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6.
7.
8.
9.
line. If
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ABUSCH:
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by expressing a thought basic to the composer's theology and art: the god's place in the temple is intimately related to his ability to care for the people; his
power to care for human life derives from his rootedness in the temple. The connection between the god's
relation to temple and his relation to people is
expressed first of all by the juxtaposition of temple
and mankind:
Lover of Ezida, preserver of life,
Lone one of Emahtila, multiplier of living.
The two are thus put on a par. But the connection is
more than just mechanical. There is an internal, organic connection, and here a mere scholastic play
serves to draw together god, temple, and man. The
composer relies on a knowledge of the equations
zi: napistu and ti.la : baldtu to convey his meaning.
Here, far from being an orthographic convention that
obscures the Akkadian text, the use of Sumerograms
is a literary device meant to express or, at least,
enhance the composer's message." napis'ti translates
and is written in all but one manuscript with zi"2 and
plays on the temple name, "Ezida," a name translated
elsewhere as brt napisti mdti. 3 balati translates and is
written in almost all manuscripts with TI.LA14 and
plays on the temple name, "EEmahtila."'5
Thus in 1. 5
Ezida shares zi with napisAtiand in 1. 6 Emahtila
shares tila with badlti:
The literary use of ideograms might suggest a writtenrather than an oral-form of composition. Note, however,
that a learned composer could certainly see and exploit the
connection between Ezida and napigtu and between Emahtila
and baldtu without recourse to writing. If this guilla was
originally composed orally, the scribe who introduced the
writing zi for napigti in 1. 5 and TI.LA for baldti in 1. 6 is to
be credited with preserving and rendering explicit the aforementioned connections.
2 + fi/ti;
STT I 55: na-pis-ti.
13 For this translation, see RLA I 188; cf. Ebeling, AGH,
124:8: zjr Ezida bit Pikin napisti ?a ill rabati.
14
The exceptions are Loretz and Mayer, SU-ILA, no. 26: TIN
and KAR 59: ba-l[6?-ti].
15 While completing this study, I located E. Lehmann and
H. Haas (eds.), Textbuch zur Religionsgeschichte2 (1922),
and noted that whereas in the 1912 edition (lOif.) Landsberger had apparently not noticed any wordplays, in the
1922 edition (307f.), he comments on 6b: "Anspielungen auf
die vorangehenden Tempelnamen" (307 n. 7).
Babylon
...
bhlet
Babili
. . , and 54:3 //
1 12a4:
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ABUSCH:
form; a sentence with an adjective in predicate position is the loosest form. A proper noun is the most
particularizing substantive; a general noun is less particularizing; an adjective is the least particularizing.
The grammatical scheme is as follows:
Stanza I
la nominalized adjective
+ adjective
2a general noun + adjective
3a proper noun + adjective
Stanza 11 4a construct chain
5a construct chain
6a construct chain
Stanza III 7a construct chain
lb construct chain
2b construct chain
3b construct chain
4b construct chain
5b construct chain
6b construct chain
7b construct chain
augmented by adjective modifying
2nd member of
chain, "nisT"
8 construct chain expanded by a second bound
form, "kalig," before rectum
9 stative sentence composed of nominal subject
and adjectival predicate, separated by adverb,
"kalif," and prepositional phrase (preposition
+ construct chain whose 2nd member is
".1niW'
)
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(genit. + 1. sing. poss. suff.; cf. na-pis[STTI 55], zI-ia [IV R2 21*]) in
zI-ti-ia
1. 23.
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ABU1SCH:
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
lugtammar il/tka
ima usammaru luksud
?u.skin kittu ina pTVa
?ubsi amdt damiqti ina libbiva
tfru u nanzazu liqbui damiqtf
ill lizz- ina imniva
itarT lizziz ina Asum/liva
ilu musa/limu iddi'a / ina idTva /t7 kavdn
?surkammaqabd ?emd u magaru
arnat aqabba (kTma-) ima aqabba lh magrat
dMarduk be/u rabui napitT qTsa
balat napitij'a qibi
maharka namri? atalluka lugbi
dEnlil lihdi7ka dEa lirkska
i/l .sa ki~ssatilikrubuka
i/17 rabatu libbaka litibbi7
tone and purpose from the prayer in 11. 11 and 22b23: 11. 13-21 present a request for success; 11. 11 and
22b-23 contain the request for life itself. Even on
formal grounds, the prayer in 11.13-21 is set off from
preceding and following sections. It begins and ends
rnia
with a similar theme and identical words
usammaru
luksud
...
(-kTma)
22a
dMarduk btiu raba
22b-23
napigtTqTsa, balat
napigtii'a qibi
24
maharka namrig
atalluka us'bi
23
On grounds of usage, kitti and sirti are to be preferred
over kabitti. On the whole, kitti appears to be the original
reading: a) whereas ka-bit-ti (IV R2 21*) and sir-ti (BMS 9)
are found only in Nineveh, kit-ti is found in MSS from
Babylonia (PBS 1/2 108; Loretz and Mayer, ?LJ-1LA, no. 26:
kit-tut), Assur (KAR 59; KAR 23 + 25: kit-[ti]), Sultantepe
(STT I 55), and Nineveh (BMS 54). b) It is easier to explain
the development of kabitti from kitti than from sirti. Limiting ourselves to simple linear models, we suggest the development 1. kitti - 2. kabitti -3. sirti: 1) kitti is chosen perhaps
under the influence of kittu in 1. 14. 2) kit-ti - ka-bit-ti: we
note a) qibftika is written in several ways in our MSS
including qi-biti-ka (KAR 23 + 25: [q]i-biti-ka; STT I 55:
[qi]-hiti-ka). The signs KIT and BIT are similar and can be
identical in NB; and b) ka of kabitti is easily explained as a
dittography of the suffix -ka of qibfti-ka. Accordingly, the
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10
Introductory Hymn
Capsule Auilla: a) invocation;
b) prayer for life; c) promise
Prayer for Success
Capsule Suilla: a') invocation;
b') prayer for life; c') promise
Concluding Benediction
Summary}A
1-3
10
22a
4-6
11
22b-23
Summari A'
the person of
Marduk
the grantingof life
(balatu,
7-9
12
24
napitu
by Marduk
the praise
Marduk
of
The summary statements draw together the introductory hymn and the body of the prayer.
III. Lines 10-12 and 22-24 carry forward the thought
of the hymn: Marduk is the great god who grants life
and receives homage in return. These lines are important for the ideas they convey; they are no less important for the place they occupy in and the effect they
have on the composition. They form a circle: on its
inner side (12 + 22), this circle surrounds the core
prayer the center of the text (13-21); on its outer
side (10 + 24), it runs along the inner border of the
introductory hymn (1-9) and of the concluding benediction (25-27). The circle affects the meaning of the
parts it touches and forms a bridge between the outer
hymn and benediction and the inner prayer, thus
drawing the parts of the composition together and
creating a circular structure. For once the frame has
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ABUSCH:
11
24
tion scene," see also the inscribed prayer cited below, n. 34.
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12
ema aqabbu
...).
ima usammaru
luksud
16:19
17:18
diumusallimu idai'a/
ina id-,'a hla kajan
istarT lizziz ina
sumeliiia
An outer ring (13:21)27 encircles an inner ring (1415:20) which in turn encircles a chiastic staircase
quatrain (16-I9).28 In 11. 13:21, the petitioner himself
Note that all finite verb forms in 11. 14-15 and 20 begin
with ,//: guskin, subAfi,A?urkamma.
27 Various
translators (Landsberger, Textbuch', 102 and
Textbuch2, 308; von Soden, SAHG, 298; Seux, Hvimnes,
291; and Mayer, Untersuchungen, 348) separate 1. 13 from
1. 14 and connect it to 1. 12. However, the concentric structure of 11.13-21, the parallelism of 11.13 and 21, the fact that
1. 12 constitutes a promise and forms a proper ending of the
statement 11. 10-12, and the parallelism of 11. 12 and 24 all
indicate that 1. 13 is joined to 1. 14ff. Furthermore, an
occurrence such as Ebeling, A GH, 62:37a does not contradict
-rather it seems to confirm-this conclusion. This IBtar
suilla (A GH, 60-63) also contains a line identical with our 1.
21: 34 (...) 37a: amadtaqabbu2kTmaaqabbau la- magrat (...)
en-a usammaru lukisud. The composer of this Wuillahas
reversed the order of lines identical with the opening and
closing lines of our core prayer. This reversal indicates, I
believe, that 11. 13 and 21 belong together and form a single
circle and that the circle may be rotated 180?. This IBtar
guilla also contains promise and benediction and displays
some affinity with the Marduk guilla.
28 The connection of 1. 16 with 1. 19 and the unity of 11.1619 are underscored by such a passage as Ebeling, A GH,
22:5-8: ilT lizziz ina imni 'a, iftarT lizziz ina .ume/liva, ilu
musallimu ina idfia hl kaj'dn, t-ru manza-zu liqbhudamiqtT.
29 A decision whether the t-ru and nanza-zu refer to palace
officials or to divine figures is not cut and dry: note, for
example, that Landsberger treated them as "untergeordnete
Gotter" in the first edition of Textbuch (102 n. 1), but as
"Palastbeamte" in the second edition (308 n. 1). I prefer the
former characterization; cf. Mayer, Untersuchungen, 255
n. 56: "Da dieser Wunsch [i.e., t-ru u nan--dzuliqhu damiqta]
jeweils neben Bitten steht, die sich auf 'Schutzgeister' beziehen ... , hat man vermutet, t-ru und nanzd-zu seien hier
ebenfalls der Kategorie der Schutzgottheiten zuzurechnen....
Wenn das zutrifft, ware hier das Modell des
koniglichen Hofstaates auf die Welt der Gotter ubertragen."
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ABUSCH:
13
20
14-15
16
19
17-18
This analysis of 11. 13-21 is confirmed by the grammatical structure of the segment. Note especially that
every line contains a form of the "volitive" mood; the
concentric structure finds expression in the pattern of
distribution of precatives and imperatives.
: la magrat precative lu-/l/
13:21
luksud
14-15:20 suskin, ?ubh'i: ?urkarnma imperative
: lk kavdn precative li-/Ia
16:19
liqbu
17:18
/iziz
:i7ziz
13 luprus
14-15 purus
16 liprus
17 liprus
precative
li-31
kaia'n
amat aqabba
...
aqabba (21) .
31For
other grammatical features that are shared by corresponding lines, note 13:21: conjunction + Ist pers. subjunctive verb form and 17:18: preposition + noun + I sing.
poss.
suff.
32 Note the gradual loosening of grammatical structure: lu...Ii-i-... -... Ii-... /u- + masc. absol.... Ia- + fem. absol. It
almost appears as if each side is building up one difference:
17-13: u (Ii- -
form (Ii- -
l/- +
13
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14
2636
27
?umka... ina pTni?Ytab (9); ihdirabatu libhaka litibba (27)317
1-3
Hymn
4-6
3
Meeting with Marduk
7-9
1
10
B 2
11
3
1
12
13
2
3
14-15
16
X 17-18
C
Preparation for meeting
3'
19
20
2'
1
21
1'
22a
B' 2'
22b-23
Meeting with Marduk
24
3'
1'
25
Benediction
A' 2'
26
3'
27
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ABUSCH:
15
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