrectly) as a full contemporary of Masamune, or as Masamune's student. Since Muramasa dated his work, it is known he worked right around 1500 AD, and as such he lived too late to have met Masamune. In legend and fantasy, Muramasa's blades are described as bloodthirsty or evil while Masamune's are considered the mark of an internally peaceful and calm warrior.

[edit] Legends of Masamune and Muramasa

A legend tells of a test where Muramasa challenged his master, Masamune, to see who could make a finer sword. They both worked tirelessly and eventually, when both swords were finished, they decided to test the results. The contest was for each to suspend the blades in a small creek with the cutting edge facing the current. Muramasa's sword, the Juuchi Fuyu (10,000 Winters) cut everything that passed its way; fish, leaves floating down the river, the very air which blew on it. Highly impressed with his pupil's work, Masamune lowered his sword, the Yawaraka-Te (Tender Hands), into the current and waited patiently. Not a leaf was cut, the fish swam right up to it, and the air hissed as it gently blew by the blade. After a while, Muramasa began to scoff at his master for his apparent lack of skill in the making of his sword. Smiling to himself, Masamune pulled up his sword, dried it, and sheathed it. All the while, Muramasa was heckling him for his sword's inability to cut anything. A monk, who had been watching the whole ordeal, walked over and bowed low to the two sword masters. He then began to explain what he had seen.

"The first of the swords was by all accounts a fine sword, however it is a blood thirsty, evil blade as it doesn't discriminate as to who or what it will cut. It may just as well be cutting down butterflies as severing heads. The second was by far the finer of the two, as it doesn't needlessly cut that which is innocent and undeserving."

In another account of the story, both blades cut the leaves that went down on the river's current equally well, but the leaves would stick to the blade of Muramasa whereas they would slip on past Masamune's after being sliced. Or alternatively both leaves were cut, but those cut by Masamune's blade would reform as it traveled down the stream. Yet another version has leaves being sliced by Muramasa's blade while the leaves were repelled by Masamune's, and another again has leaves being sliced by Muramasa's blade and healed by Masamune's.

In yet another story Muramasa and Masamune were summoned to make swords for the Shogun or Emperor and the finished swords were held in a waterfall. The result is the same as the other stories, and Masamune's swords are deemed holy swords. In one version of the story Muramasa is killed for creating evil swords.

While all known legends of the two ever having met are historically impossible, both smiths are widely regarded as symbols for their respective eras.

Amakuni

Amakuni (天國?) is the legendary swordsmith who created the first single-edged longsword (tachi) with curvature along the edge in the Yamato Province around 700 AD. He was the head of a group of swordsmiths employed by the Emperor of Japan to make weapons for his warriors. His son, Amakura, was the successor to his work. Although there are almost no modern examples of signed works by Amakuni, legend has it that the double-edged katana, Kogarasu Maru, was forged by this man. The true author of this work is not known, though the work bears similarities to works of the various Yamato schools so it is thought to be an early example of work from this province.

[edit] The legend

One day, Amakuni and his son, Amakura, were standing in the doorway of their shop, watching the Emperor's warriors return from battle. Although having done so on previous occasions, the Emperor did not give Amakuni any sign of recognition. Having always looked upon these gestures as a sign of appreciation for his efforts and hard work, Amakuni suddenly noticed that nearly half of the returning warriors were carrying broken swords.

Determined to make things right, Amakuni and Amakura went about gathering remnants of the swords and examined them. It appeared that the chief reasons for breakage were that the swords had been improperly forged and that the soldiers had struck hard objects, probably armor or other weapons, with them. Once again, the Emperor's subtle yet audible rebuff ran through his mind. Tears filled Amakuni's eyes, and he said to himself, "If they are going to use our swords for such slashing, I shall make one that will not break."

With this vow, Amakuni and his son sealed themselves away in the forge and prayed for seven days and seven nights to the Shinto gods. Amakuni then selected the best iron sand ore he could obtain and refined it into steel. Working without rest, the two worked at their apparently impossible task. Thirty days later, Amakuni and his son emerged gaunt and weary from the forge with a single-edged sword with curvature. Undaunted by the other swordsmiths, who believed them to be insane, Amakuni and Amakura ground and polished the new sword.

During the following months, Amakuni and his son continued with their work, forging many types of improved swords. In the following spring, there was another war. Again the samurai returned, and as they passed by, he counted over thirty-one swords with perfect, intact blades. As the Emperor passed, he smiled and said, "You are an expert swordmaker. None of the swords you have made failed in this battle." Amakuni rejoiced and once more felt that life was full and joyous.

No one knows when Amakuni died.

Kogarasu Maru

The Kogarasu Maru is sometimes referred to as a Kogarasu Zukuri as the blade of the Kogarasu Maru was forged in the Kissaki Moro Ha Zukuri design. The Kogarasu Maru is unique as a bridge between the old double-edged Japanese Ken (based on the traditional Chinese straight sword) and the traditional Japanese tachi and eventual katana.

The Kogarasu Maru was designed with a curved double-edged blade approximately 62.8 cm long. One edge of the blade is sharped in normal tachi fashion, but as the edge comes to a point the blade continues in the reverse direction back towards the hilt of the sword, similar to a European sword or a Japanese yari spear, but stopping midway. A single bo-hi style groove runs down both sides of the blade to the hilt. The forging process yielded a sugaha "straight" style temper line on both sides of the blade.

The Kogarasu Maru "Little Crow" is the most famous of the known Kogarasu Zukuri blades and currently in the Japanese Imperial Collection. The tang of the Kogarasu Maru is not signed but the blade is believed to have been made during the either the early Heian period or late Nara period, by the famous Japanese swordsmith Amakuni, who is said to have created the first curved Japanese sword and is believed to have lived during this period. Two other Kogarasu Zukuri blades exist from this era, but many other blades of this type have been created throughout Japanese history.

Rabu, 20 Agustus 2008

kusanagi no tsurugi

Kusanagi-no-Tsurugi (草薙の剣?) is a legendary Japanese sword as important to Japan's history as Excalibur is to Britain's, and is one of three Imperial Regalia of Japan. It was originally called Ama-no-Murakumo-no-Tsurugi (天叢雲剣, "Sword of the Gathering Clouds of Heaven") but its name was late changed to the more popular Kusanagi-no-Tsurugi. It is also called Tsumugari-no-Tachi (都牟刈の太刀)

Legends

The history of the Kusanagi-no-Tsurugi extends into legend. According to Kojiki, the Japanese god Susa-no-o encountered a grieving family of kunitsukami ("gods of the land") headed by Ashinazuchi (足名椎?) in Izumo province. When Susa-no-o inquired of Ashinazuchi, he told him that his family was being ravaged by the fearsome Yamata-no-Orochi, an eight-headed serpent of Koshi, who consumed seven of the family's eight daughters and that the creature was coming for his final daughter, Kushinada-hime (奇稲田姫?). Susa-no-o investigated the creature, and after an abortive encounter he returned with a plan to defeat it. In return, he asked for Kushinada-hime's hand in marriage, which was agreed. Transforming her temporarily into a comb (one interpreter reads this section as "using a comb he turns into [masquerades as] Kushinada-hime") to have her company during battle, he detailed his plan into steps.

He instructed the preparation of eight vats of sake (rice wine) to be put on individual platforms positioned behind a fence with eight gates. The monster took the bait and put each of its heads through each gate. With this distraction, Susa-no-o attacked and slew the beast. He chopped off each head and then proceeded to the tails. In the fourth tail, he discovered a great sword inside the body of the serpent which he called Ama-no-Murakumo-no-Tsurugi, which he presented to the goddess, Amaterasu to settle an old grievance.

Generations later, in the reign of the Twelfth Emperor, Keikō, the sword was given to the great warrior, Yamato Takeru as part of a pair of gifts given by his aunt, Yamatohime the Shrine Maiden of Ise Shrine, to protect her nephew in times of peril.

These gifts came in handy when Yamato Takeru was lured onto an open grassland during a hunting expedition by a treacherous warlord. The lord had fiery arrows to ignite the grass and trap Yamato Takeru in the field so that he would burn to death. He also killed the warrior's horse to prevent his escape. Desperately, Yamato Takeru used the Ama-no-Murakumo-no-Tsurugi to cut back the grass and remove fuel from the fire, but in doing so, he discovered that the sword enabled him to control the wind and cause it to move in the direction of his swing. Taking advantage of this magic, Yamato Takeru used his other gift, fire strikers, to enlarge the fire in the direction of the lord and his men, and he used the winds controlled by the sword to sweep the blaze toward them. In triumph, Yamato Takeru renamed the sword Kusanagi-no-Tsurugi (lit. "Grasscutter Sword") to commemorate his narrow escape and victory. Eventually, Yamato Takeru married and later fell in battle with a monster, after ignoring his wife's advice to take the Kusanagi-no-Tsurugi with him.

[edit] History

Although the sword is mentioned in the Kojiki, this book is a collection of Japanese myths and is not considered a historical document. The first reliable historical mention of the sword is in the Nihonshoki. Although the Nihonshiki also contains mythological stories that are not considered reliable history, it records some events that were contemporary or nearly contemporary to its writing, and these sections of the book are considered historical. In the Nihonshoki, the Kusanagi was removed from the Imperial palace in 688, and moved to Atsuta Shrine after the sword was blamed for causing Emperor Temmu to fall ill. Along with the jewel and the mirror, it is one of the three imperial regalia of Japan, the sword representing the virtue of valor.

Kusanagi is allegedly kept at Atsuta Shrine to this day, although it is not available for public display, and its existence cannot be confirmed. It is recorded that during the Edo period, a Shinto priest[who?] claimed to have seen the sword. According to him, the sword was about 84 cm long, shaped like calamus, fashioned in a white metallic color, and well maintained. Another record claims that this priest died from the curse and the power of the sword, but this is most likely a story that was spread to emphasize its power.

In recent times, Japan's nationally run broadcasting station, NHK, went to Atsuta Shrine to videotape the sword but were turned away.[citation needed]

Although some sword may be held by the Atsuta shrine, it is somewhat unlikely to be the legendary Kusanagi. In The Tale of the Heike, a collection of oral stories transcribed in 1371, the sword is lost at sea after the defeat of the Heike clan in the Battle of Dan-no-ura, a naval battle that ended in the defeat of the Heike clan forces and the child Emperor Antoku at the hands of Minamoto no Yoshitsune. In the tale, upon hearing of the Navy's defeat, the Emperor's grandmother led the Emperor and his entourage to commit suicide by drowning in the waters of the strait along with the three imperal regalia, including Kusanagi. Although the Minamoto troops managed to stop a handful of them and recovered two of the three regalia, Kusanagi was said to have been lost forever. Although written about historical events, The Tale of the Heike is a collection of epic poetry passed down orally and written down nearly 200 years after the actual events, so its reliability as a historical document is questionable.

According to some records, the Tenth Emperor, Emperor Sujin, is reported to have ordered the fashioning of a replica of Kusanagi. However, this information was reportedly only made public after it was known that the sword had been stolen. The imperial household claimed that it was the replica which was stolen, but it is just as likely that the replica was made after the fact to replace the irrecoverable sword. It should be noted that Emperor Sujin is considered a "legendary Emperor" by historians, because of a lack of sufficient evidence to assign him to a historical period.

Another story[citation needed] holds that the sword was reportedly stolen again in the sixth century by a Chinese monk. However, his ship allegedly sank at sea, allowing the sword to wash ashore at Ise, where it was recovered by Shinto priests. Given the somewhat fantastic nature of this story, its historical accuracy is questionable.

Due to the refusal of Shinto priests to show the sword, and the rather sketchy nature of its historical references, the current state of or even the existence at all of the sword as a historical artifact cannot be confirmed. The last appearance of the sword was in 1989 when Emperor Akihito ascended to the throne, the sword (including the jewel and the Emperor's two seals) were shrouded in packages.

The Völsunga saga

In the Völsunga saga, Sigurd is the posthumous son of Sigmund and his second wife, Hiordis. Sigmund dies in battle when he attacks Odin (who is in disguise), and Odin shatters Sigmund's sword. Dying, Sigmund tells Hiordis of her pregnancy and bequeaths the fragments of his sword to his unborn son.

Hiordis marries King Alf, and then Alf decided to send Sigurd to Regin as a foster. Regin tempts Sigurd to greed and violence by first asking Sigurd if he has control over Sigmund's gold. When Sigurd says that Alf and his family control the gold and will give him anything he desires, Regin asks Sigurd why he consents to a lowly position at court. Sigurd replies that he is treated as an equal by the kings and can get anything he desires. Then Regin asks Sigurd why he acts as stableboy to the kings and has no horse of his own. Sigurd then goes to get a horse. An old man (Odin in disguise) advises Sigurd on choice of horse, and in this way Sigurd gets Grani, a horse derived from Odin's own Sleipnir.

Finally, Regin tries to tempt Sigurd by telling him the story of the Otter's Gold. Regin's father was Hreidmar, and his two brothers were Ótr and Fafnir. Regin was a natural at smithing, and Otr was natural at swimming. Otr used to swim at Andvari's waterfall, where the dwarf Andvari lived. Andvari often assumed the form of a pike and swam in the pool.

One day, the Æsir saw Otr with a fish on the banks, thought him an otter, and Loki killed him. They took the carcass to the nearby home of Hreidmar to display their catch. Hreidmar, Fafnir, and Regin seized the Æsir and demanded compensation for the death of Otr. The compensation was to stuff the body with gold and cover the skin with fine treasures. Loki got the net from the sea giantess Rán, caught Andvari (as a pike), and demanded all of the dwarf's gold. Andvari gave the gold, except for a ring. Loki took this ring, too, although it carried a curse of death on its bearer. The Æsir used this gold and stuffed Otr's body with gold and covered its skin in gold and covered the last exposed place (a whisker) with the ring of Andvari. Afterward, Fafnir killed Hreidmar and took the gold.

Siegfried Tasting the Dragon's Blood by Arthur Rackham
Siegfried Tasting the Dragon's Blood by Arthur Rackham

Sigurd agrees to kill Fafnir, who has turned himself into a dragon in order to be better able to guard the gold. Sigurd has Regin make him a sword, which he tests by striking the anvil. The sword shatters, so he has Regin make another. This also shatters. Finally, Sigurd has Regin make a sword out of the fragments that had been left to him by Sigmund. The resulting sword, Gram, cuts through the anvil. To kill Fafnir the dragon, Regin advises him to dig a pit, wait for Fafnir to walk over it, and then stab the dragon. Odin, posing as an old man, advises Sigurd to dig trenches also to drain the blood, and to bathe in it after killing the dragon; bathing in Fafnir's blood confers invulnerability. Sigurd does so and kills Fafnir; Sigurd then bathes in the dragon's blood, which touches all of his body except for one of his shoulders where a leaf was stuck. Regin then asked Sigurd to give him Fafnir's heart for himself. Sigurd drinks some of Fafnir's blood and gains the ability to understand the language of birds. Birds advise him to kill Regin, since Regin is plotting Sigurd's death. Sigurd beheads Regin, roasts Fafnir's heart and consumes part of it. This gives him the gift of "wisdom" (prophecy).

Sigurd met Brynhildr, a "shieldmaiden," after killing Fafnir. She pledges herself to him but also prophesies his doom and marriage to another. (In Völsunga saga, it is not clear that Brynhild is a Valkyrie or in any way supernatural.)

Sigurd went to the court of Heimar, who was married to Bekkhild, sister of Brynhild, and then to the court of Gjúki, where he came to live. Gjuki had three sons and one daughter by his wife, Grimhild. The sons were Gunnar, Hogni and Guttorm, and the daughter was Gudrun. Grimhild made an "Ale of Forgetfulness" to force Sigurd to forget Brynhild, so he could marry Gudrun. Later, Gunnar wanted to court Brynhild. Brynhild's bower was surrounded by flames, and she promised herself only to the man daring enough to go through them. Only Grani, Sigurd's horse, would do it, and only with Sigurd on it. Sigurd exchanged shapes with Gunnar, rode through the flames, and won Brynhild for Gunnar.

Some time later, Brynhild taunted Gudrun for having a better husband, and Gudrun explained all that had passed to Brynhild and explained the deception. For having been deceived and cheated of the husband she had desired, Brynhild plots revenge. First, she refuses to speak to anyone and withdraws. Eventually, Sigurd was sent by Gunnar to see what was wrong, and Brynhild accuses Sigurd of taking liberties with her. Gunnar and Hogni plot Sigurd's death and enchant their brother, Guttorm, to a frenzy to accomplish the deed. Guttorm kills Sigurd in bed, and Brynhild kills Sigurd's three year old son Sigmund (named for Sigurd's father). Brynhild then wills herself to die, and builds a funeral pyre for Sigurd, Sigurd's son, Guttorm (killed by Sigurd) and herself. Sigurd and Brynhild had the daughter Aslaug who married Ragnar Lodbrok.

Sigurd and Gudrun are parents to the twins Sigmund (named after Sigurd's father) and Svanhild.

Sigurd (Siegfried)

Sigurd (Old Norse: Sigurðr) was a legendary hero of Norse mythology, as well as the central character in the Völsunga saga. The earliest extant representations for his legend come in pictorial form from seven runestones in Sweden[1] and most notably the Ramsund carving (c. 1000) and the Gök Runestone (11th century).

As Siegfried, he is the hero in the German Nibelungenlied, and Richard Wagner's operas Siegfried and Götterdämmerung.

As Sivard Snarensven(d) he was the hero of several medieval Scandinavian ballads.

The name Sigurðr is not the same name as the German Siegfried. The Old Norse form would have been Sigruþr, a form which appears in the Ramsund carving that depicts the legend.[2] Sivard is another variant name for Sigurðr; these name forms all share the first element Sig-, which means victory.




Balmung

In Norse mythology, Gram was the name of the sword that Sigurd (Siegfried) used to kill the dragon Fafnir. It was forged by Weyland the Smith and originally belonged to his father, Sigmund, who received it in the hall of the Volsung after pulling it out of a log into which Odin had stuck it—nobody else could pull it out. The sword was destroyed and reforged at least once. After it was reforged, it clove an anvil in half. See Sigurd for more details on the story of Siegfried and Fafnir.

In the Nibelungenlied, Siegfried's sword is called Balmung; in Richard Wagner's Ring Cycle, it is called Nothung.

Phoenix

A phoenix is a mythical bird with a tail of beautiful gold and red plumage (or purple and blue, by some sources [1]). It has a 1,000 year life-cycle, and near the end the phoenix builds itself a nest of cinnamon twigs that it then ignites; both nest and bird burn fiercely and are reduced to ashes, from which a new, young phoenix or phoenix egg arises. The new phoenix is destined to live, usually, as long as the old one. In some stories, the new phoenix embalms the ashes of the old phoenix in an egg made of myrrh and deposits it in the Egypt city of Heliopolis (sun city in Greek). The bird was also said to regenerate when hurt or wounded by a foe, thus being almost immortal and invincible — it is also said that it can heal a person with a tear from its eyes and give him/her temporary immortality; a symbol of fire and divinity.[2]

Although descriptions (and life-span) vary, the phoenix (Bennu bird) became popular in early Christian art, literature and Christian symbolism, as a symbol of Christ representing His resurrection, immortality, and life-after-death. One of the Early Church Fathers, Clement, related the following regarding the Phoenix in chapter 25 of The First Epistle of Clement:

Let us consider that wonderful sign [of the resurrection] which takes place in Eastern lands, that is, in Arabia and the countries round about. There is a certain bird which is called a phoenix. This is the only one of its kind, and lives five hundred years. And when the time of its dissolution draws near that it must die, it builds itself a nest of frankincense, and myrrh, and other spices, into which, when the time is fulfilled, it enters and dies. But as the flesh decays a certain kind of worm is produced, which, being nourished by the juices of the dead bird, brings forth feathers. Then, when it has acquired strength, it takes up that nest in which are the bones of its parent, and bearing these it passes from the land of Arabia into Egypt, to the city called Heliopolis. And, in open day, flying in the sight of all men, it places them on the altar of the sun, and having done this, hastens back to its former abode. The priests then inspect the registers of the dates, and find that it has returned exactly as the five hundredth year was completed.

The phoenix on top of Kinkaku-ji temple, Kyoto, Japan
The phoenix on top of Kinkaku-ji temple, Kyoto, Japan

Michael W. Holmes points out that early Christian writers justified their use of this myth because the word appears in Psalm 92:12 [LXX Psalm 91:13], but in that passage it actually refers to a palm tree, not a mythological bird.[3] However, it was the flourishing of Christian Hebraist interpretations of Job 29:18 that brought the Joban phoenix to life for Christian readers of the seventeenth century. At the heart of these interpretations is the proliferation of richly complementary meanings that turn upon three translations of the word chol -- as phoenix, palm tree, or sand -- in Job 29:18." [4]

Originally, the phoenix was identified by the Egyptians as a stork or heron-like bird called a benu, known from the Book of the Dead and other Egyptian texts as one of the sacred symbols of worship at Heliopolis, closely associated with the rising sun and the Egyptian sun-god Ra.

The Greeks identified it with their own word phoenix φοίνιξ, meaning the color purple-red or crimson (cf. Phoenicia). They and the Romans subsequently pictured the bird more like a peacock or an eagle. According to the Greeks the phoenix lived in Phoenicia next to a well. At dawn, it bathed in the water of the well, and the Greek sun-god Apollo stopped his chariot (the sun) in order to listen to its song.


One inspiration that has been suggested for the Egyptian phoenix is the flamingo of East Africa. This bright pink or white bird nests on salt flats that are too hot for its eggs or chicks to survive; it builds a mound several inches tall and large enough to support its egg, which it lays in that marginally cooler location. The convection currents around these mounds resembles the turbulence of a flame. In zoology, flamingos are part of the family Phoenicopteridae, from the generic name Phoenicopterus or "phoenix-winged."

Some medieval Jewish commentators comment upon the Hebrew word Hol (חול) in the biblical book of Job ("...Then I said, I shall die in my nest, and I shall multiply my days as the sand (Hol)...", Job 29:18, the King James translation) as referring to phoenix [5].

"Phoenix" is also the English-language name given to the most important bird in Chinese mythology, the fenghuang, with its own set of characteristics and symbolic meanings.

[edit] Related usage

In Persian mythology, Si'morgh, (Persian: سيمرغ, Middle Persian: senmurv) was a winged, bird-like creature that was very large and extremely ancient. The Simurgh appears in many Iranian literary classics such as Farid ud-Din Attar's Conference of the Birds as instructor and birds leader, and in Ferdowsi's epic Shahnameh (The Book of Kings); Phoenix raised up and cherished Zaal or Zal, father of Rostam.

The phoenix is a central figure in Lebanese ancient and modern cultures, as Lebanese are descendants of the Phoenicians and often claim themselves sons of the Phoenix. Lebanon, and Beirut particularly, is often depicted symbolically as a phoenix bird having been destroyed and rebuilt 7 times during its long history.
The phoenix in the Forbidden City, Beijing, China.
The phoenix in the Forbidden City, Beijing, China.

In China, Fenghuang ("鳳凰") is a mythical bird superficially similar to the phoenix. It is the second most-respected legendary creature (second to the dragon), largely used to represent the empress and females. The phoenix is the leader of birds. In Japan, the phoenix is called hō-ō(kanji:"鳳凰") or fushichō (不死鳥, fushichō?); "Immortal Bird".

In Russian folklore, the phoenix appears as the Zhar-Ptitsa (Жар-Птица), or firebird, subject of the famous 1910 ballet score by Igor Stravinsky. The phoenix was featured in the flags of Alexander Ypsilantis and of many other captains during the Greek Revolution, symbolizing Greece's rebirth, and was chosen by John Capodistria as the first Coat of Arms of the Greek State (1828-1832). In addition, the first modern Greek currency bore the name of phoenix. Despite being replaced by a royal Coat of Arms, it remained a popular symbol, and was used again in the 1930s by the Second Hellenic Republic. However, its use by the military junta of 1967-1974 made it extremely unpopular, and it has almost disappeared from use after 1974, with the notable exception of the Greek Order of the Phoenix).

In Jewish folklore, it is said that the phoenix was the only animal not to join Adam in his banishment from the Garden of Eden.



Description The size of an eagle, with gold plumage around the neck, a purple body, and an azure tail. The throat has a crest, and the head has a tuft of feathers. (according to Pliny)

Features The main feature of the phoenix is that it is reborn through fire: when it gets old it will make a nest (sometimes of myrrh) and set it on fire. The phoenix will be consumed in the flames, but will be reborn out of the ashes. There is only one Phoenix at a time; it lives for many years (accounts vary from 500, 540, 1000 or 1460 years.) No person has ever seen this bird eat. This legend was very common among the Egyptians, the Greek, oriental cultures, and during medieval times.

Symbolizes Might represent the sun, which dies every night and is reborn the next morning. Among classical writers, it may represent those existing in paradise, enjoying eternal youth. Among Christians, it can represent rebirth after death.

Also called

Fung or Feng-Huang- (Chinese version) In this version, the bird is sent to earth to perform extraordinary works and to help the development of man. It appears in different stages of the world's progress, and then returns to heaven.

Cinomolgus- An Arabian bird that built its nests out of cinnamon in high treetops. People would try to throw rocks or shoot arrows to dislodge the nest to get the cinnamon.

Described By: Ovid, Pliny

Herodotus- "They have also another sacred bird called the phoenix which I myself have never seen, except in pictures. Indeed it is a great rarity, even in Egypt, only coming there (according to the accounts of the people of Heliopolis) once in five hundred years, when the old phoenix dies. Its size and appearance, if it is like the pictures, are as follow:- The plumage is partly red, partly golden, while the general make and size are almost exactly that of the eagle. They tell a story of what this bird does, which does not seem to me to be credible: that he comes all the way from Arabia, and brings the parent bird, all plastered over with myrrh, to the temple of the Sun, and there buries the body. In order to bring him, they say, he first forms a ball of myrrh as big as he finds that he can carry; then he hollows out the ball, and puts his parent inside, after which he covers over the opening with fresh myrrh, and the ball is then of exactly the same weight as at first; so he brings it to Egypt, plastered over as I have said, and deposits it in the temple of the Sun. Such is the story they tell of the doings of this bird." (History of Herodotus)

Tacitus- "During the consulship of Paulus Fabius and Lucius Vitellius, the bird called the phoenix, after a long succession of ages, appeared in Egypt and furnished the most learned men of that country and of Greece with abundant matter for the discussion of the marvelous phenomenon. It is my wish to make known all on which they agree with several things, questionable enough indeed, but not too absurd to be noticed. That it is a creature sacred to the sun, differing from all other birds in its beak and in the tints of its plumage, is held unanimously by those who have described its nature. As to the number of years it lives, there are various accounts. The general tradition says five hundred years. Some maintain that it is seen at intervals of fourteen hundred and sixty-one years, and that the former birds flew into the city called Heliopolis successively in the reigns of Sesostris, Amasis, and Ptolemy, the third king of the Macedonian dynasty, with a multitude of companion birds marvelling at the novelty of the appearance. But all antiquity is of course obscure. From Ptolemy to Tiberius was a period of less than five hundred years."

Mandeville- "In Egypt is the city of Heliopolis, that is to say, the city of the Sun. In that city there is a temple, made round after the shape of the Temple of Jerusalem. The priests of that temple have all their writings, under the date of the fowl that is clept phoenix; and there is none but one in all the world. And he cometh to burn himself upon the altar of that temple at the end of five hundred year; for so long he liveth. And at the five hundred years' end, the priests array their altar honestly, and put thereupon spices and sulphur and other things that will burn lightly; and then the bird phoenix cometh and burneth himself to ashes. And the first day next after, men find in the ashes a worm; and the second day next after, men find a bird quick and perfect; and the third day next after, he flieth his way. And so there is no more birds of that kind in all the world, but it alone, and truly that is a great miracle of God. And men may well liken that bird unto God, because that there is no God but one; and also, that our Lord arose from death to life the third day. This bird men see often- time fly in those countries; and he is not mickle more than an eagle. And he hath a crest of feathers upon his head more great than the peacock hath; and is neck his yellow after color of an oriel that is a stone well shining, and his beak is colored blue as ind; and his wings be of purple color, and his tail is barred overthwart with green and yellow and red. And he is a full fair bird to look upon, against the sun, for he shineth full gloriously and nobly."

Related to The Avalerion- there is only ever one pair of these birds. Every 60 years they produce 2 eggs, and when the eggs hatch the parents drown themselves. They are found in India.



The Phoenix in Myth

[The Roman poet] Ovid tells the story of the Phoenix as follows: 'Most beings spring from other individuals; but there is a certain kind which reproduces itself. The Assyrians call it the Phoenix. It does not live on fruit or flowers, but on frankincense and odoriferous gums. When it has lived five hundred years, it builds itself a nest in the branches of an oak, or on the top of a palm tree. In this it collects cinnamon and spikenard, and myrrh, and of these materials builds a pile on which it deposits itself, and dying, breathes out its last breath amidst odors.

From the body of the parent bird, a young Phoenix issues forth, destined to live as long a life as its predecessor. When this has grown up and gained sufficient strength, it lifts its nest from the tree (its own cradle and its parent's sepulchre), and carries it to the city of Heliopolis in Egypt, and deposits it in the temple of the Sun.'

he Phoenix is a fabulous and sacred bird.

What he does and how he looks like

According to the people of Heliopolis in Egypt, the Phoenix came to that city once in five hundred years to bury his father. Historians have apparently never claimed to have seen this extraordinary creature, except in pictures, and they have found the accounts about this bird quite incredible. It is from the pictures that they have described the Phoenix, saying that it had the appearance of an eagle, both in shape and size, and that his plumage was partly golden, and partly red.

How he manages

It is said that the Phoenix, carrying his father encased in myrrh, comes from Arabia to the Temple of the Sun in Heliopolis, where he buries him. In order to do this, the Phoenix first moulds an egg of the bitter tasting but aromatic plant called myrrh, and then hollows it out, putting his father into it. Having done this, he plasters over with more myrrh the hollow of the egg, and carries it to Egypt.

Reproduces himself

Yet the Phoenix has no father in the usual sense. For this bird, they say, is the only creature capable of renewing and reproducing its own being. They add that unlike other birds, the Phoenix does not feed on seeds, but on the gum of frankincense, an aromatic resin, and the juices of amomum, a herb of the ginger family.

Nest carried to Heliopolis

When the Phoenix has lived for five hundred years, he builds a nest at the top of a palm-tree, which he covers over with cassia-bark, spikes of nard, cinnamon, and myrrh—all of them highly aromatic plants. Having then placed himself upon the nest, he dies; but from the dead body a little Phoenix springs up, who also lives the length of five centuries. Now, once in the course of his life, the Phoenix removes the nest from the palm and bears it to Heliopolis, where he lays it down before the doors of the Temple of the Sun.

This is the only thing that the Phoenix, though he lives five hundred years, has been reported to do.

The difficult science of life span, years, ages and generations

On the length of the life of the Phoenix, the following has been said:

"A chattering crow lives out nine generations of aged men, but a stag's life is four times a crow's, and a raven's life makes three stags old, while the phoenix outlives nine ravens, but we, the rich-haired Nymphs, daughters of Zeus the aegis-holder, outlive ten phoenixes." (Hesiod, quoted by Plutarch, Obsolescence of Oracles 415c).

Epic of Gilgamesh: tablet XI last

Tablet XI

The Story of the Flood



Gilgamesh spoke to Utanapishtim, the Faraway:
"I have been looking at you,
but your appearance is not strange--you are like me!
You yourself are not different--you are like me!
My mind was resolved to fight with you,
(but instead?) my arm lies useless over you.
Tell me, how is it that you stand in the Assembly of the Gods,
and have found life!"
Utanapishtim spoke to Gilgamesh, saying:
"I will reveal to you, Gilgamesh, a thing that is hidden,
a secret of the gods I will tell you!
Shuruppak, a city that you surely know,
situated on the banks of the Euphrates,
that city was very old, and there were gods inside it.
The hearts of the Great Gods moved them to inflict the Flood.
Their Father Anu uttered the oath (of secrecy),
Valiant Enlil was their Adviser,
Ninurta was their Chamberlain,
Ennugi was their Minister of Canals.
Ea, the Clever Prince(?), was under oath with them
so he repeated their talk to the reed house:
'Reed house, reed house! Wall, wall!
O man of Shuruppak, son of Ubartutu:
Tear down the house and build a boat!
Abandon wealth and seek living beings!
Spurn possessions and keep alive living beings!
Make all living beings go up into the boat.
The boat which you are to build,
its dimensions must measure equal to each other:
its length must correspond to its width.
Roof it over like the Apsu.
I understood and spoke to my lord, Ea:
'My lord, thus is the command which you have uttered
I will heed and will do it.
But what shall I answer the city, the populace, and the
Elders!'
Ea spoke, commanding me, his servant:
'You, well then, this is what you must say to them:
"It appears that Enlil is rejecting me
so I cannot reside in your city (?),
nor set foot on Enlil's earth.
I will go down to the Apsu to live with my lord, Ea,
and upon you he will rain down abundance,
a profusion of fowl, myriad(!) fishes.
He will bring to you a harvest of wealth,
in the morning he will let loaves of bread shower down,
and in the evening a rain of wheat!"'
Just as dawn began to glow
the land assembled around me-
the carpenter carried his hatchet,
the reed worker carried his (flattening) stone,
... the men ...
The child carried the pitch,
the weak brought whatever else was needed.
On the fifth day I laid out her exterior.
It was a field in area,
its walls were each 10 times 12 cubits in height,
the sides of its top were of equal length, 10 times It cubits each.
I laid out its (interior) structure and drew a picture of it (?).
I provided it with six decks,
thus dividing it into seven (levels).
The inside of it I divided into nine (compartments).
I drove plugs (to keep out) water in its middle part.
I saw to the punting poles and laid in what was necessary.
Three times 3,600 (units) of raw bitumen I poured into the
bitumen kiln,
three times 3,600 (units of) pitch ...into it,
there were three times 3,600 porters of casks who carried (vege-
table) oil,
apart from the 3,600 (units of) oil which they consumed (!)
and two times 3,600 (units of) oil which the boatman stored
away.
I butchered oxen for the meat(!),
and day upon day I slaughtered sheep.
I gave the workmen(?) ale, beer, oil, and wine, as if it were
river water,
so they could make a party like the New Year's Festival.
... and I set my hand to the oiling(!).
The boat was finished by sunset.
The launching was very difficult.
They had to keep carrying a runway of poles front to back,
until two-thirds of it had gone into the water(?).
Whatever I had I loaded on it:
whatever silver I had I loaded on it,
whatever gold I had I loaded on it.
All the living beings that I had I loaded on it,
I had all my kith and kin go up into the boat,
all the beasts and animals of the field and the craftsmen I
had go up.
Shamash had set a stated time:
'In the morning I will let loaves of bread shower down,
and in the evening a rain of wheat!
Go inside the boat, seal the entry!'
That stated time had arrived.
In the morning he let loaves of bread shower down,
and in the evening a rain of wheat.
I watched the appearance of the weather--
the weather was frightful to behold!
I went into the boat and sealed the entry.
For the caulking of the boat, to Puzuramurri, the boatman,
I gave the palace together with its contents.
Just as dawn began to glow
there arose from the horizon a black cloud.
Adad rumbled inside of it,
before him went Shullat and Hanish,
heralds going over mountain and land.
Erragal pulled out the mooring poles,
forth went Ninurta and made the dikes overflow.
The Anunnaki lifted up the torches,
setting the land ablaze with their flare.
Stunned shock over Adad's deeds overtook the heavens,
and turned to blackness all that had been light.
The... land shattered like a... pot.
All day long the South Wind blew ...,
blowing fast, submerging the mountain in water,
overwhelming the people like an attack.
No one could see his fellow,
they could not recognize each other in the torrent.
The gods were frightened by the Flood,
and retreated, ascending to the heaven of Anu.
The gods were cowering like dogs, crouching by the outer wall.
Ishtar shrieked like a woman in childbirth,
the sweet-voiced Mistress of the Gods wailed:
'The olden days have alas turned to clay,
because I said evil things in the Assembly of the Gods!
How could I say evil things in the Assembly of the Gods,
ordering a catastrophe to destroy my people!!
No sooner have I given birth to my dear people
than they fill the sea like so many fish!'
The gods--those of the Anunnaki--were weeping with her,
the gods humbly sat weeping, sobbing with grief(?),
their lips burning, parched with thirst.
Six days and seven nights
came the wind and flood, the storm flattening the land.
When the seventh day arrived, the storm was pounding,
the flood was a war--struggling with itself like a woman
writhing (in labor).
The sea calmed, fell still, the whirlwind (and) flood stopped up.
I looked around all day long--quiet had set in
and all the human beings had turned to clay!
The terrain was as flat as a roof.
I opened a vent and fresh air (daylight!) fell upon the side of
my nose.
I fell to my knees and sat weeping,
tears streaming down the side of my nose.
I looked around for coastlines in the expanse of the sea,
and at twelve leagues there emerged a region (of land).
On Mt. Nimush the boat lodged firm,
Mt. Nimush held the boat, allowing no sway.
One day and a second Mt. Nimush held the boat, allowing
no sway.
A third day, a fourth, Mt. Nimush held the boat, allowing
no sway.
A fifth day, a sixth, Mt. Nimush held the boat, allowing
no sway.
When a seventh day arrived
I sent forth a dove and released it.
The dove went off, but came back to me;
no perch was visible so it circled back to me.
I sent forth a swallow and released it.
The swallow went off, but came back to me;
no perch was visible so it circled back to me.
I sent forth a raven and released it.
The raven went off, and saw the waters slither back.
It eats, it scratches, it bobs, but does not circle back to me.
Then I sent out everything in all directions and sacrificed
(a sheep).
I offered incense in front of the mountain-ziggurat.
Seven and seven cult vessels I put in place,
and (into the fire) underneath (or: into their bowls) I poured
reeds, cedar, and myrtle.
The gods smelled the savor,
the gods smelled the sweet savor,
and collected like flies over a (sheep) sacrifice.
Just then Beletili arrived.
She lifted up the large flies (beads) which Anu had made for
his enjoyment(!):
'You gods, as surely as I shall not forget this lapis lazuli
around my neck,
may I be mindful of these days, and never forget them!
The gods may come to the incense offering,
but Enlil may not come to the incense offering,
because without considering he brought about the Flood
and consigned my people to annihilation.'
Just then Enlil arrived.
He saw the boat and became furious,
he was filled with rage at the Igigi gods:
'Where did a living being escape?
No man was to survive the annihilation!'
Ninurta spoke to Valiant Enlil, saying:
'Who else but Ea could devise such a thing?
It is Ea who knows every machination!'
La spoke to Valiant Enlil, saying:
'It is yours, O Valiant One, who is the Sage of the Gods.
How, how could you bring about a Flood without consideration
Charge the violation to the violator,
charge the offense to the offender,
but be compassionate lest (mankind) be cut off,
be patient lest they be killed.
Instead of your bringing on the Flood,
would that a lion had appeared to diminish the people!
Instead of your bringing on the Flood,
would that a wolf had appeared to diminish the people!
Instead of your bringing on the Flood,
would that famine had occurred to slay the land!
Instead of your bringing on the Flood,
would that (Pestilent) Erra had appeared to ravage the land!
It was not I who revealed the secret of the Great Gods,
I (only) made a dream appear to Atrahasis, and (thus) he
heard the secret of the gods.
Now then! The deliberation should be about him!'
Enlil went up inside the boat
and, grasping my hand, made me go up.
He had my wife go up and kneel by my side.
He touched our forehead and, standing between us, he
blessed us:
'Previously Utanapishtim was a human being.
But now let Utanapishtim and his wife become like us,
the gods!
Let Utanapishtim reside far away, at the Mouth of the Rivers.'
They took us far away and settled us at the Mouth of the Rivers."
"Now then, who will convene the gods on your behalf,
that you may find the life that you are seeking!
Wait! You must not lie down for six days and seven nights."
soon as he sat down (with his head) between his legs
sleep, like a fog, blew upon him.
Utanapishtim said to his wife:
"Look there! The man, the youth who wanted (eternal) life!
Sleep, like a fog, blew over him."
his wife said to Utanapishtim the Faraway:
"Touch him, let the man awaken.
Let him return safely by the way he came.
Let him return to his land by the gate through which he left."
Utanapishtim said to his wife:
"Mankind is deceptive, and will deceive you.
Come, bake leaves for him and keep setting them by his head
and draw on the wall each day that he lay down."
She baked his leaves and placed them by his head
and marked on the wall the day that he lay down.
The first loaf was dessicated,
the second stale, the third moist(?), the fourth turned white,
its ...,
the fifth sprouted gray (mold), the sixth is still fresh.
the seventh--suddenly he touched him and the man awoke.
Gilgamesh said to Utanapishtim:
"The very moment sleep was pouring over me
you touched me and alerted me!"
Utanapishtim spoke to Gilgamesh, saying:
"Look over here, Gilgamesh, count your loaves!
You should be aware of what is marked on the wall!
Your first loaf is dessicated,
the second stale, the third moist, your fourth turned white,
its ...
the fifth sprouted gray (mold), the sixth is still fresh.
The seventh--suddenly he touched him and the man awoke.
Gilgamesh said to Utanapishtim:
"The very moment sleep was pouring over me
you touched me and alerted me!"
Utanapishtim spoke to Gilgamesh, saying:
"Look over here, Gilgamesh, count your leaves!
You should be aware of what is marked on the wall!
Your first loaf is dessicated,
the second stale, the third moist, your fourth turned white,
its ...
the fifth sprouted gray (mold), the sixth is still fresh.
The seventh--at that instant you awoke!"
Gilgamesh said to Utanapishtim the Faraway:
"O woe! What shall I do, Utanapishtim, where shall I go!
The Snatcher has taken hold of my flesh,
in my bedroom Death dwells,
and wherever I set foot there too is Death!"
Home Empty-Handed
Utanapishtim said to Urshanabi, the ferryman:
"May the harbor reject you, may the ferry landing reject you!
May you who used to walk its shores be denied its shores!
The man in front of whom you walk, matted hair chains
his body,
animal skins have ruined his beautiful skin.
Take him away, Urshanabi, bring him to the washing place.
Let him wash his matted hair in water like ellu.
Let him cast away his animal skin and have the sea carry it off,
let his body be moistened with fine oil,
let the wrap around his head be made new,
let him wear royal robes worthy of him!
Until he goes off to his city,
until he sets off on his way,
let his royal robe not become spotted, let it be perfectly new!"
Urshanabi took him away and brought him to the washing place.
He washed his matted hair with water like ellu.
He cast off his animal skin and the sea carried it oh.
He moistened his body with fine oil,
and made a new wrap for his head.
He put on a royal robe worthy of him.
Until he went away to his city,
until he set off on his way,
his royal robe remained unspotted, it was perfectly clean.
Gilgamesh and Urshanabi bearded the boat,
they cast off the magillu-boat, and sailed away.
The wife of Utanapishtim the Faraway said to him:
"Gilgamesh came here exhausted and worn out.
What can you give him so that he can return to his land (with
honor) !"
Then Gilgamesh raised a punting pole
and drew the boat to shore.
Utanapishtim spoke to Gilgamesh, saying:
"Gilgamesh, you came here exhausted and worn out.
What can I give you so you can return to your land?
I will disclose to you a thing that is hidden, Gilgamesh,
a... I will tell you.
There is a plant... like a boxthorn,
whose thorns will prick your hand like a rose.
If your hands reach that plant you will become a young
man again."
Hearing this, Gilgamesh opened a conduit(!) (to the Apsu)
and attached heavy stones to his feet.
They dragged him down, to the Apsu they pulled him.
He took the plant, though it pricked his hand,
and cut the heavy stones from his feet,
letting the waves(?) throw him onto its shores.
Gilgamesh spoke to Urshanabi, the ferryman, saying:
"Urshanabi, this plant is a plant against decay(!)
by which a man can attain his survival(!).
I will bring it to Uruk-Haven,
and have an old man eat the plant to test it.
The plant's name is 'The Old Man Becomes a Young Man.'"
Then I will eat it and return to the condition of my youth."
At twenty leagues they broke for some food,
at thirty leagues they stopped for the night.
Seeing a spring and how cool its waters were,
Gilgamesh went down and was bathing in the water.
A snake smelled the fragrance of the plant,
silently came up and carried off the plant.
While going back it sloughed off its casing.'
At that point Gilgamesh sat down, weeping,
his tears streaming over the side of his nose.
"Counsel me, O ferryman Urshanabi!
For whom have my arms labored, Urshanabi!
For whom has my heart's blood roiled!
I have not secured any good deed for myself,
but done a good deed for the 'lion of the ground'!"
Now the high waters are coursing twenty leagues distant,'
as I was opening the conduit(?) I turned my equipment over
into it (!).
What can I find (to serve) as a marker(?) for me!
I will turn back (from the journey by sea) and leave the boat by
the shore!"
At twenty leagues they broke for some food,
at thirty leagues they stopped for the night.
They arrived in Uruk-Haven.
Gilgamesh said to Urshanabi, the ferryman:
"Go up, Urshanabi, onto the wall of Uruk and walk around.
Examine its foundation, inspect its brickwork thoroughly--
is not (even the core of) the brick structure of kiln-fired brick,
and did not the Seven Sages themselves lay out its plan!
One league city, one league palm gardens, one league lowlands, the open area(?) of the Ishtar Temple,
three leagues and the open area(?) of Uruk it encloses.