Enlil and Ninlil: The Begetting of Nanna

In this myth, Enlil, disguises himself as three different gatekeepers, and impregnates his wife, Ninlil, who then gives birth to Nanna, the moon-god, as well as three underworld deities: Nergal, Ninazu, and a third whose name is illegible.

This myth may be the first known instance of the metamorphosis of a god. It begins with a description of the city of Nippur. Then, Ninbarshegunu, Ninlil's mother, tells her daughter to wait by the river called Idnunbirdu. It is here where Enlil arrives and impregnates Ninlil for the first time, giving birth to the moon-god, Nanna.

As Enlil departs from Nippur towards the netherworld, he is followed by Ninlil. As he leaves Nippur, he tells the 'man of the gate' not to reveal his journey to Ninlil. Ninlil convinces the 'man of the gate' which is really Enlil in disguise, cohabits with him, and is impregnated. She conceives Meslamtaea, also known as Nergal, king of the underworld.

Ninlil then follows Enlil a second time. This time it is the 'man of the river' of the netherworld whom Enlil takes the form of. Through this union, Ninazu, a netherworld deity is born.

Ninlil then follows Enlil for a third and final time. It is with the 'man of the boat' whom she cohabits with, and a third underworld deity whose name is illegible is born.

Source: (Kramer 1961 p. 43-47)

The Journey of Nanna to Nippur

The city of Nippur was the spiritual center of the Sumerians in the Third Millenium B.C. Enlil was the patron deity of this city and was the leading god of the pantheon. His temple, Ekur, was the most important temple in Sumer. Therefore his blessing was most necessary in order to establish prosperity and abundance in other significant cities of Sumer, such as Eridu and Ur. To obtain this blessing, the patron deities of these cities would travel to Nippur bringing gifts for Enlil and his temple.

This myth describes Nanna's journey from Ur to Nippur. As in the preceding Enlil-Ninlil myth, the cities such as Nippur and Ur are fully built and are rich in animal and plant life. Man still seems to be non existent.

Before his journey, Nanna loads his boat with a rich collection of trees, plants and animals. His boat then makes stops at five cities: Im, Larsa, Erech, and two cities whose names are illegible. The respective patron deity of each city greets Nanna. When he arrives to Nippur, he tells the gatekeeper about all of the gifts he has brought with him. Enlil meets with his son, Nanna, and they feast together. Before returning to Ur, Nanna requests for certain things such as long life, grain, honey and wine. Enlil grants his request and Nanna leaves to return home.

Source: (Kramer 1961 p. 47-49)

Emesh and Enten:
Enlil Chooses the Farmer God

This myth is the closest Sumerian parallel to the Biblical Cain-Abel story, but it ends with reconciliation between the two brothers rather than a murder.

Enlil has decided to bring forth trees and grain and to establish abundance and prosperity in the land. For this purpose, two cultural beings, Emesh and Enten are created and Enlil assigns each of them specific duties.

A violent quarrel breaks out between the two, most likely due to the nature of the original duties. Emesh claims to be the "farmer of the gods" over Enten. They both bring this claim to Nippur before their father, Enlil. Emesh's words of flattery are designed to win Enlil's favor, but in the end they prove useless. Enlil describes Enten as the "knower of the life producing water of all of the lands."

Enlil has made his decision. Enten has proved greater than Emesh. Emesh then presents Enten with gifts, and "in brotherhood and friendship" they both enjoy some wine.

Source: (Kramer 1961 p. 49-51)

The Creation of the Pickax

This myth begins in describing the Sumerian conception of the creation and organization of the universe.

Enlil, the air-god, creates the pickax and introduces labor to the land. He gives the pickax as a gift to the Anunnaki, and in turn they give the pickax to the Sumerians described as the "black-haired people."

After Enlil created the pickax and decreed its fate, other important deities add to its powers and utility. The poem ends with a long passage describing the usefulness of the pickax.

Source: (Kramer 1961 p. 51-53)

Cattle and Grain

This myth presents another example of the Cain-Abel motif in Near Eastern mythology. It involves Lahar, the cattle-god and his sister Ashnan, the grain-goddess.

They were both created in the "Dulkug," the creation chamber of the gods, so that the Anunnaki, the children and followers of the heaven-god An, would have food to eat and clothes to wear. Because the Anunnaki could not find much use of the products of these deities, man was created.

After a description of Lahar and Ashan's descent from heaven to earth, and the cultural benefits, which they give to mankind, they end up drinking too much wine and so they began to quarrel in the farms and fields. Amidst their arguing, each deity brags about their own achievements and belittles those of the other. Enlil and Enki intervene but the end of the poem containing their decision is still missing.

Source: (Kramer 1961 p. 53-54)

Enki and Ninhursaga:
The Affairs of the Water-God

The hero of this myth is Enki, the water-god. The setting is Dilmun; a place most likely identified with the eastern shore of the Persian Gulf, which actually existed outside of Sumer proper.

Dilmun is described as a land of innocence and bliss. The only thing missing in this paradise land is sweet water. So the goddess of Dilmun, Ninsikil, pleads with Enki for fresh water. Enki grants her wish and orders the sun god Utu to bring fresh water from the earth to Dilmun. Now begins an interesting process resulting in the birth of Uttu, the goddess of plants.

First, Enki impregnates the goddess Ninhursaga also known as Nintu, the Sumerian goddess who in earlier times may have been identical with Ki, the mother earth. After a period of gestation lasting nine days, which corresponds to nine months, the goddess Ninsar is born. Ninsar is then impregnated by her father Enki, and after nine days of gestation, she gives birth to the goddess Ninkur. Ninkur is also impregnated by Enki and finally Uttu the goddess of plants is born.

Ninhursaga, now Uttu's great-grandmother, appears and gives Uttu advice about her future relationship with Enki. Whatever the advice was, Uttu follows it in great detail. She is then impregnated by Enki, and eight different plants sprout forth. Enki ends up eating all the plants, and is then cursed by Ninhursaga.

After articulating the curse, Ninhursaga disappears. The gods are mortified. They "sit in the dust." A fox asks Enlil what his reward will be if he brings Ninhursaga before him. Enlil promises the fox a reward and so Ninhursaga is brought back to him.

Ninhursaga then proceeds to remove the effects of the curse from the rapidly sinking Enki. She achieves this by giving birth to a special deity for each of Enki's pains. The eight aches and pains, which were Enki's punishment for eating the eight plants, were in turn healed by the eight deities born from Ninhursaga for that purpose.

Source: (Kramer 1961 p. 54-59)

Enki and Sumer:
The Organization of the Earth and Its Cultural Processes

This myth gives us great insight into the activities of the water-god, Enki, in organizing the earth and establishing what might be termed law and order.

Enki decrees the fate of Sumer. He then goes to Ur, the capital of Sumer at the time the poem was written, and decrees its fate. Enki then travels to Meluhha, the "black mountains," most likely identified with the eastern coast of Africa. Enki favors this land as he does Sumer. He blesses its trees and reeds, oxen and birds, silver and gold, bronze and copper and it's human beings.

From Meluhha, Enki goes to the Tigris and Euphrates Rivers. He fills them up with sparkling water and appoints the god Enbilulu, the "knower" of rivers, in charge. Enki then fills the rivers with fish and makes a deity known as the "son of Kesh" responsible for them.

He then turns to the sea (Persian Gulf), sets up the rules, and appoints the goddess Sirara in charge. Enki now calls upon the winds and appoints the god Ishkur, who has charge of the silver lock of the 'heart' of heaven."

He places Enkimdu in charge of the canals and ditches. He puts Ashnan in charge of the fields of grain. Enki now turns to the pickax and the brick-mold and appoints the brick-god, Kabta, in charge. Then, he appoints Mushdamma, the "great builder of Enlil," in charge of the foundations and houses he built.

He fills the plain with plant and animal life and places Sumugan, "king of the mountain" in control. Finally, after building stable and sheepfolds filling them with milk and fat, he appoints the shepherd-god, Dumuzi, to watch over them.

Source: (Kramer 1961 p. 59-62)

Enki and Eridu:
The Journey of the Water-God to Nippur

In this myth, Enki, also known as Nudimmud, builds his "sea-house" in the city of Eridu. Isimud, Enki's messenger sings and praises of this "sea-house."

Then Enki raises the city Eridu from the abyss and makes it float over the water like a lofty mountain. It is rich with green fruit-bearing gardens, and he fills them with birds and fish. Enki then prepares to travel to Nippur by boat to obtain Enlil's blessing for his newly built city and temple.

He seats himself in his boat and first arrives in Eridu itself. It is here where he slaughters many oxen and sheep. He then enters into Nippur where upon arriving, he prepares many drinks for the gods especially for Enlil. Enki gives Enlil bread to eat.

He seats the god An, and then next to An, Enlil. He sits Nintu at the "big side." The Anunnaki seated themselves one after the other. The gods feast until their hearts become "good" and Enlil gives his blessing.

Source: (Kramer 1961 p. 62-63)

Inanna and Enki:
The Transfer of the Arts of Civilization
from Eridu to Erech

Inanna, queen of heaven, and patron goddess of the city of Erech, wants to increase the welfare and prosperity of her city, to make it the center of Sumerian civilization, and most importantly, to exalt her own name and honor.

She decides to go to Eridu, where Enki, the Lord of Wisdom, who "knows the very heart of the gods," dwells in the watery abyss, the Abzu. Enki has all the divine decrees fundamental to civilization under his control. If she can obtain them and bring them to her beloved city Erech, its glory and her own will indeed be unsurpassed.

As she approaches the Abzu of Eridu, Enki, taken by her charms, calls his messenger Isimud to invite her in for some food and wine. Inanna and Enki sit down to feast and banquet. After their hearts had become happy with drink, Enki presents to Inanna, over one hundred divine decrees, which are the basis of the culture pattern of Sumerian civilization.

Among these divine decrees presented by Enki, are those such as lordship, godship, the exalted scepter, the exalted shrine, and shepherdship.

Inanna gladly accepts these gifts from the drunken Enki. She loads them on her "boat of heaven," and takes off to Erech. After the effects of the banquet had worn off, Enki noticed that the divine decrees were gone. Isimud reminds him that he himself gave them to his daughter Inanna. Enki, being very upset, decides to prevent the "boat of heaven" from reaching Erech at all costs.

He dispatches his messenger Isimud together with a group of sea monsters to follow Inanna and her boat to the first of the seven stopping stations that are located between the Abzu of Eridu and Erech. Here the sea monsters seize the "boat of heaven" from Inanna.

Inanna herself must be allowed to continue her journey to Erech on foot. She calls her messenger Ninshubur to save the "boat of heaven." Ninshubur does this, but Enki is persistent. He sends Isimud along with the sea monsters to seize the "boat of heaven" at each of the stopping points between Eridu and Erech.

Each time, Ninshubur comes to Inanna's rescue. Finally, Inanna and her boat arrive safely in Erech and she unloads the divine decrees one at a time. The poem ends with a speech by Enki to Inanna.

Source: (Kramer 1961 p. 64-68)

The Creation of Man

The poem begins with a description of the difficulties of the gods in procuring their bread, especially after the female deities had come into being. The gods complain. Enki, the creator-god, also the god of wisdom, is lying asleep in the deep and fails to hear them. His mother, Nammu, the primeval sea, "the mother who gave birth to all the gods," brings the tears of the gods before Enki and asks him to create "servants" for the gods.

Enki arranges a feast for the gods commemorating man's creation. Enki and Ninmah drink too much wine and become drunk. Ninmah takes some of the clay, which is over the abyss and fashions six different types of individuals, while Enki decrees their fate and gives them bread to eat. The character of only the last two are known; these are the infertile women and the sexless beings.

After Ninmah had created the six types of man, Enki decides to create a little something of his own. The result is a failure; a being weak in body and spirit. Enki is anxious for Ninmah to help him with his failed creation. Ninmah tries to talk to the creature, but he does not answer. She gives him bread to eat, but he does not reach out for it. He cannot sit or stand, or even bend his knees.

After a long conversation between Enki and Ninmah, it seems that Ninmah has uttered a curse against Enki because of the sick, lifeless creature, which he produced, a curse that Enki feels he deserves.

A more detailed description of the purpose for the creation of man is given in the introduction to the myth: Cattle and Grain. It runs as follows:

After the Anunnaki, the heaven-gods, had been born, before the creation of Lahar the cattle-god, and Ashnan, the grain-goddess, cattle nor grain existed. The gods "knew not" the eating of bread nor the dressing of garments. The cattle-god Lahar and the grain-goddess Ashnan were then created in the creation chamber of heaven, but still the gods were unsatisfied. It was then that man "was given breath," for the sake of the welfare of the sheepfolds and "good things" of the gods.

Source: (Kramer 1961 p. 68-75)

The Destruction of Kur:
The Slaying of the Dragon

There are as many as three versions of the slaying-of-the-dragon myth. The first one involves Enki, the Sumerian water-god. The second one involves Ninurta, playing the role of the "hero of the gods" in the Babylonian "Epic of Creation," In the third, Inanna plays the leading role.

In all three versions, the monster to be destroyed is called Kur. In the first two versions, it is believed to be a large serpent, which lived in the bottom of the abyss. The first of the three versions of the slaying of the dragon seem to be more original. The battle between the god and Kur seems to take place after the separation of heaven and earth. A goddess was probably abducted and the water-god, Enki, the "god of wisdom," is the hero of the story.

We do have part of the introductory prologue to the epic tale of "Gilgamesh, Enkidu, and the Nether World. It runs as follows:

After heaven and earth had been separated, An the heaven-god, carried off the heaven, while Enlil, the air-god, carried off the earth.

It was then that the crime was committed. The goddess Ereshkigal was carried off violently into the netherworld, perhaps by Kur itself. Enki got on a boat to attack Kur and avenge the abduction of the goddess Ereshkigal.

Kur fought back with all sorts of stones, large and small. It attached Enki's boat with the primeval waters, which it had under its control. This is as much of the dragon story that is revealed.

Source: (Kramer 1961 p. 76-83)

Inanna's Descent to the Netherworld

Inanna, queen of heaven and earth, the goddess of love and light, set her heart upon visiting the netherworld, probably so that she may free her lover Tammuz.

She gathers all the appropriate divine decrees, adorns herself with her queenly robe and jewels, and is ready to enter the "land of no return."

Ereshkigal is queen of the underworld and her elder sister and bitter enemy. She is the goddess of darkness, gloom and death. Fearing that her sister will kill her, she tells her messenger Ninshubur that if after three days she has not returned, to go to heaven and plead and cry for her in the assembly hall of the gods. Most importantly to go Nippur, the very city where the tablets have been escavated, and there weep and plead before the god Enlil to save Inanna from Ereshkigal.

If Enlil should refuse, she is to go to Ur, to repeat her plea before Nanna, the great Sumerian moon-god. If Nanna also refuses, she is to go to Eridu, the city in which Sumerian civilization is said to have originated, and weep and plead before Enki, the "god of wisdom," "who knows the food of life, who knows the water of life," so that Inanna's life will be restored.

Inanna then descends to the netherworld and approaches Ereshkigal's temple of lapis lazuli. At the gate she is met by the chief gatekeeper, Neti, who demands to know who she is and why she came. Inanna makes up a false excuse, and the gatekeeper, upon instructions from his mistress Ereshkigal, leads her through seven gates of the netherworld.

As she passes through each gate, she is brought naked and on bended knees before Ereshkigal and the seven Anunnaki, the dreaded judges of the netherworld. They give Inanna the "look of death," and Inanna is turned into a corpse and is hung from a stake.

Three days and three nights pass. On the fourth day, Ninshubur, proceeds to the gods in accordance with his instructions. As Inanna had foreseen, both Enlil of Nippur and Nanna of Ur refuse all help. Enki, however, devises a plan to restore her to life. He creates the kurgarru and kalaturru, two sexless creatures, and gives them the "food and the water of life," with instructions to proceed to the netherworld and to sprinkle this food and water sixty times on Inanna's suspended corpse. They do this and Inanna is revived.

As she leaves the netherworld, to reascend to the earth, she is accompanied by the shades of the dead and by the bogies and harpies who have their home there. Surrounded by this ghostly crowd, she wanders through Sumer from city to city. It is here where the poem breaks off.

Source: (Jacobsen p. 205-232)