Enki

Template:Short description Template:Other uses Template:Use dmy dates Template:Infobox deity Template:Contains special characters

Enki (Template:Langx Template:Transliteration) is the Sumerian god of water, knowledge (gestú), crafts (gašam), art, intelligence, trickery, mischief, magic, fertility, virility, healing,<ref>Template:Cite journal</ref> and creation (nudimmud), and one of the Anunnaki. He was later known as Ea (Template:Langx) or Ae<ref name="Duke 1971 320–327">Template:Cite journal p. 324, note 27.</ref> in Akkadian (Assyrian-Babylonian) religion, and is identified by some scholars with Ia in Canaanite religion. The name was rendered Aos within Greek sources (e.g. Damascius).<ref>Template:Cite journal</ref>

He was originally the patron god of the city of Eridu, but later the influence of his cult spread throughout Mesopotamia and to the Canaanites, Hittites and Hurrians. He was associated with the southern band of constellations called stars of Ea, but also with the constellation AŠ-IKU, the Field (Square of Pegasus).<ref>Origins of the ancient constellations: I. The Mesopotamian traditions by J.H. Rogers</ref> Beginning around the second millennium BCE, he was sometimes referred to in writing by the numeric ideogram for "40", occasionally referred to as his "sacred number".Template:Sfn<ref>Template:Cite book</ref> The planet Mercury, associated with Babylonian Nabu (the son of Marduk) was, in Sumerian times, identified with Enki,Template:Sfn as was the star Canopus.<ref>Template:Cite journal</ref>

Many myths about Enki have been collected from various sites, stretching from Southern Iraq to the Levantine coast. He is mentioned in the earliest extant cuneiform inscriptions throughout the region and was prominent from the third millennium down to the Hellenistic period.

The names Enki and Ea

The meaning of the names Enki and Ea is uncertain. It is presumed that they were originally separate deities, though it is unclear when they were fully equated with each other.<ref>Template:Cite web</ref> Alfonso Archi argues that syncretism between them likely already existed at least from the mid third millennium BCE in parts of Babylonia.Template:Sfn

Enki

The name Enki is usually translated as “Lord of the Earth” in Sumerian.Template:Sfn This explanation is not universally accepted.Template:Sfn Several scholars argue that it does not seemingly fit the functions of the god.Template:Sfn Template:Sfn It has been proposed that Enki could have been an epithet of the deity that eventually replaced his original name.Template:Sfn Samuel Noah Kramer argued that the epithet ''Lord of the Earth'' was given to the god by the theologians of Eridu in order to elevate his position in the pantheon and make him a rival of Enlil.Template:SfnHowever, Thorkild Jacobsen points out that there is no conclusive evidence of a rivalry between Enki and Enlil in Sumerian texts.Template:Sfn Jacobsen interpreted Enki as a personification of the power of sweet waters. He explained his name ‘’Lord (productive manager) of the Earth’’ as a reflection of the role of water in the fertilizing of the earth.Template:Sfn He proposed that Enki’s original name was Abzû, later regarded as his under-earth sweet water domain and living place.Template:Sfn However according to Peeter Espak there is no conclusive proof that Enki was regarded as a water god in the available sources of the old sumerian period.Template:Sfn Despite the similarity between their names, Enki of Eridu and the primordial god Enki were separate figures.Template:Sfn Jacobsen proposed that their names had slightly different meanings and he translated the name of the primordial god as “Lord Earth”.Template:SfnThe forms of their names in the Emesal dialect are different; the name of Enki of Eridu is written Amanki, while the name of the primordial god is written Umunki.Template:Sfn

Edmond Sollberger and Wilfred G. Lambert have proposed a different translation for the name of Enki of Eridu. It has been remarked that an omissible g appears at the end of the second element of his name, which does not appear in the name of the primordial god.Template:SfnFor this reason they interpret this second element not as ki, ‘’earth’’, but as ki(g) of unknown meaning.Template:Sfn Sollberger understood an element ki(g) meaning ‘’favour, benevolence, love’’ in Sumerian. Therefore he translated Enki(g) as ‘’Lord Love’’,Template:Sfnor ‘’Lord Benevolence’’.Template:Sfn He argues that this translation reflects Enki’s well attested role in myths as a friend of mankind.Template:Sfn However, this explanation is not generally accepted. It has been remarked that it is possible that the omissible g developed via dissimilation,Template:Sfn though similar examples of dissimilation are so far not attested in Sumerian.Template:Sfn

Ea

The name Ea first occurs in personal names from the Old Akkadian period. Earlier translations interpreting Ea as a sumerian name meaning ‘’House of Water’’ or ‘’House of the Moon, Moon station’’ are regarded as implausible by modern scholarship.Template:Sfn In a few modern publications, the interpretation ‘’House of Water’’ is sometimes presented as a scribal popular etymology. However, according to Lambert, there is no evidence for such a reinterpretation.Template:Sfn

Due to the fact that the name appears associated with Semitic elements in the sources of the Old Akkadian Period, it has been suggested that Ea is most likely a Semitic name.Template:Sfn It has been proposed that the etymology of the name is connected to the Semitic root ḥyy, ‘’to live’’.Template:Sfn This explanation has not been proved with certainty, though it is considered plausible.Template:Sfn Miguel Civil proposed that the name of the god Haya was originally an alternative spelling of Ea.Template:Sfn Margaret W. Green proposed that the names Ea and Haya were both derived from the name of a pre Sumerian deity that was integrated into the pantheons of the Sumerians and of the Semitic peoples, and that Haya persisted as a separate deity after Ea was syncretized with Enki.Template:Sfn The hypothesis of a connection between the names Ea and Haya is considered to be credible, but it is not proved, and it is not accepted by all scholars.Template:Sfn

Alternative names and epithets

Nudimmud

Nudimmud, one of the most frequently attested alternative names and epithets of Enki/Ea, was almost exclusively used in literary texts. In akkadian sources, it could also appear in royal inscriptions, prayers, and incantations.Template:Sfn It already appears in the Zame Hymns under the form ^den-nu-te-mud.Template:Sfn The standard writing was ^dnu-dím-mud. Earlier spellings include nu-te-me-nud from the Fāra period or nu-da-mud from the Ur III period. The verbal elements dím and mud in the standard orthography respectively mean ‘’to build, create’’, and ‘’to bring forth’’.Template:Sfn The god list An=Anum ša ameli explains Nudimmud as Ea in his aspect as the god of creation.Template:Sfn Thorkild Jacobsen interpreted the name as ‘’Image fashioner’’, ‘’God of shaping’’, reflecting Ea’s role as the god of crafts and as the god who creates figures from clay.Template:Sfn The meaning of Nudimmud in the older periods is unclear.Template:Sfn Antoine Cavigneaux and Manfred Krebernik remark that the standard orthography with dím and it's translation likely reflect a later etymological reinterpretation of the name.Template:Sfn

Nagbu

Nagbu, ‘’Source, spring’’,Template:Sfn was an alternative name of Enki/Ea which reflected his role as the lord of the springs and subterranean waters. In this aspect he was not only connected to irrigation and fertility,Template:Sfn but he was also associated with the art of incantation, as subterranean water played an important role in Mesopotamian magic and incantation rituals.Template:Sfn Nagbu is attested chiefly in sources from Babylonia, and in the Neo Babylonian period, the name often appears in incantation texts.Template:Sfn It was written with the logogram ^dIDIM. This logogram already appears as a theophoric element in Akkadian and Neo Sumerian names.Template:SfnStarting from the second millennium BC it often appears in Babylonian personal names.Template:Sfn In the god list An=Anum, Nagbu is equated with Ea. It is unclear whether Nagbu was originally an independent deity or an aspect of Ea.Template:Sfn

Niššīku

Niššīku was an alternative name and epithet of Enki/Ea of uncertain meaning. It is first attested in literary texts of the Old Babylonian period.Template:Sfn Wilfred G. Lambert and Alan R. Millard propose that the name was derived from the Semitic element nasīku ,’’chieftain’’, reflecting Enki’s sumerian epithet nun,Template:Sfn ''prince'', ''leader''.Template:Sfn Hannes D. Galter considers that a connection between an Old Babylonian expression and a loanword from Aramaic is implausible.Template:SfnAlternative spellings of the name include Naššīku and Ninšīku.Template:Sfn Ninšīku is likely a later folk etymology from Sumerian. It is attested from the Middle Babylonian period onwards.Template:Sfn One god list explains Ninšīku as Ea in his aspect as god of wisdom. In this interpretation, -šiku was likely equated with Sumerian kù-zu, ‘’wise’’.Template:Sfn

DIŠ

The logogram DIŠ often designates Enki/Ea in Assyrian texts. In Neo Assyrian sources, it chiefly appears in royal inscriptions and incantation literature.Template:Sfn It is sometimes attested as a theophoric element in personal names of the first millennium. In Neo Babylonian Uruk it designates Anu instead. The reading of DIŠ in akkadian is unknown. Galter suggests that DIŠ was possibly a numeral symbolizing the number 60, a number associated with Anu, and that its use for Ea could have been a way to equate him with the supreme god of the pantheon.Template:Sfn

Other names and epithets

Enki/Ea had a variety of other names and epithets reflecting his different functions and his association with his abode, Abzû, and his cult center, Eridu.Template:Sfn Galter remarks that the majority of other names of Ea are only documented from sources from the late second millennium, and therefore he presumes that they represent an effort to fully encompass and describe all of the aspects of the god.Template:Sfn Craftsmanship deities such as Uttu and Ninagal could be regarded as alternative names of Ea in late sources.Template:Sfn

The majority of akkadian epithets of Ea reflect his role as the god of wisdom.Template:Sfn Such epithets include for example, bēl nēmeqi (‘’Lord of wisdom’’), bēl tašīmti (‘’Lord of understanding’’),Template:Sfn and apkal ilī.(‘’Sage of the gods’’).Template:Sfn Bēl nagbi, (‘’Lord of the subterranean waters’’)Template:Sfn was a frequently attested epithet of Ea in his aspect as a water god.Template:Sfn He could be referred to as bēl tenēšēti, ‘’Lord of mankind’’.Template:Sfn His association to the arts of incantation was reflected in his epithets mašmaš ilī, ‘’Exorcist of the gods’’,Template:Sfn and bēl išīputti (‘’Lord of the purification rites’’).Template:Sfn

Ea could be referred to as Ea-šarru in some akkadian texts.Template:Sfn According to Galter, it is unclear whether Ea-šarru was simply an epithet of Ea or if a foreign deity was identified with Ea and šarru,‘’king’’, was added to distinguish them. He remarks that the earliest attestations of this name occur outside of Mesopotamia, which could indicate that the name did not originate in the region.Template:Sfn

A common epithet of Enki/Ea in literary texts was Enlil-banda, ‘’the junior Enlil’’. An early attestation of this epithet dates to the Old Babylonian Period.Template:Sfn Several possible interpretations of this name have been suggested by scholars. It could indicate that Ea was regarded as a younger brother of Enlil, it could have been a way to equate Ea with Enlil, it could have been a way to assert that he is ‘’like Enlil’' in his domain,Template:Sfn or it could mean that he received his functions and abode from Enlil.Template:Sfn

Enki’s epithets king of the Abzû and king of Eridu are already attested in sumerian sources from the Early Dynastic Period.Template:Sfn Another of his epithets was (^ddàra-abzu), translated as Ibex Template:Sfn Template:Sfn or Stag Template:Sfn of the Abzû. The ibex was associated with Enki in historical times.Template:Sfn An early attestation of this byname is found in an Old Babylonian hymn. Several compound bynames of Enki/Ea formed with the element dàra appear in a later god list.Template:Sfn Template:Sfn

Symbols and iconography

Enki/Ea is considered one of the few Mesopotamian deities with a recognizable iconography.Template:Sfn His most distinguishing features are water streams flowing from his body, often accompanied by fish swimming in the water. These features are first attested in the Old Akkadian Period.Template:Sfn Enki’s iconography in the older periods is uncertain. It has been proposed that he is depicted on an Early Dynastic seal representing a sitting god with two fish beneath his feet,Template:Sfn though this identification is not universally accepted.Template:Sfn Enki/Ea’s water streams could be depicted as coming from his shoulders or his hips, or he could be depicted sitting within his shrine or abode, with the streams surrounding it in the shape of a rectangle.Template:Sfn Template:Sfn Additionally, he could often be depicted with water sprouting vessels,Template:Sfn carrying them either on his shoulders, in his hand or above his hand.Template:Sfn

His emblems include the goat-fish and the ram-headed staff.Template:Sfn They were often depicted together, for example on kudurrus.Template:Sfn Template:Sfn The kudurru of Nazi-Maruttash refers to them as ‘’the great emblems of Ea’’.Template:Sfn The ram-headed staff is attested in art from the Old Babylonian period until the Achaemenid period. In Neo Assyrian seals, Ea is sometimes represented carrying a crook, which Jeremy Black and Anthony Green suggest may be a symbolic representation of the staff.Template:Sfn The goat-fish is attested in mesopotamian art from the Neo Sumerian period until Hellenistic times, and it was later adopted into roman art.Template:Sfn It is at the origin of the zodiacal constellation Capricorn.Template:Sfn Ea could often be represented sitting or standing on it.Template:Sfn While the goat-fish’s connection to Ea is well attested, it could also be depicted as a general apotropaic figure, not attached to any god.Template:Sfn Clay figurines of goat-fishes could be used in apotropaic magic.Template:Sfn

Another symbol of Ea was the turtle. It was associated with him since the Old Akkadian period.Template:Sfn Template:Sfn On kudurrus it could be used as his symbol instead of the goat-fish with the ram-headed staff, or it could be represented on the back of the goat-fish.Template:Sfn

Ea was often depicted alongside his two faced vizier Isimud. Since the Old Akkadian period he could also be depicted alongside his Lahmu servants, divinities represented as naked or kilted male figures with abundant facial hair and locks of hair on each side of their face.Template:Sfn On cylinder seals they could be represented as his doorkeepers, holding a gate-post, or in later periods a spade.Template:Sfn Another figure closely associated with Ea in pictorial representations is the fish-man, who has the upper body of a man and the lower body of a fish. It was depicted next to symbols of Ea.Template:Sfn It is attested in pictorial representations from the Neo Sumerian period up until Hellenistic times, and might have been the precursor of the merman in Greek and Medieval European art and literature.Template:Sfn Template:Sfn

In Akkadian period seals, Ea was depicted in various scenes, some of which likely have a mythological background. A well known example is the seal of Adda.Template:Sfn Template:Sfn There he is depicted with one foot on a mountain, with water streams coming out of his shoulders, and fish swimming in them. An ibex Template:Sfn or a bull is seated beneath his right foot. An eagle descends from above to the center of the scene. Ea’s two faced vizier stands behind him. The god rising from the mountain is most often interpreted as Shamash, and the armed goddess as Ishtar.<ref name="seal" /> Another well attested example is a motif where a half man, half bird creature is presented before an enthroned Ea by one or two gods, one of which is generally Isimud.Template:Sfn Various interpretations of these scenes have been proposed by scholars.Template:Sfn Pierre Amiet proposed that the scene on the Adda cylinder may represent the revelation of the forces of nature in early spring.Template:Sfn Kramer and Maier proposed that the scene of the ‘’bird-man’’ led before the god of streams could be derived from the Anzû myth, representing the return of the tablets of destinies to Enki after the defeat of the Anzû bird who had stolen them,Template:Sfn as in the sumerian version of the myth he was their guardian, while in the akkadian version they were stolen from Enlil instead.Template:Sfn Template:Sfn However, since only a few, difficult to understand myths are preserved from this period, the narrative behind the scenes remains uncertain.Template:Sfn Ea could also be depicted travelling on his boat. According to one text, the name of the boat was ‘’Ibex of the Abzû’’.Template:Sfn Enki’s association with the ibex dates to the second half of the third millennium.Template:Sfn

The little owl is called the bird of Ea in the Bird Call Text.Template:Sfn

Akkadian cylinder seal depicting the enthroned Enki accompanied by a Lahmu holding a gate-post, and his two faced vizier, who introduces a personal goddess leading the owner of the seal.
Akkadian cylinder seal representing three gods introducing a half bird, half man creature before the enthroned Enki.
Akkadian cylinder seal depicting four deities stepping before the enthroned Enki.

Worship

The main temple to Enki was called E-abzu, meaning "abzu temple" (also E-en-gur-a, meaning "house of the subterranean waters"), a ziggurat temple surrounded by Euphratean marshlands near the ancient Persian Gulf coastline at Eridu. It was the first temple known to have been built in Southern Iraq. Four separate excavations at the site of Eridu have demonstrated the existence of a shrine dating back to the earliest Ubaid period, more than 6,500 years ago. Over the following 4,500 years, the temple was expanded 18 times, until it was abandoned during the Persian period.Template:Sfn Template:Page needed On this basis Thorkild Jacobsen<ref>Jacobsen, Thorkild (1970) "Mesopotamian Gods and Pantheons", p. 22</ref> has hypothesized that the original deity of the temple was Abzu, with his attributes later being taken by Enki over time. P. Steinkeller believes that, during the earliest period, Enki had a subordinate position to a goddess (possibly Ninhursag), taking the role of divine consort or high priest,<ref>Steinkeller P. (1999) "Priests and Officials", p. 129</ref> later taking priority. The Enki temple had at its entrance a pool of fresh water, and excavation has found numerous carp bones, suggesting collective feasts. Carp are shown in the twin water flows running into the later God Enki, suggesting continuity of these features over a very long period. These features were found at all subsequent Sumerian temples, suggesting that this temple established the pattern for all subsequent Sumerian temples. "All rules laid down at Eridu were faithfully observed".<ref>van Buren, E.D. (1951) OsNs 21, p. 293Template:Full citation needed</ref>

Mythology

Creation myths

Enki and the world order

Preserved from Old Babylonian tablets,Template:Sfn Enki and the world order is one of the longest and best preserved myths in the sumerian language.Template:Sfn It portrays Enki as the god responsible for the organization of the world. His prerogatives are given to him by Enlil, the chief god of the pantheon,Template:Sfn here his older brother.Template:Sfn In this myth, the city of Ur is depicted as the capital of Sumer. It has been argued that this reflects an original date of composition of the myth at the time of the Ur III dynasty.Template:Sfn

The composition begins with the poet’s praise of Enki.Template:Sfn Template:Sfn Enki then praises himself twice, declaring his intention to journey to Sumer, Meluhha, Magan and Dilmun, to which the Anuna-gods respond positively, praising his connection to the me-s,Template:Sfn Template:Sfn fundamental powers and decrees of the gods which enable the functioning of human civilisation.Template:Sfn The cult personnel of Enki performs various rituals to purify his temple. The god then travels on his boat, accompanied by his divine attendants.Template:Sfn Template:Sfn He blesses Sumer Template:Sfn and the city of Ur.Template:Sfn He then travels to Meluhha, which he blesses with luxuriant fauna and flora, and Dilmun, which he purifies, blesses, and gives to Ninsikila. He also blesses the Martu. In a fragmentary passage, he curses Elam and Marhashi.Template:Sfn Template:Sfn

The second half of the composition focuses on his institution of different crafts and his attribution of different areas of responsibilities to other gods.Template:Sfn Template:Sfn Enki fills the Tigris and Euphrates with water and puts Enbilulu in charge of its regulation,Template:Sfn Template:Sfn then he puts a deity whose name is not preserved in charge of the lagoons and marshes.Template:Sfn He entrusts the sea, where he built a shrine, to Nanshe,Template:Sfn Template:Sfn plans the functioning of the rain, and puts Ishkur in charge of it.Template:Sfn He takes care of the agricultural tools and puts Enkimdu in charge of them, then he provides the field with various grains and vegetables, and assigns this domain to Ezina.Template:Sfn Enki assigns the task of preparing bricks to Kulla; he then builds a model house, and appoints Mushdamma in charge of house construction.Template:Sfn Template:Sfn After providing the steppe with vegetation and herds, he puts Šumugan in charge of it.Template:Sfn He builds stalls and sheepfolds and assigns this domain to Dumuzi.Template:Sfn He performs certain tasks, such as the demarcation of boundaries, and puts Utu in charge of the universe.Template:Sfn He then organizes the art of weaving and assigns this domain to Uttu.Template:Sfn Template:Sfn In the last, and longest section, Inanna intervenes to complain that she has not received suitable functions.Template:Sfn Template:Sfn In a badly preserved section, Enki responds by pointing out the functions that she already holds.Template:Sfn

Enki and Ninhursag

This myth is known from three Old Babylonian copies, one from Nippur, one from Ur, and one from an unknown provenance.Template:Sfn It is a source of debate in modern scholarship, subject to various different translations and interpretations.Template:Sfn Template:Sfn Template:Sfn

At the beginning of the text, the story is set in Dilmun. The goddess of Dilmun, Ninsikila, complains to Enki that her land lacks water.Template:Sfn Template:Sfn Enki responds by summoning underground sweet waters to Dilmun, and as a result it becomes a rich, fertile land.Template:Sfn Template:Sfn Template:Sfn Some scholars identify Ninsikila as another name of Ninhursag in this myth. However, this interpretation is not universally accepted.Template:Sfn Template:Sfn

The next scene takes place in the marshes in the south of Sumer.Template:Sfn Enki sleeps with Ninhursag, and she becomes pregnant. After nine days of gestation, she gives birth to Ninnisig/Ninšar.Template:Sfn Template:Sfn One day, Enki spots Ninnisig/Ninšar along the riverbank in the marsh. He also sleeps with her, she becomes pregnant, and after nine days of gestation, she gives birth to Ninkurra.Template:Sfn Template:Sfn Similarly, Enki sees her, has intercourse with her, she becomes pregnant, and after nine days of gestation, she gives birth to Uttu. In a variant of the story, she insteads gives birth to Ninimma, who is the one to give birth to Uttu.Template:Sfn Template:Sfn What follows is a fragmentary passage in which Ninhursag apparently instructs Uttu to not let Enki into her house unless he gives her cucumbers, apples and grapes as a gift.Template:Sfn Enki summons sweet waters, making the land fertile, and a gardener gives him cucumbers, apples and grapes as thanks.Template:Sfn Template:Sfn Enki brings them to Uttu, introducing himself as the gardener, and she opens her house to him. He then has intercourse with her.Template:Sfn Ninhursag removes his semen from Uttu’s body, and grows eight plants from it.Template:Sfn Template:Sfn

Enki spots the unfamiliar plants in the marsh, and decides to eat them in order to ‘’know their heart’’ and ‘’determine their destiny’’.Template:Sfn As a result, Ninhursag curses him, and he falls deathly ill.Template:Sfn Template:Sfn A fox offers its help to Enlil and the other gods, and Enlil promises it fame and to erect two kiskanu trees in its honor if it succeeds in bringing Ninhursag back.Template:Sfn The fox adorns itself and goes to see Ninhursag. Due to the fragmentary passage of the text, it is unknown how it managed to convince her to heal Enki.Template:Sfn Template:Sfn Ninhursag asks Enki which parts of him hurt, and after he names them, she facilitates the birth of eighth deities, which removes the illness from his body.Template:Sfn Template:Sfn Their names contain elements which pun with the ill body parts of Enki;Template:Sfn Abu is connected to the top of the head, and the akkadian word abbattu,Template:Sfn Ninsikila to the hair (siki), Ninkiriedu to the nose (kiri), Ninkasi to the mouth (ka), Nazi to the throat (zi), Azimua to the arm (á), Ninti to the rib (ti), and Ensag to the side (zag).Template:Sfn Template:Sfn The myth ends with the assignment of roles to the new deities, and a formula of praise to Enki.Template:Sfn

Comparisons have been made between Enki’s eating of the plants and its consequences and Adam and Eve’s eating of the apple in Genesis.Template:Sfn

Enki and Ninmah

This myth is known from a few tablets in sumerian from the Old Babylonian period, as well as a bilingual sumerian-akkadian copy from the Neo Assyrian period.Template:Sfn In the first part of the myth, Enki creates mankind in collaboration with his mother, Ninmah, and several helper goddesses, while the second part focuses on a drunken contest between Ninmah and Enki.Template:Sfn Template:Sfn

The beginning of the myth describes a time in which the gods had to work for their food themselves.Template:Sfn Template:Sfn The gods who work grow dissatisfied with their situation. Enki, who lies asleep in his bed in the Abzû, is woken up by Nammu, here his mother, who informs him of their complaints and tells him to create a substitute to perform the hard labour.Template:Sfn Template:Sfn Enki devises a plan to create mankind from the clay of the Abzû, and delegates its execution to his mother, assisted by Ninmah and seven helper goddesses.Template:Sfn Template:Sfn Template:Sfn

In the second section, the gods take part in a banquet, where Enki is praised.Template:Sfn Enki and Ninmah get drunk, and start a competition.Template:Sfn Ninmah fashions six humans with some kind of physical disabilities, the nature of which is not always understood. Each time, Enki successfully finds a place in society for them.Template:Sfn Template:Sfn Template:Sfn Then they exchange roles. Enki creates two beings, the second of which, called Umul, is in such bad shape that Ninmah cannot decree a ''good fate'' for them. As a result, she loses the competition.Template:Sfn Template:Sfn Then Ninmah gives a difficult to interpret speech where she complains about being chased from her city after it was attacked, accusing Enki of being responsible for her misfortune. Due to the damage to this section of the text, Enki’s answer and the resolution of the myth is unclear, but it seems that he attempts to appease Ninmah and that he finds a place for Umul.Template:Sfn Template:Sfn Some scholars have interpreted Umul as a premature or not fully developed baby.Template:Sfn

Enūma Eliš

Template:Main The Babylonian Epic of Creation, celebrating the elevation of Babylon’s national god Marduk as the head of the Mesopotamian pantheon, was composed in the second half of the second millennium BCE. It has been suggested to date to the reign of Nebuchadnezzar I, though there is no secure evidence for its date of composition.Template:Sfn In Enūma Eliš, Ea plays a crucial role in killing Abzû, here personified as a god of an older generation, and he becomes the father of the future king of the gods, Marduk.Template:Sfn

The beginning of the poem describes the creation of the first gods as a result of the mingling of Tiamat and Abzû. While Abzû is usually the name of Ea’s underground cosmic water domain, it appears here as the personification of these waters and as Tiamat’s consort.Template:Sfn Template:Sfn Ea is here the son of Anu, himself created from the union of the pair Anshar and Kishar, themselves the result of the union between Lahmu and Lahamu, themselves the result of the union between Tiamat and Abzû.Template:Sfn Template:Sfn The clamor and restless behaviour of the younger gods angers Abzû and Tiamat. While Tiamat is initially reluctant to harm her creations, Abzû plots to kill the younger gods, supported by his vizier, Mummu.Template:Sfn Template:Sfn Ea becomes aware of Abzû’s designs and devises a plan to foil them. He fashions a sleep spell that he casts on Abzû and Mummu. When they are asleep, he binds and then kills Abzû, and imprisons Mummu.Template:Sfn

Afterwards, he establishes his abode on the body of Abzû, which becomes his underground water domain.Template:Sfn The following section deals with the birth of Marduk, Ea’s son with Damkina, described as surpassing all of the gods.Template:Sfn His grandfather Anu, delighted with the young god, gives him the four winds. The waves that Marduk creates by whirling the winds irritate a group of gods only specified as children of Tiamat. They urge her to act and avenge her consort and his vizier.Template:Sfn Template:Sfn She raises an army and takes the god Qingu as her new consort.Template:Sfn When Ea learns of her preparations, he is horrified and brings the news to his grandfather Anshar.Template:Sfn Anshar is initially angered and blames Ea for the situation caused by his murder of Abzû. Ea defends himself by arguing that it was a necessary action at the time.Template:Sfn Template:Sfn Anshar then orders Ea to defeat Tiamat. He fails, and Anshar then sends Anu, who also fails.Template:Sfn Ea then summons his son and instructs him to seek out Anshar and volunteer to challenge Tiamat.

Template:Poem quote

Foster proposes that while the design of Ea (in his translation ''secret words'') could refer to magic words told to Marduk, it could also be connected to Marduk’s later demand to the gods to be made their king in exchange for his help.Template:Sfn Marduk’s offer is accepted by the gods.Template:Sfn After his defeat of Tiamat, Marduk organizes the universe.Template:Sfn He tells Ea his idea to create mankind from divine blood so that they might do the hard labor of the gods. Ea suggests that one of the rebels be killed to fashion this new creature.Template:Sfn Marduk then demands that the rebellious gods hand over their leader in exchange for amnesty. The rebellious gods single out Qingu. He is executed, and Ea fashions mankind from his blood.Template:Sfn While Ea still participates in the creation of mankind, in accordance with older Mesopotamian tradition where he works with the mother-goddess to fashion the new being, the idea of the creation of mankind is there attributed to his son.Template:Sfn The role of the mother-goddess in the older tradition is here fully taken over by Ea.Template:Sfn In the last sections dealing with Marduk’s multiples names, Ea gives to his son his own name, and puts him in charge of his offices.Template:Sfn

The disputation between the bird and the fish

The beginning of this Sumerian disputation poem relates a creation story centered on Enki.Template:Sfn He is depicted bringing the waters of the land together and organizing them, giving the Tigris and Euphrates their places and laying down irrigation ditches.Template:Sfn He sets up stalls, sheepfolds, cities and hamlets, causes the people to multiply and organizes their system of government. He then organizes the marshes, and furnishes them with abundant fauna and flora.Template:Sfn

The First Brick

Ea appears in his role as a creator deity in an building incantation concerned with the renovation of temples known from Late Babylonian tablets and a late Assyrian fragment, dubbed ‘’The First Brick’’.Template:Sfn It contains a creation myth in which Ea creates the Abzû and then fashions from clay various deities, as well as a king and mankind, which all participate in the temple renovation process.Template:Sfn The deities created are Kulla, tasked to renovate the first brick, the deities Ninildu, Ninsimug and Ninagal, tasked to help with the construction, the deities Arazu, Guškinbanda, Ninzadim, Ninkurra, Ašnan, Laḫar, Siris, Ningišzida, Ninšar, Adag, Umunmutamgu, and Umunmutamnag, the last eight of which are instructed to supply resources to mankind for their regular offerings, and finally Kusu, tasked to perform the rites of the temple.Template:Sfn Template:Sfn

The story of the flood

Atra-ḫasīs

This myth is the longest preserved Old Babylonian Epic.Template:Sfn It is known from Old Babylonian tablets, the best preserved being three tablets written by the scribe Ku-Aya under the reign of Ammi-ṣaduqa, perhaps from Sippar, two Middle Babylonian pieces, one from Ras Shamra and one from Nippur, as well as fourteen Neo Assyrian pieces from the library of Ashurbanipal.Template:Sfn Enki plays a crucial role in Atra-ḫasīs. He first creates mankind alongside the mother goddess (variously named Mami, Mama, Nintu, and Bēlet-ilī ), and later opposes Enlil’s attempts to wipe it out, which culminate in the sending of the flood.Template:Sfn Template:Sfn

The myth begins describing a time in which the gods had to work for their food themselves. The gods divide the world between themselves; Anu claims the Heavens as his domain, Enlil claims the Earth, and Enki claims the underground water ocean Abzû.Template:Sfn Template:Sfn The task of working falls to the Igigi gods. After 40 years of toiling, they grow discontent and rebellious.Template:Sfn Template:Sfn They set fire to their tools and surround Enlil’s Ekur shrine in Nippur. Enlil is woken up by his vizier Nusku, who informs him of the situation.Template:Sfn Anu and Enki are brought into Enlil’s presence.Template:Sfn Enki suggests that the mother goddess creates a new being, man, to bear the load of the work instead of the Igigi.Template:Sfn He proposes a plan to create man from a mix of clay and divine blood, and works together with the mother goddess to fashion this new creature.Template:Sfn Template:Sfn The god Wê-ila is killed and his blood used to create mankind. The process of creation of mankind itself is not entirely preserved.Template:Sfn The mother goddess is congratulated and named ‘’Mistress of all gods’’, Bēlet-kāla-ilī.Template:Sfn Template:Sfn

In the next section of the myth, mankind has multiplied, and they create so much noise that Enlil is unable to sleep. He decides to wipe out humanity by sending a plague.Template:Sfn Template:Sfn The text introduces Atra-ḫasīs, who prays to his god, Enki, for help. Enki instructs him to tell his fellow men to stop praying and sending offerings to all of the gods, and to instead concentrate their offerings on the god responsible for the plague, Namtar.Template:Sfn Template:Sfn Atra-ḫasīs executes Enki’s instructions and Namtar, pleased and embarrassed by the gift, alleviates the plague.Template:Sfn Humans multiply, and once again Enlil is unable to sleep due to the noise. He decides this time to wipe out humanity with a famine and orders Adad, the weather-god, to withhold his rain.Template:Sfn Once more Atra-ḫasīs prays to Enki, who instructs him to tell his fellow men to stop praying and sending offerings to all of the gods, and to instead concentrate their offerings on Adad. Adad is embarrassed by the gift and discreetly allows enough rain for humanity to survive.Template:Sfn Template:Sfn The composition at this point is fragmentary and entire passages are missing.Template:Sfn Enlil resumes the drought but appoints Anu and Adad as guards of the heavens, Enki as guard of the regions under the earth, and himself as guard of the earth. His plan is foiled in an incident which involves fish being freed on the starving humanity.Template:Sfn Template:Sfn Enlil then confronts Enki. He decrees that humanity will be wiped out by a flood, and has him swear an oath against his will to ensure his cooperation.Template:Sfn Template:Sfn

Enki finds a way to bypass his oath and sends a dream to Atra-ḫasīs. When Atra-ḫasīs seeks clarification about the dream, Enki speaks indirectly to him through a reed wall, and instructs him to build a boat and destroy his house.Template:Sfn Template:Sfn He warns him that the flood will come on the seventh day. Atra-ḫasīs speaks with his elders and explains his departure by telling them that since Enki had a falling out with Enlil, he, as Enki's servant, must leave Enlil’s earth.Template:Sfn The people help him build his boat and load it with animals. Before the departure, he holds a banquet, but he cannot take part in it himself, as he is feeling sick with the knowledge of the impending destruction.Template:Sfn On the seventh day the flood comes and wipes out humanity, with the exception of Atra-ḫasīs and his family on the boat. Enki and Bēlet-ilī grieve for their creation, and the gods begin to suffer from hunger, since they no longer receive food offerings.Template:Sfn The flood lasts for seven days and seven nights.Template:Sfn When the flood ends, Atra-ḫasīs makes an offering to the gods.Template:Sfn When he discovers that a part of humanity survived, Enlil is furious and confronts Enki again.Template:Sfn Template:Sfn The section of the text containing Enki’s reply is damaged, but Enlil is convinced to let humanity live. In exchange, he has Enki and Bēlet-ilī institute ways of controlling their population. Only a part of the proposals of Enki and Bēlet-ilī is preserved; it concerns the creation of infertile women, and the institution of classes of priestesses that do not bear children.Template:Sfn Template:Sfn

The Eridu Genesis

This fragmentary myth in the Sumerian language preserves another account of the Mesopotamian story of the flood.Template:Sfn It is reconstituted from several related, but distinct variants preserved from two fragments, one from Nippur and one from Ur, both dating to the Old Babylonian period ( circa 1600 BCE), as well as a bilingual sumero-akkadian fragment from the library of Ashurbanipal.Template:Sfn As the oldest fragment preserving the this myth dates from around the same period as the tablets preserving Atra-ḫasīs, the relation between the two texts is uncertain.Template:Sfn

Though much of the text is lost, it is presumed that Enki plays the same role as he does in other accounts dealing with the flood, and ultimately placates Enlil, ensuring that humankind is allowed to survive.Template:Sfn The beginning of the composition seemingly deals with the creation of man,Template:Sfn an act for which An, Enlil, Enki and Ninhursag are credited.Template:Sfn Another fragmentary section dealing with the establishment of the first cities describes Nintu giving Eridu to Enki.Template:Sfn A badly preserved portion of the text deals with the scene where the flood hero, here named Ziusudra, receives Enki’s warning about the flood through a wall.Template:Sfn

The Epic of Gilgamesh

Template:Main Tablet XI of the standard edition of the akkadian Epic of Gilgamesh tells the story of the flood, in which Ea plays the same role as in Atra-ḫasīs. The flood story in the Epic of Gilgamesh is believed to be based on the one in Atra-ḫasīs.Template:Sfn Template:Sfn

Gilgamesh meets the flood survivor, here named Utnapishtim, during his quest for immortality. Utnapishtim tells him how he and his wife survived the flood and were made immortal by the gods as a result.Template:Sfn The reason why the gods sent the flood is not given.Template:Sfn They swore an oath to make sure the task would be accomplished. Ea, who did not wish to see mankind destroyed, found a way around his oath and warned Utnapishtim. He sent him a dream, and then, speaking his words through a reed wall ,he instructed him to demolish his house and build a boat.Template:Sfn When Utnapishtim asked him what to tell the elders and the people of his city of Shuruppak, Ea instructed him to tell them that since he had fallen out with Enlil, he could not remain on the earth and that he was going to live in Ea’s underground ocean.Template:Sfn With the help of his people, Utnapishtim built a massive boat that he filled with his kin, possessions, and animals.Template:Sfn The flood came and wiped out humanity.Template:Sfn It lasted for six days.Template:Sfn When the flood stopped, Utnapishtim sent three birds to see if the waters had decreased enough for him to land. This episode has been compared to a similar one in the account of the flood related in the Book of Genesis.Template:Sfn Template:Sfn After the last bird failed to come back to the boat, Utnapishtim prepared an offering for the gods on the top of the mountain. When Enlil realized that humans still lived, he was furious, and demanded to know the reason for their survival. Ninurta answered that Ea was the only one capable of this feat.Template:Sfn Ea told Enlil that his decision to wipe out humanity was a disproportionate punishment, and proposed other ways to control the size of its population. Enlil, convinced to let humanity live, granted Utnapishtim and his wife immortality.Template:Sfn

The Babyloniaca

Ea was assimilated with Kronos in the writings of the Hellenistic Babylonian writer Berossos.Template:Sfn Berossos transmitted a variant of the Mesopotamian story of the flood in his Babyloniaca, a work meant to present the history of the Babylonians to the Greeks.Template:Sfn His original work is lost, but it is known from quotes of Alexander Polyhistor and Abydenus, themselves quoted by Eusebius.Template:Sfn There Kronos warns Xisuthros (the hellenized form of the sumerian Ziusudra) about the incoming flood, appearing to him in a dream in the version quoted by Polyhistor. He instructs him to build a boat, stuff it with provisions and animals, and take his family and kin with him.Template:Sfn He tells him the exact month in which the flood will come, and also instructs him to bury all writings in Sippar, two details which are not present in the older cuneiform sources.Template:Sfn

Inanna myths

Inanna and Enki

This long myth is preserved from a few tablets dating to the first third of the second millennium BCE.Template:Sfn

It tells the story of how Inanna acquired the me-s from Enki, their guardian.Template:Sfn

The plot begins when Inanna travels to Enki’s temple in Eridu. Enki instructs his sukkal Isimud to give her food, drink, and to treat her as a friend.Template:Sfn Inanna and Enki then begin a drinking contest.Template:Sfn Thoroughly drunk, Enki gives her over a hundred me-s.Template:Sfn The list of the me-s is not fully preserved.Template:Sfn It includes the me-s connected to aspects of human culture such as kingship, war, priestly offices, speech, crafts (woodworking, metalworking, writing, smithing, leather working, masonry, and basket weaving), eroticism and intelligence, among others.Template:Sfn Template:Sfn Inanna takes them and loads them into the Boat of Heaven, and she departs for her city of Uruk.Template:Sfn When he is sober again, Enki realizes that the me-s are missing. He asks Isimud where they are, and the sukkal replies that he has given them all to Inanna.Template:Sfn Enki’s reaction is missing due to the fragmentary of the text at this point, but determined to get back the me-s, he dispatches Isimud and enkum servants to seize the Boat of Heaven and its cargo.Template:Sfn

Isimud catches up with Inanna and tells her that while she is free to return to Uruk, Enki has ordered that the Boat of Heaven be brought back to Eridu, which angers the goddess.Template:Sfn As soon as the enkums grab the Boat, Inanna summons her sukkal Ninshubur, who prevents them from seizing it in unclear circumstances.Template:Sfn Enki then attempts to take back the me-s five more times. The second time, he dispatches Isimud alongside the fifty giants of Eridu, the third time alongside the fifty Lahamu of the Engur, the fourth time alongside the ‘’Big fish’’, the fifth time alongside the guards of Uruk, and the sixth time alongside the guards of the Turungal canal.Template:Sfn Template:Sfn Each time, Inanna calls Ninshubur and the Boat of Heaven is able to continue its journey. Inanna eventually reaches Uruk triumphantly and unloads the me-s among the celebration of her people.Template:Sfn At the end of the myth Enki gives a speech that for the most part is lost,Template:Sfn but whose last lines may indicate his reconciliation with Inanna and Uruk.Template:Sfn

Inanna’s descent into the Underworld

Enki/Ea plays a supporting role in the Sumerian poem Inanna’s descent into the Underworld, and the shorter Akkadian poem Ishtar’s descent, where he devises a plan to revive the eponymous goddess after she has been struck dead by Ereshkigal.Template:Sfn

In the Sumerian version, as Inanna makes her preparations to journey into the Underworld, she instructs her sukkal Ninshubur to ask Enlil, Nanna, and Enki for help if something happens to her.Template:Sfn Template:Sfn The queen of the Underworld, Ereshkigal, is displeased to learn of Inanna’s visit.Template:Sfn When Inanna is brought into her presence, Ereshkigal strikes her down and hangs her corpse from a nail.Template:Sfn Ninshubur, in mourning, goes to see Enlil and Nanna, but both of them refuse to help her. She then goes to see Enki, who expresses concern for Inanna and agrees to help.Template:Sfn Template:Sfn He fashions two androgynous beings, the galaturra and the kurgarra,Template:Sfn from the dirt beneath his fingernails, and gives them the water and bread of life. He then tells them to go see Ereshkigal, who is in labour, and to express sympathy.Template:Sfn Template:Sfn When, appeased, she offers them gifts, Enki instructs them to refuse all of them, and instead to ask only for the corpse on the nail.Template:Sfn Finally they are to sprinkle the food of life and the water of life upon it to revive Inanna.Template:Sfn The plan succeeds, and Inanna is able to leave the Underworld, though she then has to find a substitute to take her place there.Template:Sfn She picks her husband Dumuzi, who, unlike her attendants, was not mourning her properly.Template:Sfn

In the Akkadian version, it is Papsukkal that comes to see the gods with the news that since Ishtar has been trapped in the Underworld, all sexual activity has ceased on earth.Template:Sfn Ea creates Asushunamir, an androgynous figure, and instructs them to appease Ereshkigal, and then to have her swear an oath of the great gods to give them the water of life.Template:Sfn Ishtar is revived, but Ereshkigal is furious and she curses Asushunamir to a grim life on earth.Template:Sfn

The Agushaya hymn

Ea plays a major role in this Old Babylonian literary work. Known from two tablets of unknown provenance, it is one of the most difficult literary texts of the period.Template:Sfn Here the god appears in his usual role in Mesopotamian literature as an ingenious deity who devises plans to resolve difficult situations.Template:Sfn

The poem begins with a hymn praising Ishtar in her aspect as the goddess of war.Template:Sfn Her excessively aggressive behaviour irritates Ea, who resolves to put an end to it. He proposes to the gods to create her an opponent, Ṣaltu (‘’discord’’).Template:Sfn As he is the only one with the skill to accomplish the task he has proposed, the gods delegate its execution to him. Ea then creates Ṣaltu from the dirt beneath his fingernails.Template:Sfn She is described as a powerful fighter of monstrous proportions.Template:Sfn Ea then tells Ṣaltu that she has been created to disrespectfully challenge Ishtar, whom he calls Irnina ( the name of one of her aspects) and he instructs her on how she is to act.Template:Sfn He proceeds to describe Ishtar so that Ṣaltu might recognize her.Template:Sfn In a fragmentary section, Ea taunts Ṣaltu by praising Ishtar.Template:Sfn

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As a result, Ṣaltu flows into a rage and goes to look for the goddess. Ishtar hears of this new opponent and dispatches her sukkal Ninshubur to acquire more information on her.Template:Sfn The confrontation between Ishtar and Ṣaltu is lost.Template:Sfn In the last section, the goddess, now referred to with the name Agushaya, complains to Ea about Ṣaltu and demands that he sends her away. Ea responds positively, and declares that one day of the year people will perform a whirling dance in the street in her honor.Template:Sfn The end of the poem indicates that Ishtar has abandoned her overly violent ways.Template:Sfn

Inanna and Shukaletuda

After the prologue of this Sumerian myth, a short story relates how Enki gives to a raven certain tasks, including growing the first palm tree.Template:Sfn After Inanna is raped in her sleep by the gardener Shukaletuda, she ravages the land with plagues in search of him, but with the advice of his father, he hides among the masses and is able to initially escape her wrath.<ref name=":0">Template:Cite web</ref> Inanna travels to Enki’s temple in Eridu, and asks for his assistance, threatening to not come back to her sanctuary until she is able to bring her attacker to justice.Template:Sfn Enki agrees, and the goddess is able to find Shukaletuda by ‘’stretching herself across the whole sky like a rainbow’’.<ref name=":0" /> She then condemns him to death.Template:Sfn Bottéro presumes that the father of Shukaletuda is Enki in his interpretation of the myth.Template:Sfn

Miscellaneous myths

Enki’s journey to Nippur

This myth is one of the shortest and best preserved in the Sumerian language. The first part of the composition is devoted to the praising of Enki’s temple in Eridu, while the second one is concerned with Enki’s journey to Nippur.Template:Sfn

The composition begins with a poetic description of Enki’s temple, built from silver and lapis lazuli and decorated with gold.Template:Sfn Enki’s sukkal Isimud is introduced, and he praises the temple, describing its architectureTemplate:Sfn and enumerating the different kind of musical instruments that play within.Template:Sfn The temple itself is portrayed as a mountain floating upon the waters, surrounded by a garden where fruits grow and birds nest.Template:Sfn The god then embarks on the journey to Nippur on his boat.Template:Sfn

In preparation of the banquet that he is to hold in Nippur, Enki kills oxen and sheep, and brings musical instruments with him.Template:Sfn When he arrives in Nippur, he enters the giguna (a sacred part of a temple) and begins to prepare the beer for the banquet.Template:Sfn When the preparations are finished, Enki invites the gods to the banquet. An and Enlil are seated in the high place, and Nintu is seated at a place of honor.Template:Sfn The gods drink and feast. At the end of the composition, Enlil, pleased by the banquet, gives a blessing praising Enki’s temple.Template:Sfn

Enmerkar and the Lord of Aratta

In a passage of the sumerian myth Enmerkar and the Lord of Aratta, with relates the rivalry between Uruk and Aratta and the contests between Uruk’s king Enmerkar and the king of Aratta,Template:Sfn Enmerkar instructs his messenger to Aratta to recite ‘’the spell of Nudimmud’’ (line 135). This is followed by a section that most scholars have interpreted as the evocation of this spell (lines 136-155).Template:Sfn

Template:Poem quoteThe translation and interpretation of this passage is the subject of much discussion and debate.Template:Sfn Template:Sfn Some scholars argue that lines 136-155 are not the evocation of the spell of Nudimmud, and that they are therefore not part of Enmerkar’s speech.Template:Sfn

One subject of debate in this passage of the myth concerns the actions of Enki. One interpretation, followed by the majority of scholars, is that the passage contains an aetiological story explaining why mankind speaks different languages.Template:Sfn Template:Sfn Template:Sfn According to this interpretation, the past is envisioned as a ‘’Golden Age’’ where mankind spoke the same language, before Enki changed the speech in their mouths and caused the emergence of a multilingual world.Template:Sfn The reason for his actions in this context is also debated.Template:Sfn

Another interpretation is that the passage refers to an unification of languages.Template:Sfn Alster Bendt and H.L.J. Vanstiphout argue that the incantation calls upon Enki to restore the unity of languages in the future, and specifically to have mankind speak in Sumerian.Template:Sfn An unification of the languages, but taking place in the past, has also been proposed by Christoph Uehlinger.Template:Sfn Template:Sfn

Myth of Anzû

In the standard Akkadian version of this myth, Ea devises a plan to defeat the Anzû bird ,who stole the tablets of destinies from Enlil , after the gods Adad, Girra, and Shara refuse to fight him.Template:Sfn Under his advice, the gods summon Ninurta’s mother Mami, cover her with honors, name her ''Mistress of all the gods'', Belet-ili, and name her son Ninurta champion of the gods. Belet-ili orders him to go fight the Anzû bird and retrieve the tablets.Template:Sfn Ninurta confronts the Anzû bird, however, he is able to use the powers of the tablets to deflect the arrows that Ninurta shoots at him.Template:Sfn Ninurta sends Sharur back to Ea to ask for help.Template:Sfn Ea instructs him to cut off the feathers of his wings and throw them around, telling him that the Anzû will call the detached feathers back to his wings with a cry, and at this moment, Ninurta’s arrows will be able to reach him.Template:Sfn Ninurta accomplishes the instructions and is able to kill Anzû.Template:Sfn

Ninurta and the turtle

Enki plays one of the main roles in this Sumerian text, which is the only preserved episode of a larger literary compositionTemplate:Sfn connected to the later Akkadian Anzû myth. It differs from this narrative in certain aspects, notably in the fact that here the Anzû bird has stolen the tablet of destinies from Enki instead of Enlil.Template:Sfn In this composition, Enki outmaneuvers Ninurta, who, unsatisfied with the reward he received for defeating the Anzû, was plotting against him.Template:Sfn

The beginning of the text preserves a short speech of the Anzû, who tells the victorious Ninurta that when Ninurta attacked him at the orders of an unnamed god, likely Enki,Template:Sfn the tablets of destinies fell from his grasp and were returned to the Abzû.Template:Sfn Ninurta regrets that he couldn't take possession of the tablets and their powers for himself.Template:Sfn From his abode, Enki learns of Ninurta’s thoughts.Template:Sfn The Anzû bird brings Ninurta to the Abzû. Enki first flatters him, lauding him as the victor over the mythical bird, and offers him fame as a reward.Template:Sfn Unhappy with his promises, Ninurta begins to secretly plot against Enki, who becomes aware of his plans. After Ninurta raises his hand against Enki’s sukkal Isimud in an altercation, Enki fashions a turtle from the clay of the Abzû and stations it next to the gates of the Abzu.Template:Sfn He lures Ninurta to this location, and pretends to be ignorant of the situation when he is attacked by the turtle.Template:Sfn Template:Sfn The turtle digs a pit and pushes Ninurta into it. He is unable to ascend from the pit and Enki taunts him. The mother of Ninurta, who appears here under the name Ninmena, comes to ask for her son’s release.Template:Sfn Ninmena is identified by Kramer as a name of Ninhursag in this context.Template:Sfn Joan Goodnick Westenholz remarks that while in literary texts the name Ninmena was used to refer to her, they were otherwise regarded as distinct goddesses.Template:Sfn Here Ninmena refers to Enki as ‘’my Uruku’’, an unknown epithet of his, the translation of which is uncertain according to Bottéro.Template:Sfn Kramer translates this epithet as ‘’my plant-eater’’ and connects it to the myth Enki and Ninhursag.Template:Sfn

Nergal and Ereshkigal

In this Akkadian myth, which relates how Nergal became Ereshkigal’s husband and the King of the Underworld, Ea helps the god elude the dangers of the Underworld.Template:Sfn The myth is known from two slightly different versions, a shorter one attested from a Middle Babylonian Manuscript, and a much longer one known from a seventh century source and one from Neo Babylonian Uruk.Template:Sfn

After Nergal fails to pay his respects to the vizier of the queen of the Underworld, Ereshkigal, at a banquet where he represented her, she demands that Nergal be brought before her. In the later version, Ea gives him instructions so he can elude the dangers of the Underworld; he tells him to fashion a chair from different species of wood,Template:Sfn and then warns Nergal not to sit, eat, drink or bathe while he is there.Template:Sfn Stephanie Dalley proposes that the chair that Nergal takes with him to the Underworld in this version may have had the same purpose as a type of chair called a ‘’ghosts chair’’, whose purpose, as described in a ritual text, was to prevent seizure by ghosts.Template:Sfn While Nergal follows most of Ea’s advice, he fails to follow the last one and has sex with Ereshkigal.Template:Sfn On the seventh day, while Ereshkigal is asleep, Nergal leaves the Underworld.Template:Sfn When Ereshkigal realizes that Nergal has left, she is distraught, and sends her vizier Namtar to ask the gods to send him back, threatening to raise the dead to eat the living if they do not comply.Template:Sfn Ea has disguised Nergal,Template:Sfn so Namtar does not recognize him, and he goes back to his mistress empty handed. Ereshkigal sees through Ea’s scheme, however, and she tells Namtar to seize the disguised god.Template:Sfn This time, for an uncertain reason, Namtar fails to identify him.Template:Sfn At this point the text breaks. When it resumes, Nergal receives advice from a god, perhaps Ea.Template:Sfn He returns to the underworld and reunites with Ereshkigal.Template:Sfn

In the Middle Babylonian version, Ereshkigal plans to kill Nergal at his arrival,Template:Sfn and Ea gives him seven plagues which he stations by each of the gates of the Underworld. While they hold the gates open, he rushes to the palace and is about to kill Ereshkigal when, to save her life, she offers him her hand in marriage and the rulership of the Underworld, which he accepts.Template:Sfn

Adapa and the South Wind

This myth is known from fragmentary tablets from Tell al-Amarna dating to the fifteenth or fourteenth century BCE, and from Assur dating to the late second millennium BCE.Template:Sfn

The myth begins by introducing Adapa, a priest of Ea. He is described as a sage who expertly accomplishes the rites of Eridu and to whom Ea gave wisdom, but not immortal life.Template:Sfn One day he embarks on his boat into the sea. The South Wind blows strongly and sinks his boat, and frustrated, Adapa curses it and breaks its wing.Template:Sfn On the seventh day, Anu demands to his sukkal Ilabrat where the South Wind has gone, and Ilabrat answers that Adapa broke its wing.Template:Sfn Angered, Anu demands that Adapa be brought before him. Ea, made aware of Anu’s plans, instructs Adapa to go see the gods Dumuzi and Gizzida who stand before the Gate of Anu while wearing mourning garnments, and to tell them that he is mourning them and their seasonal absence from the earth.Template:Sfn This will put them in a good mood, they will accompany him to Anu and put a good word for him.Template:Sfn Further, Ea tells Adapa that he must not eat or drink anything that Anu gives him, because it will kill him.Template:Sfn Adapa accomplishes the instructions, and ingratiates himself to Dumuzi and Gizzida, who bring him before Anu.Template:Sfn Anu demands to know why he broke the South Wind’s wing. Adapa answers that he was catching fish for the temple of Ea but that the South Wing created a storm and sank his boat. Dumuzi and Gizzida speak in his favour.Template:Sfn Appeased, Anu decides to give him the water and bread of eternal life.Template:Sfn However, following the instructions of Ea, Adapa doesn't drink or eat anything, and loses his chance to obtain immortality.Template:Sfn Following this, there is a gap of unknown length to the end of the story.Template:Sfn An alternate version of the ending of the story preserved on another fragment has Anu give Adapa eternal fame instead of eternal life.Template:Sfn

The meaning of the myth is debated among scholars, and many different interpretations have been proposed.Template:Sfn Template:Sfn In Mesopotamia, the tale was later incorporated into incantations invoking Adapa’s powers for curative purposesTemplate:Sfn against illnesses caused by the South Wind.Template:Sfn

Gilgamesh, Enkidu and the Netherworld

The second section of the prologue of this sumerian poem describes Enki’s journey into the Underworld by boat, in an unnamed body of water, when he is suddenly attacked.Template:Sfn The reason for Enki’s journey is unknown, and it’s outcome is not told by the poet, either because it was so well known that it didn't need to be told, or because it was unimportant to the narrative of this poem.Template:Sfn At the end of the composition, when Enkidu is trapped in the Underworld after not following the instructions for the proper behaviour there, Gilgamesh appeals to the gods to bring him back. Enlil refuses to help him, but Enki accepts, and asks Utu to open a passage so Enkidu is able to leave the Underworld.Template:Sfn

The Death of Gilgamesh

In this sumerian poem, Enki sends a vision to the protagonist, who lies sick on his deathbed. In the vision, he sees the assembly of the gods.Template:Sfn They debate over his fate, as while he is a mortal, he is also the son of the goddess Ninsun. Enki says that the only man to receive immortality, Ziusudra, the flood survivor, received it in exceptional circumstances, and that Gilgamesh should therefore remain a mortal. The gods decree that while he is to die, he should have a preeminent position in the Underworld, similar to that of Ningishzida and Dumuzi, and that a wrestling festival should be set up in his honor.Template:Sfn In another passage of the poem, with the advice of Enki, Gilgamesh organizes the building of his tomb with the help of the people of Uruk. The tomb is built in stone in the river bed of the Euphrates, which was diverted for the construction.Template:Sfn

In version B of the sumerian poem Gilgamesh and Huwawa, Enki provides Gilgamesh with advice on how to defeat Huwawa, apparently speaking it through Enkidu.Template:Sfn

In an atypical variant of the Epic of Gilgamesh preserved from the fragment of a tablet dated to the beginning of the Middle Babylonian Period and perhaps originating in the realm of the First Sealand Dynasty,Template:Sfn the name of Enkidu is replaced by ^d40, elsewhere used to represent Ea, and the name of Gilgamesh is replaced by ^d30, elsewhere used to represent Sîn. Uruk is replaced by Ur in this variant. The reason for these substitutions is unclear.Template:Sfn The preserved parts of the story are the passages relating Enkidu’s initiation into human culture and the interpretation of Gilgamesh’s dreams by his mother.Template:Sfn

Others

Enki plays a supporting role in the sumerian literary composition on the Gudea Cylinders,Template:Sfn which relates the building of the temple of Ningirsu by Gudea of Lagash.Template:Sfn As a wisdom and craftsmanship god, he plays an active role in the construction process, and alongside deities of his circle, he makes the final preparations for the temple before the arrival of Ningirsu.Template:Sfn He blesses the E-ninnu at the inauguration banquet.Template:Sfn

Ea appears in a portion of a myth focused on Zarpānītum preserved from a small fragment of a tablet of uncertain date. He tells his son Marduk that she is suited to be his bride and that they should rule the sea together.Template:Sfn

Ea is mentioned under the hellenized form of his name, Aos, in an extract from a text composed by Eudemus of Rhodes and preserved in the writings of Damascius. According to Eudemus, in Babylonian cosmology Aos was regarded as the brother of Anos (Anu) and Ilinos (Enlil), as well as the father of Bēlos (Marduk) with Daukē (Damkina). His parents are here Kissarē (Kishar) and Assōros (Anshar).Template:Sfn The account given by Eudemus offers parallels to that of the Enūma Eliš, though they are not identical; Aos is notably the brother of Anos as opposed to his son. The source that Eudemus used was likely related to the Babylonian Epic.Template:Sfn

A Babylonian text preserved from fragments dating either to the Seleucid or the Parthian period possibly attests of a succession myth between an older and a younger generation of gods involving Ea.Template:Sfn Here he is the son of Anu and the brother of Ninamakalla.Template:Sfn He and his sister are seemingly responsible for the murder of Anshar, a god of the older generation.Template:Sfn

Hurrian myths

Ea plays a supporting role in the Kumarbi cycle.Template:Sfn The cycle includes several compositions in both Hittite and Hurrian. Alfonso Archi argues that these compositions were transmitted from the Hurrians to the Hittites around the fourteenth century BCE, at a time where Hittite culture was significantly influenced by that of its neighbours.Template:Sfn Its story centers on the conflict between the god Kumarbi and his son Teshub for kingship over the gods.Template:Sfn Ea’s characterization is the same as in Babylonian myths;Template:Sfn he appears as a resourceful god who finds solutions to difficult situations.Template:Sfn His behavior changes in the different compositions; he appears as an ally of Kumarbi in the Song of LAMMA, criticizes both sides for the destruction they cause in the Song of Hedammu, and finally helps Teshub in the Song of Ullikummi.Template:Sfn

In the Song of Emergence, Ea helps facilitate the birth of several deities, including that of the future king of the gods, Teshub. The composition begins by relating the succession of three kings of the gods, Alalu, Anu, and Kumarbi, each overthrown by the previous one.Template:Sfn After Kumarbi becomes pregnant with several deities, including Teshub, as a result of biting off Anu's genitals during their fight,Template:Sfn he seeks the help of Ea in Nippur.Template:Sfn A conversation takes place between Ea, Kumarbi, Anu and Teshub to determine how he should exit Kumarbi’s body.Template:Sfn Teshub is finally born from Kumarbi’s head while the god of the river Tigris is born from another place.Template:Sfn Kumarbi then tells Ea to give him Teshub so he can devour him.Template:Sfn In a broken section of the narrative, a rock is substituted for Teshub, and he escapes death.Template:Sfn In a later section of the text, a discussion takes place between the gods to determine who will become their king. Teshub is frustrated by the turn of the conversation and he curses several gods, including Ea. His bull Šeri cautions him against cursing the gods, singling out Ea in particular.Template:Sfn Template:Sfn The fact that Šeri singles out Ea among the gods which Teshub should not curse may indicate that either he was at the time not aligned with Kumarbi and could still be won over, or that Sheri judges him to be an especially dangerous opponent.Template:Sfn Another god later tells Ea about Teshub’s curses, and Ea answers by an expression which perhaps means that any god cursing him does so at their own risk.Template:Sfn After a large gap, another fragmentary section of the composition deals with the labours of a pregnant Earth, and Ea rewards the messenger who brings him the news of the successful birth of her children.Template:Sfn

In the Song of LAMMA, Ea plays the role of a kingmaker. At the beginning, he and Kumarbi raise the eponymous deity to the kingship of the gods.Template:Sfn The goddess Kubaba proposes that LAMMA meets the Primeval Gods, but he refuses.Template:Sfn Ea and Kumarbi become dissatisfied with their choice of LAMMA as king.Template:Sfn Ea enters in communication with the Primeval Gods Nara-Napsara down in the Underworld, and tells them of a scheme to overthrow him.Template:Sfn In the end, LAMMA is defeated by Teshub, but due to the badly preserved nature of this portion of the narrative, it is uncertain how exactly the Storm-god succeeded.Template:Sfn

In the Song of Hedammu, Ea becomes troubled by the destruction caused to mortals by the conflict between Kumarbi and Teshub.Template:Sfn He reprimands both sides, pointing out the necessity of human worship of the gods and their offerings.Template:Sfn Kumarbi is furious that Ea has admonished him in the assembly of the gods.Template:Sfn Hoffner suggests that this moment may be the turning point in the narrative where Ea and Kumarbi’s alliance breaks off, as in the Song of Ullikummi, Ea instead helps Teshub defeat Kumarbi’s champion Ullikummi.Template:Sfn

In the Song of Ullikummi, following his previous attempts to raise a ruler in order to supplant Teshub, Kumarbi engenders Ullikummi with a giant rock.Template:Sfn Teshub and his allies confront Ullikummi, but they are defeated. Tašmišu advises Teshub to travel to the Abzû and ask Ea for help.Template:Sfn Ea uncovers the source of Ullikummi’s strength; he grows on the right shoulder of the giant Ubelluri, ‘’on whom the heaven and earth are built’’. He was placed there as an infant by the Irsirra deities to hide him from Teshub and his allies.Template:Sfn Ubelluri was unaware of the identity of the god on his shoulder, and he did not notice his presence at first, until he began to feel pain. In order to cut off Ullikummi from Ubelluri, Ea and the Primeval Gods use the primeval copper cutting tool which was used to cut apart heaven and earth.Template:Sfn After a break in the text, Ea expresses sadness for the many lives lost during the conflict.Template:Sfn Teshub is then apparently able to defeat Ullikummi, though the end of the text is partially broken.Template:Sfn

In the poem Ea and the Beast, Ea is engaged in a dialogue with an animal of unknown nature, the suppalanza.Template:Sfn

The beast makes a prophetic speech announcing the birth and rise of a new god who will become the ruler of the gods, while Ea asks him questions in return.Template:Sfn Ea is here depicted as seemingly ignorant of the situation, a portrayal which differs from his usual role as a knowledgeable counselor to the gods.Template:Sfn

Archi argues that the poem is a part of the Kumarbi cycle due to similarities between their narratives, including the impregnation of someone with several deities and the manner of their conception and birth.Template:Sfn He proposes that the new god prophesied by the beast is Teshub.Template:Sfn Ian Rutherford remarks that the beast’s question to Ea ‘’don’t you know?’’, parallels Ea’s question to Ubelluri in the song of Ullikummi ‘’don’t you know, Ubelluri?’’ and proposes that Ea’s behaviour here is explained by the poet‘s intention to create a parallel with the song of Ullikummi. He suggests that this might be an argument in favour of classifying the poem as part of the Kumarbi cycle, as it would explain Ea’s apparent character development in the different songs, from an ally of Kumarbi to an ally of Teshub.Template:Sfn

Influence

Enki and later Ea were apparently depicted, sometimes, as a man covered with the skin of a fish, and this representation, as likewise the name of his temple E-apsu, "house of the watery deep", points decidedly to his original character as a god of the waters (see Oannes). Around the excavation of the 18 shrines found on the spot, thousands of carp bones were found, consumed possibly in feasts to the god. Of his cult at Eridu, which goes back to the oldest period of Mesopotamian history, nothing definite is known except that his temple was also associated with Ninhursag's temple which was called Esaggila, "the lofty head house" (E, house, sag, head, ila, high; or Akkadian goddess = Ila), a name shared with Marduk's temple in Babylon, pointing to a staged tower or ziggurat (as with the temple of Enlil at Nippur, which was known as E-kur (kur, hill)), and that incantations, involving ceremonial rites in which water as a sacred element played a prominent part, formed a feature of his worship. This seems also implicated in the epic of the hieros gamos or sacred marriage of Enki and Ninhursag (above), which seems an etiological myth of the fertilisation of the dry ground by the coming of irrigation water (from Sumerian a, ab, water or semen). The early inscriptions of Urukagina in fact go so far as to suggest that the divine pair, Enki and Ninki, were the progenitors of seven pairs of gods, including Enki as god of Eridu, Enlil of Nippur, and Su'en (or Sin) of Ur, and were themselves the children of An (sky, heaven) and Ki (earth).Template:Sfn Template:Page needed The pool of the Abzu at the front of his temple was adopted also at the temple to Nanna (Akkadian Sin) the Moon, at Ur, and spread from there throughout the Middle East. It is believed to remain today as the sacred pool at Mosques, or as the holy water font in Catholic or Eastern Orthodox churches.Template:Sfn Template:Page needed

Whether Eridu at one time also played an important political role in Sumerian affairs is not certain, though not improbable. At all events the prominence of "Ea" led, as in the case of Nippur, to the survival of Eridu as a sacred city, long after it had ceased to have any significance as a political center. Myths in which Ea figures prominently have been found in Assurbanipal's library, and in the Hattusas archive in Hittite Anatolia. As Ea, Enki had a wide influence outside of Sumer, being equated with El (at Ugarit) and possibly Yah (at Ebla) in the Canaanite 'ilhm pantheon. He is also found in Hurrian and Hittite mythology as a god of contracts, and is particularly favourable to humankind. It has been suggested that etymologically the name Ea comes from the term *hyy (life), referring to Enki's waters as life-giving.<ref name=Opening>Template:Cite book</ref> Enki/Ea is essentially a god of civilization, wisdom, and culture. He was also the creator and protector of man, and of the world in general. Traces of this version of Ea appear in the Marduk epic celebrating the achievements of this god and the close connection between the Ea cult at Eridu and that of Marduk. The correlation between the two rises from two other important connections: (1) that the name of Marduk's sanctuary at Babylon bears the same name, Esaggila, as that of a temple in Eridu, and (2) that Marduk is generally termed the son of Ea, who derives his powers from the voluntary abdication of the father in favour of his son. Accordingly, the incantations originally composed for the Ea cult were re-edited by the priests of Babylon and adapted to the worship of Marduk, and, similarly, the hymns to Marduk betray traces of the transfer to Marduk of attributes which originally belonged to Ea.

It is, however, as the third figure in the triad (the two other members of which were Anu and Enlil) that Ea acquires his permanent place in the pantheon. To him was assigned the control of the watery element, and in this capacity he becomes the shar apsi; i.e. king of the Apsu or "the abyss". The Apsu was figured as the abyss of water beneath the earth, and since the gathering place of the dead, known as Aralu, was situated near the confines of the Apsu, he was also designated as En -Ki; i.e. "lord of that which is below", in contrast to Anu, who was the lord of the "above" or the heavens. The cult of Ea extended throughout Babylonia and Assyria. We find temples and shrines erected in his honour, e.g. at Nippur, Girsu, Ur, Babylon, Sippar, and Nineveh, and the numerous epithets given to him, as well as the various forms under which the god appears, alike bear witness to the popularity which he enjoyed from the earliest to the latest period of Babylonian-Assyrian history. The consort of Ea, known as Ninhursag, Ki, Uriash Damkina, "lady of that which is below", or Damgalnunna, "big lady of the waters", originally was fully equal with Ea, but in more patriarchal Assyrian and Neo-Babylonian times plays a part merely in association with her lord. Generally, however, Enki seems to be a reflection of pre-patriarchal times, in which relations between the sexes were characterised by a situation of greater gender equality. In his character, he prefers persuasion to conflict, which he seeks to avoid if possible.

Ea and West Semitic deities

In 1964, a team of Italian archaeologists under the direction of Paolo Matthiae of the University of Rome La Sapienza performed a series of excavations of material from the third-millennium BCE city of Ebla. Much of the written material found in these digs was later translated by Giovanni Pettinato. Among other conclusions, he found a tendency among the inhabitants of Ebla, after the reign of Sargon of Akkad, to replace the name of El, king of the gods of the Canaanite pantheon (found in names such as Mikael and Ishmael), with Ia (Mikaia, Ishmaia).<ref>Freeman, Tzvi. "Is there evidence of Abraham's revolution? – The Big Picture". Chabad.org. Retrieved 2011-06-06.</ref>

Jean Bottéro (1952)<ref>Bottero, Jean. "Religion in Ancient Mesopotamia" (University of Chicago Press, 2004) Template:ISBN</ref> and others<ref>Boboula, Ida. "The Great Stag: A Sumerian Deity and Its Affiliations", Fifty-Third General Meeting of the Archaeological Institute of America (1951) in American Journal of Archaeology, Vol. 56, No. 3 (Jul. 1952) 171–178, Template:JSTOR</ref> suggested that Ia in this case is a West Semitic (Canaanite) way of pronouncing the Akkadian name Ea. Scholars largely reject the theory identifying this Ia with the Israelite theonym YHWH,<ref>Template:Cite book</ref> while explaining how it might have been misinterpreted.<ref>"Yahweh" in K. van der Toorn, Bob Becking, Pieter Willem van der Horst, Dictionary of Deities and Demons in the Bible (1999), Template:ISBN, p. 911: "his cult at Ebla is a chimera."</ref> Ia has also been compared by William Hallo with the Ugaritic god Yamm ("Sea"), (also called Judge Nahar, or Judge River) whose earlier name in at least one ancient source was Yaw or Ya'aTemplate:Failed verification.Template:Clarify<ref>Template:Cite journal</ref>

Ea was also known as Dagon and Uanna (Grecised Oannes), the first of the Seven Sages.<ref name="Duke 1971 320–327"/>

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