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.

Epic of Gilgamesh: tablet X

Tablet X


The tavern-keeper Siduri who lives by the seashore,
she lives...
the pot-stand was made for her, the golden fermenting vat was made for her.
She is covered with a veil ...
Gilgamesh was roving about...
wearing a skin,...
having the flesh of the gods in his body,
but sadness deep within him,
looking like one who has been traveling a long distance.
The tavern-keeper was gazing off into the distance,
puzzling to herself, she said,
wondering to herself:
"That fellow is surely a murderer(!)!
Where is he heading! ..."
As soon as the tavern-keeper saw him, she bolted her door,
bolted her gate, bolted the lock.
But at her noise Gilgamesh pricked up his ears,
lifted his chin (to look about) and then laid his eyes on her.
Gilgamesh spoke to the tavern-keeper, saying:
"Tavern-keeper, what have you seen that made you bolt
your door,
bolt your gate, bolt the lock!
if you do not let me in I will break your door, and smash
the lock!
... the wilderness."
... Gilgamesh
The tavern-keeper Siduri who lives by the seashore,
she lives...
the pot-stand was made for her, the golden fermenting vat was made
for her.
She is covered with a veil ...
Gilgamesh was roving about...
wearing a skin,...
having the flesh of the gods in his body,
but sadness deep within him,
looking like one who has been traveling a long distance.
The tavern-keeper was gazing off into the distance,
puzzling to herself, she said,
wondering to herself:
"That fellow is surely a murderer(!)!
Where is he heading! ..."
As soon as the tavern-keeper saw him, she bolted her door,
bolted her gate, bolted the lock.
But at her noise Gilgamesh pricked up his ears,
lifted his chin (to look about) and then laid his eyes on her.
Gilgamesh spoke to the tavern-keeper, saying:
"Tavern-keeper, what have you seen that made you bolt
your door,
bolt your gate, bolt the lock!
if you do not let me in I will break your door, and smash
the lock!
... the wilderness."
... Gilgamesh
... gate
Gilgamesh said to the tavern-keeper:
"I am Gilgamesh, I killed the Guardian!
I destroyed Humbaba who lived in the Cedar Forest,
I slew lions in the mountain passes!
I grappled with the Bull that came down from heaven, and
killed him."
The tavern-keeper spoke to Gilgamesh, saying:
"lf you are Gilgamesh, who killed the Guardian,
who destroyed Humbaba who lived in the Cedar Forest,
who slew lions in the mountain passes,
who grappled with the Bull that came down from heaven, and
killed him,
why are your cheeks emaciated, your expression desolate!
Why is your heart so wretched, your features so haggard!
Why is there such sadness deep within you!
Why do you look like one who has been traveling a long
distance
so that ice and heat have seared your face!
... you roam the wilderness!"
Gilgamesh spoke to her, to the tavern-keeper he said:
"Tavern-keeper, should not my cheeks be emaciated?
Should my heart not be wretched, my features not haggard?
Should there not be sadness deep within me!
Should I not look like one who has been traveling a long
distance,
and should ice and heat not have seared my face!
..., should I not roam the wilderness?
My friend, the wild ass who chased the wild donkey, panther of
the wilderness,
Enkidu, the wild ass who chased the wild donkey, panther of
the wilderness,
we joined together, and went up into the mountain.
We grappled with and killed the Bull of Heaven,
we destroyed Humbaba who lived in the Cedar Forest,
we slew lions in the mountain passes!
My friend, whom I love deeply, who went through every hard-
ship with me,
Enkidu, whom I love deeply, who went through every hardship
with me,
the fate of mankind has overtaken him.
Six days and seven nights I mourned over him
and would not allow him to be buried
until a maggot fell out of his nose.
I was terrified by his appearance(!),
I began to fear death, and so roam the wilderness.
The issue of my friend oppresses me,
so I have been roaming long trails through the wilderness.
The issue of Enkidu, my friend, oppresses me,
so I have been roaming long roads through the wilderness.
How can I stay silent, how can 1 be still!
My friend whom I love has turned to clay.
Am I not like him? Will I lie down, never to get up again?"'
Gilgamesh spoke to the tavern-keeper, saying:
"So now, tavern-keeper, what is the way to Utanapishtim!
What are its markers Give them to me! Give me the markers!
If possible, I will cross the sea;
if not, I will roam through the wilderness."
The tavern-keeper spoke to Gilgamesh, saying:
"There has never been, Gilgamesh, any passage whatever,
there has never been anyone since days of yore who crossed
the sea.
The (only) one who crosses the sea is valiant Shamash, except
for him who can cross!
The crossing is difficult, its ways are treacherous--
and in between are the Waters of Death that bar its approaches!
And even if, Gilgamesh, you should cross the sea,
when you reach the Waters of Death what would you do!
Gilgamesh, over there is Urshanabi, the ferryman of Utanapishtim.
'The stone things' L are with him, he is in the woods picking
mint( !).
Go on, let him see your face.
If possible, cross with him;
if not, you should turn back."
When Gilgamesh heard this
he raised the axe in his hand,
drew the dagger from his belt,
and slipped stealthily away after them.
Like an arrow he fell among them ("the stone things").
From the middle of the woods their noise could be heard.
Urshanabi, the sharp-eyed, saw...
When he heard the axe, he ran toward it.
He struck his head ... Gilgamesh.'
He clapped his hands and ... his chest,
while "the stone things" ... the boat
... Waters of Death
... broad sea
in the Waters of Death ...
... to the river
... the boat
... on the shore.
Gilgamesh spoke to Urshanabi (?), the ferryman,
... you."
Urshanabi spoke to Gilgamesh, saying:'
"Why are your cheeks emaciated, your expression desolate!
Why is your heart so wretched, your features so haggard?
Why is there such sadness deep within you!
Why do you look like one who has been traveling a long
distance
so that ice and heat have seared your face!
Why ... you roam the wilderness!"
Gilgamesh spoke to Urshanabi, saying:
"Urshanabi, should not my cheeks be emaciated, my expression
desolate!
Should my heart not be wretched, my features not haggard
Should there not be sadness deep within me?
Should I not look like one who has been traveling a long
distance,
and should ice and heat not have seared my face!
... should I not roam the wilderness?
My friend who chased wild asses in the mountain, the panther
of the wilderness,
Enkidu, my friend, who chased wild asses in the mountain, the
panther of the wilderness,
we joined together, and went up into the mountain.
We grappled with and killed the Bull of Heaven,
we destroyed Humbaba who dwelled in the Cedar Forest,
we slew lions in the mountain passes!
My friend, whom I love deeply, who went through every hard-
ship with me,
Enkidu, my friend, whom I love deeply, who went through
every hardship with me,
the fate of mankind has overtaken him.
Six days and seven nights I mourned over him
and would not allow him to be buried
until a maggot fell out of his nose.
I was terrified by his appearance(!),
I began to fear death, and so roam the wilderness.
The issue of my friend oppresses me,
so I have been roaming long trails through the wilderness.
The issue of Enkidu, my friend, oppresses me,
so 1 have been roaming long roads through the wilderness.
How can I stay silent, how can I be still!
My friend whom I love has turned to clay;
Enkidu, my friend whom I love, has turned to clay!
Am I not like him! Will I lie down, never to get up again!"
Gilgamesh spoke to Urshanabi, saying:
"Now, Urshanabi! What is the way to Utanapishtim?
What are its markers! Give them to me! Give me the markers!
If possible, I will cross the sea;
if not, I will roam through the wilderness!"
Urshanabi spoke to Gilgamesh, saying:
"It is your hands, Gilgamesh, that prevent the crossing!
You have smashed the stone things,' you have pulled out their
retaining ropes (?).
'The stone things' have been smashed, their retaining ropes (!)
pulled out!
Gilgamesh, take the axe in your hand, go down into the woods,
and cut down 300 punting poles each 60 cubits in length.
Strip them, attach caps(?), and bring them to the boat!"
When Gilgamesh heard this
he took up the axe in his hand, drew the dagger from his belt,
and went down into the woods,
and cut 300 punting poles each 60 cubits in length.
He stripped them and attached caps(!), and brought them to
the boat.
Gilgamesh and Urshanabi bearded the boat,
Gilgamesh launched the magillu-boat' and they sailed away.
By the third day they had traveled a stretch of a month and a
half, and
Urshanabi arrived at the Waters of Death.
Urshanabi said to Gilgamesh:
"Hold back, Gilgamesh, take a punting pole,
but your hand must not pass over the Waters of Death ... !
Take a second, Gilgamesh, a third, and a fourth pole,
take a fifth, Gilgamesh, a sixth, and a seventh pole,
take an eighth, Gilgamesh, a ninth, and a tenth pole,
take an eleventh, Gilgamesh, and a twelfth pole!"
In twice 60 rods Gilgamesh had used up the punting poles.
Then he loosened his waist-cloth(?) for...
Gilgamesh stripped off his garment
and held it up on the mast(!) with his arms.
Utanapishtim was gazing off into the distance,
puzzling to himself he said, wondering to himself:
"Why are 'the stone things' of the boat smashed to pieces!
And why is someone not its master sailing on it?
The one who is coming is not a man of mine, ...
I keep looking but not...
I keep looking but not ...
I keep looking..."
lines are missing here.]
Utanapishtim said to Gilgamesh:
"Why are your cheeks emaciated, your expression desolate!
Why is your heart so wretched, your features so haggard!
Why is there such sadness deep within you!
Why do you look like one who has been traveling a long distance
so that ice and heat have seared your face!
... you roam the wilderness!"
Gilgamesh spoke to Utanapishtim saying:
"Should not my cheeks be emaciated, my expression desolate!
Should my heart not be wretched, my features not haggard!
Should there not be sadness deep within me!
Should I not look like one who has been traveling a long distance,
and should ice and heat not have seared my face!
... should I not roam the wilderness)
My friend who chased wild asses in the mountain, the panther
of the wilderness,
Enkidu, my friend, who chased wild asses in the mountain, the
panther of the wilderness,
we joined together, and went up into the mountain.
We grappled with and killed the Bull of Heaven,
we destroyed Humbaba who dwelled in the Cedar Forest,
we slew lions in the mountain passes!
My friend, whom I love deeply, who went through every hard-
shin with me
Enkidu, my friend, whom I love deeply, who went through
every hardship with me,
the fate of mankind has overtaken him.
Six days and seven nights I mourned over him
and would not allow him to be buried
until a maggot fell out of his nose.
I was terrified by his appearance(!),
I began to fear death, and so roam the wilderness.
The issue of my friend oppresses me,
so I have been roaming long trails through the wilderness.
The issue of Enkidu, my friend, oppresses me,
so I have been roaming long roads through the wilderness.
How can I stay silent, how can I be still!
My friend whom I love has turned to clay;
Enkidu, my friend whom I love, has turned to clay!
Am I not like him! Will I lie down never to get up again!"
Gilgamesh spoke to Utanapishtim, saying:
"That is why (?) I must go on, to see Utanapishtim whom they
call 'The Faraway.'"
I went circling through all the mountains,
I traversed treacherous mountains, and crossed all the seas--
that is why (!) sweet sleep has not mellowed my face,
through sleepless striving I am strained,
my muscles are filled with pain.
I had not yet reached the tavern-keeper's area before my
clothing gave out.
I killed bear, hyena, lion, panther, tiger, stag, red-stag, and
beasts of the wilderness;
I ate their meat and wrapped their skins around me.'
The gate of grief must be bolted shut, sealed with pitch and
bitumen !
As for me, dancing...
For me unfortunate(!) it(?) will root out..."
Utanapishtim spoke to Gilgamesh, saying:
"Why, Gilgamesh, do you ... sadness?
You who were created (!) from the flesh of gods and mankind
who made ... like your father and mother?
Have you ever... Gilgamesh ... to the fool ...
They placed a chair in the Assembly, ...
But to the fool they gave beer dregs instead of butter,
bran and cheap flour which like ...
Clothed with a loincloth (!) like ...
And ... in place of a sash,
because he does not have ...
does not have words of counsel ...
Take care about it, Gilgamesh,
... their master...
... Sin...
... eclipse of the moon ...
The gods are sleepless ...
They are troubled, restless(!) ...
Long ago it has been established...
You trouble yourself...
... your help ...
If Gilgamesh ... the temple of the gods
... the temple of the holy gods,
... the gods ...
... mankind,
they took ... for his fate.
You have toiled without cease, and what have you got!
Through toil you wear yourself out,
you fill your body with grief,
your long lifetime you are bringing near (to a premature end)!
Mankind, whose offshoot is snapped off like a reed in a
canebreak,
the fine youth and lovely girl
... death.
No one can see death,
no one can see the face of death,
no one can hear the voice of death,
yet there is savage death that snaps off mankind.
For how long do we build a household?
For how long do we seal a document!
For how long do brothers share the inheritance?
For how long is there to be jealousy in the land(!)!
For how long has the river risen and brought the overflowing
waters,
so that dragonflies drift down the river!'
The face that could gaze upon the face of the Sun
has never existed ever.
How alike are the sleeping(!) and the dead.
The image of Death cannot be depicted.
(Yes, you are a) human being, a man (?)!
After Enlil had pronounced the blessing,'"
the Anunnaki, the Great Gods, assembled.
Mammetum, she who forms destiny, determined destiny with them.
They established Death and Life,
but they did not make known 'the days of death'".

Epic of Gilgamesh: tablet IX

Tablet IX


Over his friend, Enkidu, Gilgamesh cried bitterly, roaming the wilderness.
"I am going to die!--am I not like Enkidu?!
Deep sadness penetrates my core,
I fear death, and now roam the wilderness--
I will set out to the region of Utanapishtim, son of Ubartutu,
and will go with utmost dispatch!
When I arrived at mountain passes at nightfall,'
I saw lions, and I was terrified!
I raised my head in prayer to Sin,
to ... the Great Lady of the gods my supplications poured
forth, 'Save me from... !"'
He was sleeping in the night, but awoke with a start with a dream:
A warrior(!) enjoyed his life--
he raised his axe in his hand,
drew the dagger from his sheath,
and fell into their midst like an arrow.
He struck ... and he scattered them,
The name of the former ...
The name of the second ...

(26 lines are missing here, telling of the beginning of his quest.]

The Scorpion-Beings
The mountain is called Mashu.
Then he reached Mount Mashu,
which daily guards the rising and setting of the Sun,
above which only the dome of the heavens reaches,
and whose flank reaches as far as the Netherworld below,
there were Scorpion-beings watching over its gate.
Trembling terror they inspire, the sight of them is death,
their frightening aura sweeps over the mountains.
At the rising and setting they watch over the Sun.
When Gilgamesh saw them, trembling terror blanketed his face,
but he pulled himself together and drew near to them.
The scorpion-being called out to his female:
"He who comes to us, his body is the flesh of gods!"
The scorpion-being, his female, answered him:
"(Only) two-thirds of him is a god, one-third is human."
The male scorpion-being called out,
saying to the offspring of the gods:
"Why have you traveled so distant a journey?
Why have you come here to me,
over rivers whose crossing is treacherous!
I want to learn your ...
I want to learn ..."

[16 lines are missing here. When the text resumes Gilgamesh is speaking.]

"I have come on account of my ancestor Utanapishtim,
who joined the Assembly of the Gods, and was given eternal life.
About Death and Life I must ask him!"
The scorpion-being spoke to Gilgamesh ..., saying:
"Never has there been, Gilgamesh, a mortal man who could do that(?).
No one has crossed through the mountains,
for twelve leagues it is darkness throughout--
dense is the darkness, and light there is none.
To the rising of the sun ...
To the setting of the sun ...
To the setting of the sun ...
They caused to go out..."

[67 lines are missing, in which Gilgamesh convinces the scorpion-being to allow him
passage.]

"Though it be in deep sadness and pain,
in cold or heat ...
gasping after breath ... I will go on!
Now! Open the Gate!"
The scorpion-being spoke to Gilgamesh, saying:
"Go on, Gilgamesh, fear not!
The Mashu mountains I give to you freely (!),
the mountains, the ranges, you may traverse ...
In safety may your feet carry you.
The gate of the mountain ..."
To the rising of the sun ...
To the setting of the sun ...
To the setting of the sun ...
They caused to go out..."

[67 lines are missing, in which Gilgamesh convinces the scorpion-being to allow him
passage.]

"Though it be in deep sadness and pain,
in cold or heat ...
gasping after breath ... I will go on!
Now! Open the Gate!"
The scorpion-being spoke to Gilgamesh, saying:
"Go on, Gilgamesh, fear not!
The Mashu mountains I give to you freely (!),
the mountains, the ranges, you may traverse ...
In safety may your feet carry you.
The gate of the mountain ..."
As soon as Gilgamesh heard this
he heeded the utterances of the scorpion-being.
Along the Road of the Sun L he journeyed--
one league he traveled ...,
dense was the darkness, light there was none.
Neither what lies ahead nor behind does it allow him to see.
Two leagues he traveled ...,
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.

[22 lines are missing here.]

Four leagues he traveled ...,
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Five leagues he traveled ...,
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Six leagues he traveled ...,
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Seven leagues he traveled ..
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Eight leagues he traveled and cried out (!),
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Nine leagues he traveled ... the North Wind.
It licked at his face,
dense was the darkness, light there was none,
neither what lies ahead nor behind does it allow him to see.
Ten leagues he traveled ...
... is near,
... four leagues.
Eleven leagues he traveled and came out before the sun(rise).
Twelve leagues he traveled and it grew brilliant.
...it bears lapis lazuli as foliage,
bearing fruit, a delight to look upon.

(25 lines are missing here, describing the garden in detail.]

... cedar
... agate
... of the sea ... lapis lazuli,
like thorns and briars ... carnelian,
rubies, hematite,...
like... emeralds (!)
... of the sea,
Gilgamesh ... on walking onward,
raised his eyes and saw ...

Epic of Gilgamesh: tablet VIII

Tablet VIII


Just as day began to dawn
Gilgamesh addressed his friend, saying:
"Enkidu, your mother, the gazelle,
and your father, the wild donkey, engendered you,
four wild asses raised you on their milk,
and the herds taught you all the grazing lands.
May the Roads of Enkidu to the Cedar Forest
mourn you
and not fall silent night or day.
May the Elders of the broad city of Uruk-Haven
mourn you.
May the peoples who gave their blessing after us
mourn you.
May the men of the mountains and hills
mourn you.
May the...
May the pasture lands shriek in mourning as if it were your mother.
May the ..., the cypress, and the cedar which we destroyed (?) in our anger
mourn you.
May the bear, hyena, panther, tiger, water buffalo(?), jackal,
lion, wild bull, stag, ibex, all the creatures of the plains
mourn you.
May the holy River Ulaja, along whose banks we grandly used to stroll,
mourn you.
May the pure Euphrates, to which we would libate water from our waterskins,
mourn you.
May the men of Uruk-Haven, whom we saw in our battle when
we killed the Bull of Heaven,
mourn you.
May the farmer ...,who extols your name in his sweet work song,
mourn you.
May the ... of the broad city, who ... exalted your name,
mourn you.
May the herder ..., who prepared butter and light beer for your mouth,
mourn you.
May ..., who put ointments on your back,
mourn you.
May ..., who prepared fine beer for your mouth,
mourn you.
May the harlot, ... you rubbed yourself with oil and felt good,
mourn you.
May ...,... of the wife placed(!) a ring on you ...,
mourn you
May the brothers go into mourning over you like sisters;
... the lamentation priests, may their hair be shorn off on
your behalf.
Enkidu, your mother and your father are in the wastelands,
I mourn you ..."
"Hear me, O Elders of Uruk, hear me, O men!
I mourn for Enkidu, my friend,
I shriek in anguish like a mourner.
You, axe at my side, so trusty at my hand--
you, sword at my waist, shield in front of me,
you, my festal garment, a sash over my loins--
an evil demon!) appeared and took him away from me!
My friend, the swift mule, fleet wild ass of the mountain,
panther of the wilderness,
Enkidu, my friend, the swift mule, fleet wild ass of the mountain,
panther of the wilderness,
after we joined together and went up into the mountain,
fought the Bull of Heaven and killed it,
and overwhelmed Humbaba, who lived in the Cedar Forest,
now what is this sleep which has seized you?
You have turned dark and do not hear me!"
But his (Enkidu's) eyes do not move,
he touched his heart, but it beat no longer.
He covered his friend's face like a bride,
swooping down over him like an eagle,
and like a lioness deprived of her cubs
he keeps pacing to and fro.
He shears off his curls and heaps them onto the ground,
ripping off his finery and casting it away as an abomination.
Just as day began to dawn, Gilgamesh ...
and issued a call to the land:
"You, blacksmith! You, lapidary! You, coppersmith!
You, goldsmith! You, jeweler!
Create 'My Friend,' fashion a statue of him.
... he fashioned a statue of his friend.
His features ...
...,your chest will be of lapis lazuli, your skin will be of gold."

[10 lines are missing here.']

"I had you recline on the great couch,
indeed, on the couch of honor I let you recline,
1 had you sit in the position of ease, the seat at the left, so the
princes of the world kissed your feet.
I had the people of Uruk mourn and moan for you,
I filled happy people with woe over you,
and after you (died) I let a filthy mat of hair grow over my body,
and donned the skin of a lion and roamed the wilderness."
Just as day began to dawn,
he undid his straps ...
I... carnelian,

[85 lines are missing here.']

...to my friend.
... your dagger
to Bibbi ..."

[40 lines are missing here.]

" ... the judge of the Anunnaki."
When Gilgamesh heard this
the zikru of the river(!) he created'...
Just as day began to dawn Gilgamesh opened(!) ...
and brought out a big table of sissoo wood.
A carnelian bowl he filled with honey,
a lapis lazuli bowl he filled with butter.
He provided ... and displayed it before Shamash.

[All of the last column, some 40-50 lines, is missing.]

Epic of Gilgamesh: tablet VII

Tablet VII


"My friend, why are the Great Gods in conference?
(In my dream) Anu, Enlil, and Shamash held a council,
and Anu spoke to Enlil:
'Because they killed the Bull of Heaven and have also slain
Humbaba,
the one of them who pulled up the Cedar of the Mountain
must die!'
Enlil said:'Let Enkidu die, but Gilgamesh must not die!'
Bur the Sun God of Heavenl replied to valiant Enlil:
'Was it not at my command that they killed the Bull of
Heaven and Humbaba!
Should now innocent Enkidu die!'
Then Enlil became angry at Shamash, saying:
'it is you who are responsible because you traveled daily
with them as their friend!"'
Enkidu was lying (sick) in front of Gilgamesh.
His tears flowing like canals, he (Gilgamesh) said:
"O brother, dear brother, why are they absolving me instead of
my brother)"
Then Enkidu said:) "So now must 1 become a ghost,
to sit with the ghosts of the dead, to see my dear brother
nevermore!"
In the Cedar Forest where the Great (Gods dwell, I did not kill the Cedar."
Enkidu addressed Gilgamesh,
saying to Gilgamesh, his Friend:
"Come, Friend,...
The door...
Enkidu raised his eyes,...and spoke to the door as if it were human:
"You stupid wooden door,
with no ability to understand... !
Already at 10 leagues I selected the wood for you,
until I saw the towering Cedar ...
Your wood was without compare in my eyes.
Seventy-two cubits was your height, 14 cubits your width, one
cubit your thickness,
your door post, pivot stone, and post cap ...
I fashioned you, and I carried you; to Nippur...
Had I known, O door, that this would he your gratitude
and this your gratitude...,
I would have taken an axe and chopped you up,
and lashed your planks into...
in its ... I erected the...
and in Uruk...they heard
But yet, O door, I fashioned you, and I carried you to Nippur!
May a king who comes after me reject you, may the god...
may he remove my name and set his own name there!"
He ripped out.., threw down.
He(Gilgamesh) kept listening to his words, and retorted quickly,
Gilgamesh listened to the words of Enkidu, his Friend, and his tears flowed.
Gilgamesh addressed Enkidu, raying:
'Friend, the gods have given you a mind broad and ...
Though it behooves you to be sensible, you keep uttering
improper things!
Why, my Friend, does your mind utter improper things?
The dream is important but very frightening,
your lips are buzzing like flies.
Though there is much fear, the dream is very important.
To the living they (the gods) leave sorrow,
to the living the dream leaves pain.
I will pray, and beseech the Great Gods,
I will seek..., and appeal to your god.
... Enlil, the Father of the Gods,
...Enlil the Counselor...you.
I will fashion a statue of you of gold without measure,
do nor worry..., gold...
What Enlil says is not...
What he has said cannot go back, cannot ...,
What... he has laid down cannot go back, cannot...
My friend,... of fate goes to mankind."
just as dawn began to glow, Enkidu raised his head and cried out to Shamash,
at the (first) gleam of the sun his tears poured forth.
"I appeal to you, O Shamash, on behalf of my precious life (?),
because of that notorious trapper
who did not let me attain the same as my friend
May the trapper not get enough to feed himself .
May his profit be slashed, and his wages decrease,
may... be his share before you,
may he not enter ... but go out of it like vapor(?)!"
After he had cursed the trapper to his satisfaction,
his heart prompted him to curse the Harlot.
"Come now, Harlot, I am going to decree your fate,
a fate that will never come to an end for eternity!
I will curse you with a Great Curse,
may my curses overwhelm you suddenly, in an instant!
May you not be able to make a household,
and not be able to love a child of your own (?)!
May you not dwell in the ... of girls,
may dregs of beer (?) stain your beautiful lap,
may a drunk soil your festal robe with vomit(?),
... the beautiful (?)
... of the potter.
May you never acquire anything of bright alabaster,
may the judge. ..
may shining silver(?), man's delight, not be cast into your house,
may a gateway be where you rake your pleasure,'
may a crossroad be your home
may a wasteland be your sleeping place,
may the shadow of the city wall be your place to stand,
may the thorns and briars skin your feet,
may both the drunk and the dry slap you on the cheek,
... in your city's streets (?),
may owls nest in the cracks of your walls!
may no parties take place...
... present(?).
and your filthy "lap" ... may.., be his(?)
Because of me...
while I, blameless, you have... against me.
When Shamash heard what his mouth had uttered,
he suddenly called out to him from the sky:
"Enkidu, why are you cursing the harlot, Shamhat,
she who fed you bread fit for a god,
she who gave you wine fit for a king,
she who dressed you in grand garments,
and she who allowed you to make beautiful Gilgamesh your
comrade!
Now Gilgamesh is your beloved brother-friend!
He will have you lie on a grand couch,
will have you lie on a couch of honor.
He will seat you in the seat of ease, the seat at his left,
so that the princes of the world kiss your feet.
He will have the people of Uruk go into mourning and moaning over you,
will fill the happy people with woe over you.
And after you he will let his body bear a filthy mat of hair,
will don the skin of a lion and roam the wilderness."
As soon as Enkidu heard the words of valiant Shamash,
his agitated heart grew calm, his anger abated.
Enkidu spoke to the harlot, saying:
"Come, Shamhat, I will decree your fate for you.
Let my mouth which has cursed you, now turn to bless you!
May governors and nobles love you,
May he who is one league away bite his lip (in anticipation of you),
may he who is two leagues away shake our his locks (in preparation)!
May the soldier not refuse you, but undo his buckle for you,
may he give you rock crystal(!), lapis lazuli, and gold,
may his gift to you be earrings of filigree(?).
May... his supplies be heaped up.
May he bring you into the ... of the gods.
May the wife, the mother of seven (children),
be abandoned because of you!"
Enkidu's innards were churning,
lying there so alone.
He spoke everything he felt, saying to his friend:
"Listen, my friend, to the dream that I had last night.
The heavens cried out and the earth replied,
and I was standing between them.
There appeared a man of dark visage--
his face resembled the Anzu,"
his hands were the paws of a lion,
his nails the talons of an eagle!--
he seized me by my hair and overpowered me.
I struck him a blow, but he skipped about like a jump rope,
and then he struck me and capsizcd me like a raft,
and trampled on me like a wild bull.
He encircled my whole body in a clamp.
'Help me, my friend" (I cried),
but you did not rescue me, you were afraid and did not.. ."
"Then he... and turned me into a dove,
so that my arms were feathered like a bird.
Seizing me, he led me down to the House of Darkness,
the dwelling of Irkalla,
to the house where those who enter do not come out,
along the road of no return,
to the house where those who dwell, do without light,
where dirt is their drink, their food is of clay,
where, like a bird, they wear garments of feathers,
and light cannot be seen, they dwell in the dark,
and upon the door and bolt, there lies dust.
On entering the House of Dust,
everywhere I looked there were royal crowns gathered in heaps,
everywhere I listened, it was the bearers of crowns,
who, in the past, had ruled the land,
but who now served Anu and Enlil cooked meats,
served confections, and poured cool water from waterskins.
In the house of Dust that I entered
there sat the high priest and acolyte,
there sat the purification priest and ecstatic,
there sat the anointed priests of the Great Gods.
There sat Etana, there sat Sumukan,
there sat Ereshkigal, the Queen of the Netherworld.
Beletseri, the Scribe of the Netherworld, knelt before her,
she was holding the tablet and was reading it out to her Ereshkigal.
She raised her head when she saw me----
'Who has taken this man?'

[50 lines are missing here]
...I (?) who went through every difficulty,
remember me and forget(?) not all that I went through with you.
"My friend has had a dream that bodes ill?"
The day he had the dream ... came to an end.
Enkidu lies down a first day, a second day,
that Enkidu ... in his bed;
a third day and fourth day, that Enkidu ... in his bed;
a fifth, a sixth, and seventh, that Enkidu ... in his bed;
an eighth, a ninth, a tenth, that Enkidu ... in his bed.
Enkidu's illness grew ever worse.
Enkidu drew up from his bed,
and called out to Gilgamesh ...:
"My friend hates me ...
while he talked with me in Uruk
as I was afraid of the battle he encouraged me.
My friend who saved me in battle has now abandoned me!
I and you ...

[About 20 lines are missing]

At his noises Gilgamesh was roused ...
Like a dove he moaned ...
"May he not be held, in death ...
O preeminent among men ..."
To his friend ...
"I will mourn him (?)
I at his side ..."