Interpretation of the Myth ‘Ninurta and the Turtle’

The Sumerian myth “Ninurta and the Turtle” is a myth in which no turtle actually appears. The myth’s name comes from the fact that the first translator apparently did not understand the text correctly. Here we want to attempt to create a translation that is as literal as possible and also to grasp the message of the text.

This myth is about how Ninurta loses his inner guidance through the Tablet of Destinies and how the essence of his personality therefore must be re-established. To understand the text, it is important to understand the concept the Sumerians had of the human soul. According to the Sumerians, a person’s soul or life force (zi) is located in their heart (šag4). In reality, the seat of the soul is the brain, but the exact location doesn’t matter here. Besides being the seat of the soul, the heart is also the seat of courage, determination, willpower, and will itself. The outwardly visible product of these human qualities is called one’s strength (saĝ). This text is about how the structure (ḫur) of Ninurta’s strength (saĝ), called “ḫur-saĝ” in Sumerian, was re-established after he lost the guidance of the Tablet of Destinies. So this myth is neither about turtles nor about high mountains, which the Sumerians also considered structures of strength, but about the re-establishment of the structure of Ninurta’s personal strength.

The story consists of two parts that were transmitted on two different clay tablets. The second tablet contains the myth, while the first tablet describes the prehistory.

The first tablet is barely readable, but the plot can be reconstructed with the help of the second tablet. The following reconstruction attempt also contains some information that probably was not explicitly on the tablet but is known from other myths:

The myth takes place at a time when the Earth was still young. At that time, the city of Eridu was the social center of Sumer. Eridu was located where the Euphrates flowed into the Persian Gulf. There was also the Abzu, the sphere of activity of the god Enki. Enki, the god of Earth and wisdom, guided the people in Eridu to build Sumerian civilization. His consort was the goddess Ninhursag, also called Ninmena. Her activity derives from the meanings of the syllables of her name: “Nin” means “lady,” “ḫur” means “structure,” and “saĝ” means “strength.” Combined, this gives: “Lady of the Structure of Strength.” She is very high-ranking in the hierarchy of gods, for her second name “Ninmena” means “Lady of the Diadem.” Ninmena had the task of establishing the rule of the Tablet of Destinies. The Tablet of Destinies is an object with which the destinies of the Igigi gods can be decreed. Thus, the Tablet of Destinies determines the structure of the strength of the Igigi gods.

Ninmena was presumably in the heaven of the gods, while Enki was on Earth. Enki therefore needed a messenger to exchange objects with Ninmena. This messenger was probably the bird Anzu, for his name “He who knows heaven” suggests that he functioned as an ambassador between heaven and Earth. One day, when Anzu was supposed to bring the Tablet of Destinies to heaven or to Earth, he apparently managed to steal it. Ninmena is desperate, and the warrior Ninurta, who is himself an Igigi, is commissioned to take the Tablet of Destinies back from Anzu.

A battle ensues between Ninurta and Anzu. Anzu uses the Tablet of Destinies to deceive Ninurta, which causes his own weapon to turn against Ninurta and approach him. Here Enki intervenes and causes the south wind to arise, which deflects the weapon and misses Ninurta, whereupon Ninurta can overpower the Anzu bird. Ninurta then brings the Anzu bird and the Tablet of Destinies back to the Abzu.

It is important to note that this text is not the Anzu myth. In the Anzu myth, Anzu dies, while the action on this tablet takes place at a time when Anzu was still young.

The second tablet begins with a prologue in which the action of the first tablet is recalled.

Prologue

In the first line, the warrior Ninurta is reminded of the part of the battle that almost ended catastrophically for him:

dug4-ga-ni-ta {ĝiš}tukul-zu ḫul-a mu-ni-in-tag

Through what he (Anzu) said (dug4-ga-ni-ta) he had your weapon ({ĝiš}tukul-zu) approach you in a hostile manner (ḫul-a mu-ni-in-tag).

In the next lines, it is praised that the Tablet of Destinies is a divine power that has returned to the Abzu:

me šu-ĝa2 šu ba-ba-ĝu10-ne me-bi abzu-še3 ba-an-gi4

The divine power (me) in my hands (šu-ĝa2), which was taken from me (šu ba-ba-ĝu10-ne), this divine power (me-bi) has returned to the Abzu (abzu-še3 ba-an-gi4).

ĝiš-ḫur šu-ĝa2 šu ba-ba-ĝu10-ne ĝiš-ḫur-bi abzu-še3 ba-an-gi4

The prototype (ĝiš-ḫur) in my hands (šu-ĝa2), which was taken from me (šu ba-ba-ĝu10-ne), the prototype (ĝiš-ḫur-bi) has returned to the Abzu (abzu-še3 ba-an-gi4).

dub nam-tar-ra-/bi\ abzu-še3 ba-an-gi4 me ab-la2-e-en

The tablet for decreeing destinies (dub nam-tar-ra-bi) has returned to the Abzu (abzu-še3 ba-an-gi4), the divine power (me) is secured by me (ab-la2-e-en).

Then, in a flashback, attention is drawn again to the problem that could only be overcome with luck or thanks to Enki’s intervention:

[inim amar] /anzud\mušen-še3 dnin-urta lul-aš ba-an-si

The word of the young Anzu bird (amar anzudmušen-še3) had filled Ninurta (dnin-urta) with an intentional deception (lul-aš ba-an-si).

So Anzu spoke to Ninurta through the Tablet of Destinies and was able to control Ninurta’s thoughts.

In an insertion, the despair of Ninmena is expressed, who was unable to establish the rule of the Tablet of Destinies because of the theft:

[dnin-men]-na-ke4 a-nir im-ĝa2-ĝa2

The goddess Ninmena (dnin-men-na-ke4) had repeated her lamentation (a-nir) again and again (im-ĝa2-ĝa2):

ĝe26-e me-bi šu-ĝu10-uš li-/bi2-kur9 nam-en-bi nu-ak-e

“My (ĝe26-e) divine power (me-bi) in my hand (šu-ĝu10-uš) has departed from me (li-bi2-kur9) – its dominion (nam-en-bi) is not established (nu-ak-e).

[ĝe26-e] e-ne-gin7 /eš3-e?\ abzu-a nu-mu-un-til

A divine power (me) like it (e-ne-gin7) has not dwelt (nu-mu-un-til) in the sanctuary (eš3-e) of the Abzu (abzu-a).”

Enki had to intervene, as the Anzu bird had used the Tablet of Destinies to deceive Ninurta and now Ninurta’s own weapon was approaching him:

a-a den-ki inim /mu-[un-dug4]-/dug4-ga-a abzu-a ba-da-an-zu

Father (a-a) Enki’s (den-ki) words (inim), what was proclaimed in the Abzu (mu-[un-dug4]-/dug4-ga-a abzu-a), were heard (ba-da-an-zu).

So Enki was able to successfully intervene in the battle. The result was that Ninurta could overpower the young Anzu bird. From here the narrative continues chronologically.

ur-saĝ dnin-urta amar anzudmušen-de3 šu-ni bi2-in-ti

The hero (ur-saĝ) Ninurta (dnin-urta) has taken the young Anzu bird (amar anzudmušen-de3) under his control (šu-ni bi2-in-ti).

ki den-ki-ka3-še3 abzu-še3 im-ma-da-/te\

They approached (im-ma-da-te) Enki’s place (ki den-ki-ka3-še3), the Abzu (abzu-še3).

du4-ta-u18-lu amar anzudmušen-de3 abzu-še3 ba-an-gi4

Thanks to the south wind (du4-ta-u18-lu) the young Anzu bird (amar anzudmušen-de3) has returned to the Abzu (abzu-še3 ba-an-gi4).

So it seems that Ninurta could only overpower the young Anzu bird because the south wind deflected the weapon that Anzu had directed at Ninurta. Line 9 suggests that the south wind arose at Enki’s command.

The Praise and Ninurta’s New Task

When Ninurta had brought the Anzu bird and the Tablet of Destinies back to the Abzu, Enki praises the warrior Ninurta for his extraordinary deed:

en-e ur-saĝ-ra ba-ši-ḫul2

The lord (en-e) rejoiced (ba-ši-ḫul2) over the hero (ur-saĝ-ra).

a-a den-ki /ur-saĝ\ dnin-urta-ra ba-ši-ḫul2

Father Enki (a-a den-ki) rejoiced (ba-ši-ḫul2) over the hero Ninurta (ur-saĝ dnin-urta-ra).

en dnu-/dim2-[mud]-/e\ /mi2\ zid mu-un-i-i-de3?

The creator god (en dnu-/dim2-[mud]-/e) proclaims (mu-un-i-i-de3) true praise (mi2\ zid):

Enki emphasizes that among his divine brothers no one can equal him:

ur-saĝ-e diĝir šeš-[zu-ne]-a diĝir /na-me ur5-gin7 nu-mu-un-ak-e

“Hero (ur-saĝ-e) among your divine brothers (diĝir šeš-zu-ne-a): No god (diĝir /na-me) has done like you (ur5-gin7 nu-mu-un-ak-e).

Here the question arises as to who Ninurta’s divine brothers actually are. In the Anzu myth it is mentioned that Ninurta was an Igigi. Thus, the previous sentence states that no Igigi would ever have equaled Ninurta. Enki recalls Ninurta’s heroic deed:

mušen ĝištukul /kalag-[ga]-/zu\ bi2-dab5-ba-še3

The bird (mušen) was captured (bi2-dab5-ba-še3) by your mighty weapon (ĝištukul kalag-ga-zu).

Since this undertaking was only crowned with success through Enki’s intervention, Enki sees the necessity of having to control the Anzu bird in the future. He charges Ninurta with this task:

ud me-da ud ul-/le2-še3 gu2-bi ĝiri3-zu(source: su) /ba-[gub-be2-en]

For the sake of divine power (me-da) from this day (ud) on, until distant days (ud ul-le2-še3), your foot (ĝiri3-zu) shall be on his neck (gu2-bi ba-gub-be2-en).”

However, Ninurta can only succeed in this if Anzu can no longer use the Tablet of Destinies to gain power over him.

Ninurta is Granted Free Will

Enki takes appropriate measures to ensure that Anzu can no longer use the Tablet of Destinies against Ninurta. He decrees:

diĝir gal-gal-e-ne a2 nam-/ur-[saĝ-ĝa2-zu] me-teš2 [ḫe2-i-i-ne]

The great gods (diĝir gal-gal-e-ne) may, as helpful support (a2) of your heroic destiny (nam-ur-saĝ-ĝa2-zu), act purposefully based on the divine powers (continuously) (me-teš2 ḫe2-i-i-ne):

a-a-zu den-lil2-le niĝ2-dug4-[zu] ḫe2-ak

Your father Enlil (a-a-zu den-lil2-le) shall declare your word (niĝ2-dug4-zu) valid (ḫe2-ak).

dnin-men-na-ke4 kiĝ2-sig10-ga-zu na-an-dim2-e

Ninmena (dnin-men-na-ke4) shall not shape your sacred service (kiĝ2-sig10-ga-zu na-an-dim2-e).

As is already known, it is Ninmena’s task to establish the rule of the Tablet of Destinies. The task of the Tablet of Destinies is to decree the destinies of the Igigi, to which Ninurta actually belongs. Enki has now decreed that Ninurta’s destiny cannot be determined with the Tablet of Destinies. Instead, Ninurta shall retain free will, which must be declared valid by his father Enlil.

Then Ninurta is granted a few privileges. First, it is announced that he will rise in the hierarchy of the gods and stand above the other Igigi:

za-e-gin7 ni2 na-ab-tuku /diĝir na-me igi-zu-še3 šu si sa2 na-an-sa2-e

Like you (za-e-gin7) may no god (i.e., no Igigi) (diĝir na-me) command respect (ni2 na-ab-tuku). To your gaze (igi-zu-še3), which is directed at competing for strength (šu si sa2), none shall be equal (šu si sa2 na-an-sa2-e).

Then Enki mentions that this would cost him a month of work:

itid-da eš3-e /abzu-a igi-du8-a e2?-zu saĝ ḫe2-us2

During a month (itid-da) may in the temple (eš3-e) of the Abzu (abzu-a) with clear sight (igi-du8-a) the strength of your house (e2?-zu saĝ) be founded (ḫe2-us2).

So the strength (saĝ) of Ninurta’s house (e2) shall be newly founded. By his house is meant Ninurta himself together with his family and possessions. The strength of his house is based on Ninurta’s own strength (saĝ), which is founded in his heart (šag4). By heart, the Sumerians understood what constitutes a person’s personality. Since Ninurta is no longer guided by the Tablet of Destinies, what constitutes his personality must be newly founded. The mention that this would cost a month of work suggests that the rest of the myth deals with exactly this. Finally, Enki also says where Ninurta will fit into the hierarchy of the gods:

[an] zag gal-la mu-/zu ḫe2-pad3-/de3\

At the great boundary of heaven (an zag gal-la) may your name (mu-zu) reveal itself (ḫe2-pad3-de3).

Ninurta will thus stand above the Igigi, but his name will not cross the boundary to the heaven of the Anunnaki gods. He will thus stand in the hierarchy between both groups of gods.

Ninurta’s Depression

As Enki decreed it, it immediately occurs: Ninurta regains his free will, which was previously blocked by the Tablet of Destinies. The result is unexpected:

ur-saĝ nam-tar-ra-bi šag4-bi nu-ḫul2

The heart (šag4-bi) of the hero (ur-saĝ), whose destiny is being determined (nam-tar-ra-bi), does not rejoice (nu-ḫul2).

The reason why Ninurta’s heart does not rejoice is not that he has something against his destiny. The reason is rather that he has lost the guidance through the Tablet of Destinies, to which he had become so accustomed. First, it is described with poetic words how Ninurta experiences this:

ki-gub-ba-ni a-/ĝi6?\ i-im-ku10-ku10-ge i-sig7-sig7-ge

At his standing place (ki-gub-ba-ni) the waters of night (a-/ĝi6) emerge (i-im-ku10-ku10-ge) and linger (i-sig7-sig7-ge).

The “waters of night” stand for the depression that now overcomes Ninurta. The following text confirms this interpretation.

šag4-bi niĝ2 gal-gal i-im-bal-bal šag4-bi i3-kur2-kur2

The basis of his personality (šag4-bi), which is of high importance (niĝ2 gal-gal), changes (i-im-bal-bal). The basis of his personality (šag4-bi) becomes completely different and alien (i3-kur2-kur2).

His heart, which is the basis of his personality, is thus transformed. The structure of his strength becomes different. While he was previously guided by the Tablet of Destinies, he now notices how it has ceased its work:

inim da-bi nu-ub-/tuku-a bar-bi i-im-dug4-dug4

The word (inim) at his side (da-bi) (i.e., his inner guidance) he no longer possesses (nu-ub-tuku-a), (but) his exterior (bar-bi) speaks constantly (i-im-dug4-dug4).

This sentence reveals how the Tablet of Destinies determines the destinies of the Igigi: through language. It apparently creates a kind of command hallucination. These telepathic instructions cannot be questioned by the Igigi. That Ninurta still speaks constantly implies that despite the lack of guidance through the Tablet of Destinies, he is able to think. So he thinks independently again. Since Ninurta no longer hears the familiar voice, a feeling of depression overwhelms him:

ur-saĝ dnin-urta igi-bi ki-šar2-ra ba-ni-in-ĝar

The hero Ninurta (ur-saĝ dnin-urta) has lowered his gaze (igi-bi) to the ground (ki-šar2-ra ba-ni-in-ĝar).

lu2 na-me nu-ub-dug4 šag4-bi zi nu-X-X

No one (lu2 na-me) has spoken (nu-ub-dug4), his soul (šag4-bi zi) was not guided (nu-X-X).

Ninurta’s Personality

The personality of Ninurta, which emerged when the Tablet of Destinies had ceased its work, was initially overshadowed by depression and disorientation. However, this only lasted until he got used to the new situation. What then emerged was Ninurta’s true personality. First, it is announced that the following action reveals the nature of Ninurta’s word, i.e., his own personality:

en gal den-ki ki ni2-te-na-ke4 inim šag4-bi ba-X-[zu]

At the place (ni2-te-na-ke4) of the great lord Enki (en gal den-ki), where his (Ninurta’s) self is determined (ni2-te-na-ke4), the nature of his (Ninurta’s) word (inim šag4-bi) is made known (ba-X-[zu]).

This happens with a literary device: Ninurta’s depression is described in the form of a metaphor. The water of night, which stands for Ninurta’s depression, manifests itself as a real natural event that threatens the Abzu:

eš3-e abzu-a a-ĝi6 mud i-im-tuku4-tuku4-/e\

In the sanctuary (eš3-e) of the Abzu (abzu-a) the murky (mud) waters of night (a-ĝi6) seethe (i-im-tuku4-tuku4-/e).

In the following lines, Ninurta’s reaction to such a threatening event is compared with the reaction of other people:

sukkal disimudx(PAB.NUN.ME.EZEN)-de3 e2-e ĝiri3 mu-un-ru-gu2

The minister Isimud (sukkal disimud-de3) hurried (ĝiri3 mu-un-ru-gu2) to the house (e2-e).

ur-saĝ dnin-urta ed2-de3 nu-mu-un-še-še

The hero Ninurta (ur-saĝ dnin-urta) goes down (ed2-de3), although he was not obligated to do so (nu-mu-un-še-še).

sukkal disimudx(PAB.NUN.ME.EZEN)-de3-eš2 šu-ni ba-an-zig3

Minister Isimud (sukkal disimudx-de3) raised (ba-an-zig3) his hands (šu-ni) toward the shrine (eš2).

Isimud, Enki’s servant, thus hurries to the temple to pray, while Ninurta confronts the danger. These lines clarify that Ninurta’s ability to confront dangers has always been part of his personality. It was not granted to him by the Tablet of Destinies. The lines also show that other people, such as Enki’s servant Isimud, do not have this ability. Ninurta thus confronts his depression as he would confront any other danger and overcomes it. In the further action, depression no longer plays a role.

The Creation of Šarur

The problem remains that Ninurta can no longer be controlled by the great gods in the usual way. This problem must be solved by Enki. To do this, Enki creates a being from clay:

den-ki-ke4 im abzu-a ba-al-gu7 ba-da-an-dim2

Enki (den-ki-ke4) created (ba-da-an-dim2) in the Abzu (abzu-a) from clay (im) the being to be completed (ba-al-gu7).

Here “ba-al-gu7” was translated as “being to be completed,” but this is not the actual meaning of the term. Rather, the term states that the being has the property (ba) to devour existences (al) (gu7), or to destroy something with a hoe (al) (gu7). The ambiguity of the expression is probably desired: It is a being whose task is to destroy existences as if with a hoe. This strongly reminds one of Ninurta’s Šarur mace. The rest of the myth suggests that the being to be completed is indeed this mace.

However, Enki is not yet finished with his work. So far he has only formed the shell of the being from clay, but has not yet given it any life force. He does this by bringing it to the deep-lying gate of the Abzu, i.e., near the underworld, and then, as is said later, bringing it to life with a divine power from the underworld:

ki sun5-na kan4 abzu-a ba-al-gu7 ba-da-an-gub

At the deep-lying place (ki sun5-na) at the gate (kan4) of the Abzu (abzu-a) he set up the being to be completed (ba-al-gu7 ba-da-an-gub).

d/en-ki-ke4 ki-lul-la-ke4 mu-un-na-ab-dug4-dug4

Enki (den-ki-ke4) proclaimed at the place of the impure deed (ki-lul-la-ke4) with expressive words (mu-un-na-ab-dug4-dug4):

ki-gub-ba ba-al-gi4-še3 ba-da-an-tum3

“At this place (ki-gub-ba) it was completely finished (ba-al-gi4-še3) and put into operation (ba-da-an-tum3).

ba-al-gu7 eĝer-ra-ni sa-bi ba-da-an-dab5

The completed being (ba-al-gu7) with its shell (eĝer-ra-ni) and its inner core (sa-bi) was put into function (ba-da-an-dab5).”

The term “inner core” here probably refers to the soul of the being, while the term “shell” refers to the body.

Ninurta’s Reaction

Ninurta is present and is intimidated by the being:

ur-saĝ dnin-urta ĝiri3-bi ba-da-an-gi4

The hero Ninurta (ur-saĝ dnin-urta) turned away (ĝiri3-bi ba-da-an-gi4).

den-ki /nu-zu-gin7 a-na-am3 ne-e im-me

Enki (den-ki) asks, like one who is ignorant (nu-zu-gin7): ‘What is this? (a-na-am3) It manifests itself! (ne-e im-me)’

umbin-ĝiri3-/bi\ ki bi2-in-ḫur ḫabrud ḫul ba-da-an-dun «ud»

With the tip of its foot (umbin-ĝiri3-bi) scratching the earth (ki bi2-in-ḫur), incredibly fast and agile (ḫabrud), destructive and evil (ḫul), it has seen the day (ba-da-an-dun ud).

ur-saĝ dnin-urta šag4-bi ba-da-an-šub

The courage and determination (šag4-bi) of the hero Ninurta (ur-saĝ dnin-urta) were driven away (ba-da-an-šub).

ur-saĝ-e ga-X /X\ ed3-de3 nu-mu-un-zu-am3

The hero (ur-saĝ-e) pleaded for his life (ga-[ti]) and did not know (nu-mu-un-zu-am3) how to get out of the situation (X ed3-de3).

So it is said here that the freshly completed being greatly frightened Ninurta and Ninurta recognized that it was stronger than him. The freshly completed being was thus able to control Ninurta.

Enki Enlightens Ninurta

Enki first says that the function of the just-completed being is based on a divine power that he brought up from the underworld:

ba-al-gu7 /ĝiri3?\ X-/bi\ ba-an-sur-sur

The completed being (ba-al-gu7) scraped impatiently (ba-an-sur-sur) with the tip of its foot (ĝiri3 X-bi).

/en gal\ den-[ki]-ke4 [gu3 mu-un]-/na-de2-e

The great lord Enki (/en gal\ den-[ki]-ke4) calls to him (Ninurta) ([gu3 mu-un]-/na-de2-e):

me X /kur?-ta mu-ni-in-niĝin2-niĝin2 /mu-pad3-de3

A divine power (me) was brought up from the netherworld (kur?-ta mu-ni-in-niĝin2-niĝin2) and revealed (mu-pad3-de3).

So the completed being represents a divine power. The next sentence is grammatically interesting:

ĝe26-ra saĝ ĝiš? ra-ĝu10-uš igi-zu mu-e-ĝar-ra-/am3\

For me (ĝe26-ra) the manufactured object of strength (saĝ ĝiš), which serves my exercise of power (ra-ĝu10-uš), was presented to your eyes (igi-zu mu-e-ĝar-ra-/am3).

So Enki says that the completed being primarily serves his own exercise of power and not Ninurta’s exercise of power. Nevertheless, the sentence also states that the being was presented to Ninurta’s eyes for Enki. So it seems that Enki wants to bring the warrior Ninurta together with the being. Enki continues to explain what he has done:

X-bil2-ga gal-gal di ĝe26-e bi2-/ib2-ĝa2-ĝa2 ĝe26-e bi2-ib2-zi-de3

A mighty change (X-bil2-ga gal-gal) was decreed (di). I (ĝe26-e) called it into life (bi2-/ib2-ĝa2-ĝa2). I (ĝe26-e) gave it life force (bi2-ib2-zi-de3).

Ninurta now knew that his destiny was linked to the destiny of the being and also that the being was of destructive power. But he still did not know what all this meant for him. Enki notices that Ninurta has acknowledged the superior power of the being:

za-e ĝe26-ra a-gin7 igi-zu mu-ĝar-ra

You (za-e) have presented your face (igi-zu) to me (ĝe26-ra) like water (i.e., crying) (a-gin7 mu-ĝar-ra).

The being is thus suitable for controlling Ninurta. Enki tells Ninurta that his place in the world is determined by this being:

ki-gub-ba-zu a-na-am3 mu-ra-an-dab5 a-/ra2?-bi a-na-gin7-nam

Your assigned place (ki-gub-ba-zu) is the following (a-na-am3): The completed object has taken control (mu-ra-an-dab5). To go with it where one must go (a-ra2-bi), is your destiny, which is like a fate (a-na-gin7-nam).

So the task of the being is not just to control Ninurta. It encompasses more than that: The warrior Ninurta shall go with the being where one must go. So he shall win battles together with it. Enki then becomes more concrete and says explicitly that this being will ensure that Ninurta’s destiny is heroic:

nam-kalag-ga-zu me-še3 ba-an-ĝen nam-ur-saĝ-zu me-a

Your mighty destiny (nam-kalag-ga-zu) for the sake of divine power (me-še3) is permanent (ba-an-ĝen). Your destiny as a warrior (nam-ur-saĝ-zu) belongs to the divine power (me-a).

From this it follows definitively that the just-created being must be Ninurta’s infamous Šarur weapon.

Clarification of Fundamental Questions

In the rest of the text, the fundamental question is discussed of who made what contribution to the creation of Ninurta’s new identity.

The Contribution of Ninmena

First, it is mentioned again that the former structure of Ninurta’s strength was thoroughly shaken and replaced by something new:

ḫur-saĝ gal-gal-e mu-ni-in-gul-gul e-ne-eš2 a-na-am3 mu-ed3-de3

The great structure of his strength (ḫur-saĝ gal-gal-e) was destroyed in preparation for reconstruction (mu-ni-in-gul-gul). To become like him (e-ne-eš2), what it means is (a-na-am3): to go out and advance (mu-ed3-de3).

This sentence first makes a statement about the structure of Ninurta’s strength (ḫur-saĝ), i.e., about something for which Ninmena (also called Ninhursag) is responsible: The tried and tested method of structuring the consciousness of an Igigi was abandoned with Ninurta and a new method was applied. The second part of the sentence states the following: Someone who becomes like Ninurta goes ahead, becomes a role model for others. What this could mean, however, remains unclear. The sentence could allude to Ninurta’s role model function as a warrior in battle. More likely, however, is that it should state the following: The new method of establishing the structure of an Igigi’s strength should serve as a model for other Igigi. The sentence would thus state that other Igigi should also receive free will. Ninmena continues to explain how she did this with Ninurta.

dnin-men-na-ke4 inim-bi ba-da-an-pad3

This word (inim-bi) of Ninmena (dnin-men-na-ke4) was proclaimed (ba-da-an-pad3):

tug2 bar-ra-na /al-bir7?-re kaš4 im-sar-[sar-re]

His outer garment (tug2 bar-ra-na) is taken apart into individual pieces (al-bir7-re) and what the mouth desires (kaš4) is immortalized on clay tablets (also: in clay) (im-sar-sar-re).

To understand this sentence, one must realize that the goddess Ninmena says it, who has the task of shaping the consciousness of the Igigi gods. She did this with Ninurta by taking everything apart into individual pieces, reassembling the pieces in a new way, and then immortalizing the changes in clay so that they would be preserved for eternity. This sentence thus makes clear that while Enki created the Šarur weapon, Ninmena had the actual work in transforming Ninurta’s consciousness.

The Contribution of Third Parties

Then Ninurta’s character traits are examined:

u2-ug gu7-gu7-ĝu10-uš /za-[e] a-ba-a mu-ra-ab-tum2

To digest heavy food (u2-ug) again and again (gu7-gu7-ĝu10-uš): Who made you (za-e a-ba-a) suitable for this (mu-ra-ab-tum2)?

lu2 saĝ-bi mu-un-bul-bul ba-X-[X]-un-GIL-X za-e a-/ba-a mu-ra-/ab-tum2

To pierce people’s heads (lu2 saĝ-bi mu-un-bul-bul): Who made you (za-e a-ba-a) suitable for this (mu-ra-ab-tum2)?

dam-an-ki mu-bi nu-me-a u4-/gu7-gu7-nu-de2-de2 mu-bi-im(source: tin)

“Companion of heaven and earth” (dam-an-ki) is not his name (mu-bi nu-me-a). “Devourer of time, who prevents it from advancing” (u4-gu7-gu7-nu-de2-de2), this is his name (mu-bi-im).

So the sentence postulates the existence of a being that feeds by devouring the remaining lifetime of humans. This being is personified death. The sentence makes clear that personified death is not one of the divine powers, but exists independently of them. It was he who shaped Ninurta’s actual personality, and because of his existence it was necessary to create the Šarur weapon, with which Ninurta can be controlled if necessary. This sentence is possibly one of the first allusions to the existence of the devil in literary history.

The Contribution of Enki

Finally, the question is asked how Ninurta’s influence by the “devil” can be kept under control:

nam-uš2 šu ĝar nu-tuku-a za-e a-[ba]-a mu-ra-ab-tum2

To not be able to set the death fate with power (nam-uš2 šu ĝar nu-tuku-a): Who made you (za-e a-ba-a) into yourself (mu-ra-ab-tum2)?

The answer is missing, but it is clear that this was Enki: if necessary, he can cause the Šarur mace to turn against Ninurta if Ninurta should get out of control.