10 ka-an-nu aš-la-a ta-mu-u[r] ša [MÁ]
You saw kannu ropes and ašlu ropes/rushes for [a coracle before!]
kannu, ‘rope’; ašlu, either ‘rope’ or ‘rush’; amāru, ‘to see’; ša, ‘of’; MÁ (ideogram) = eleppu, ‘boat’, ‘coracle’
11 li-ip-ti-il-kum GIŠ ár-ti pí-[t]i-il-tam
Let someone (else) twist the fronds and palm-fibre for you!
patālu, ‘to plait’; GIŠ arti, ‘foliage, fronds’; pitiltu, ‘palm-fibre’
12 ŠÁR × 4 + 30 ta-qab-bi-am li-[ku]-ul It will surely consume 14,430 (sūtu)!
ŠÁR (ideogram) = 3,600; 3 × 10 = 30; qabû, ‘to speak’; akālu, ‘to consume, use up’
Lines 13–17: Atra-hasīs Builds the Boat
13 30 ṣe-ri i-na ŠÀ-ša a[d]-di
I set in place in thirty ribs
ṣe-ri: for ṣēlu, ‘rib’; ina, ‘in’; ŠÀ (ideogram) = libbu, ‘heart, inside’, nadû, ‘(here) to set up, as of a reed hut’
14 ša 1 PI ik-bi-ru 10 NINDAN mu-r[a]-ak-šu
which were one parsiktu-vessel thick, ten nindan long;
ša, ‘which’; PI (ideogram) = parsiktu, ‘a measure’; kabāru, ‘to be thick’; NINDAN (ideogram) = nindanu, ‘a nindan’; mūraku, ‘length’
15 ŠÁR im-di i-na ŠÀ-ša ú-ki-in
I set up 3,600 stanchions within her
ŠÁR (ideogram) = ‘3,600’; imdu, ‘stanchion’; ina, ‘in’; ŠÀ (ideogram) = libbu, ‘heart’; kunnu, ‘to make firm’
16 ša ½ (PI) ik-bi-ru-ma ½ NINDAN mu-ra-ak-šu
that were half (a parsiktu-vessel) thick, half a nindan long (i.e. high);
ša, ‘which’; understanding PI (ideogram) = parsiktu, ‘a measure’; kabāru, ‘to be thick’; NINDAN (ideogram) = nindanu, ‘a nindan’; mūraku, ‘length’
17 ar-ku-ús ḫi-in-ni-šá e-le-nu-um ù ša-ap-lu!-um
I constructed her cabins above and below;
rakāsu, ‘to tie, construct’; ḫinnu, ‘cabin’; elēnum, ‘above’; u, ‘and’; šaplum, ‘below’
Lines 18–33: The Waterproofing
18 1 ŠU.ŠI ESIR ki-da-ti-ša ap!-[r]u-ús
I apportioned one finger of bitumen for her outsides
ŠU.ŠI (ideogram) for ubānu, ‘finger’; ESIR (ideogram) = iṭṭû, ‘bitumen’; kidītu, ‘outer surface’; parāsu, ‘to apportion’
19 1 ŠU.ŠI ESIR qí-ri-ib-ša ap-[r]u-ús
I apportioned one finger of bitumen for her interior;
ŠU.ŠI (ideogram) for ubānu, ‘finger’; ESIR (ideogram) = iṭṭû, ‘bitumen’; qerbu, ‘interior’; parāsu, ‘to apportion’
20 1 ŠU.ŠI ESIR a-na ḫi-in-ni-ša aš-[t]a-pa-ak
I had (already) poured out one finger of bitumen onto her cabins;
ŠU.ŠI (ideogram) for ubānu, ‘finger’; ESIR (ideogram) = iṭṭû, ‘pitch’; ana, ‘for, onto’; ḫinnu, ‘cabin’; šapāku, ‘to pour’
21 uš-ta-ar-ki-ib ŠÁR × 8 ESIR.UD.DU.A [i-n]a ki-ra-ti-ia
I caused the kilns to be loaded with 28,800 (sūtu) of kupru-bitu[men] into my kilns
šutarkubu, ‘to cause to be loaded’; ŠÁR (ideogram) = ‘3,600’; ESIR.UD.DU.A (ideogram) = kupru-bitumen’; ina, ‘in’; kīru, pl. kīrātu, ‘kiln’
22 ù ŠÁR ESIR a-na li-ib-bi aš-pu-uk
and I poured 3,600 (sūtu) of iṭṭû-bitumen within.
u, ‘and’; ŠÁR (ideogram) = ‘3,600’; ESIR (ideogram) = iṭṭû, ‘crude bitumen’; ana, ‘to’; libbu, ‘heart’; šapāku, ‘to pour’
23 ESIR ú-ul iq-r[i]-ba-am-ma
The bitumen did not come to the surface (lit. up to me);
ESIR (ideogram) = iṭṭû, ‘pitch’; ul, ‘not’; qerēbu, ‘to approach’
24 5 ŠU.ŠI na-ḫa-[a]m ú-re-[e]d-di
(So) I added five fingers of lard,
ŠU.ŠI (ideogram) for ubānu, ‘finger’; nāḫum, ‘lard’; redû, ‘to add’
25 uš-ta-ar-[k]i-ib ki-ra-ti × (x) mi-it-ḫa-ri-iš
I ordered the kilns to be loaded in equal measure;
šutarkubu, ‘to cause to be loaded’; kīru, pl. kīrātu, ‘kiln’; mitḫāriš, ‘equally’
26 GI[Š].ŠINIG GIŠ? × i
With tamarisk wood (?) and stalks (?)
GIŠ.ŠINIG (ideogram) = bīnu, tamarisk’; GIŠ × i perhaps ‘stalk’
27 × x × e? na? as tum i? bi? ma? ba-ar-tam
… […] (= I completed the mixture(?))
28 × x × (x) MEŠ × in? bi?
MEŠ (ideogram) for plural
29 il-la-ku bi-rit ṣe-e-ri-ša
Going between her ribs;
alāku, ‘to go’; birīt, ‘between’; ṣe-e-ri for ṣēlī, ‘ribs’
30 × nam? × x ×.…
(indecipherable)
31 × x-ia i × x × ESIR × x
.… … the iṭṭû-bitumen …
32 ESIR UD.DU ki-du-ú [ša k]i-ra-ti × x x
I applied (?) the outside kupru-bitumen from the kilns,
ESIR.UD.DU (ideogram) = kupru-bitumen; ‘outside’; kīru, ‘kiln’
33 e-zu-ub 2 (x 60) G[UR] ú-pa-az-zi-rù um-mi-[ia-ni]
Out of the 120 gur-measures which the workmen had put to one side.
Compare line 58; ezub, ‘out of’; puzzuru, ‘to put aside’; ummi’ānu, ‘workman’
Lines 34–8: Boarding and Celebrations
34 uš-ta-na-al × x [x × (x)] x ri-a-ši
I lay myself down (?) … […] … of rejoicing
nãlu, ‘to lie down’; riʾāšu, ‘to rejoice’
35 a-na MÁ i-[ru-bu-ma] × x k[i-i]m-
My kith and kin [went into] the boat … ;
ana, ‘to’; MÁ (ideogram) = eleppu, ‘boat’; erēbu, ‘to enter’; kimtu, ‘family’, ‘kith’; sallatu, ‘family’, ‘kin’
36 ḫa-du-ú × [x × x] ki? × x × e-mu-tim
Joyful … [… …] … … of my in-laws,
ḫadû, ‘to rejoice; emūtu, ‘family of the husband’
37 ù za-bi-il × [x × x x] × x ù su? e? ri a? tum
and the porter with … [ … …] … and …
u, ‘and’; zābilu, ‘porter’;
38 a-ki-lum i-ik-k[a-a]l [ša-tu-ú] i-ša-at-ti
They ate and drank their fill
ākilu, ‘eater’; akālu, ‘to eat’; šātû, ‘drinker’; šatû, ‘to drink’
Lines 39–50: Atra-hasīs Prays to the Moon God
39 a-na-ku a-wa-t[um i-na Š]À-i[a ul] i-ba-aš-ši-ma
As for me, there was no word in my heart, and
anāku, ‘I’; awatu, ‘word’; ina, ‘in’; ŠÀ (ideogram) = libbu, ‘heart’; ul, ‘not’; bašû, ‘to be’
40 × na ti × [x × x l]i-ib-bi
… […] my heart;
libbu, ‘heart’
41 × ab × x [x × x]-ú-a
… […] … my […]
42 bi-ni-it(?) × x […] … -i?-ti-ia?
… […] of my …
43 … áš-na/gi-an? … […]-e? ša-ap-ti-ia
… […] … of my lips
šaptu, ‘lip’
44 … ne ra? bi … […]-it pi-qum aṣ-la-al
… […] …, I slept with difficulty;
pīqum, ‘with difficulty’ (colloquial for ‘hardly at all’?); ṣalālu, ‘to sleep’
45 e-li a-na ú-ri ú-[sa-ap-pi (?)]a-na dEN.ZU be-li
I went up on the roof and pr[ayed(?)] to Sin, my lord:
elû, ‘to go up’; ana, ‘to’; ūru, ‘roof’; suppû, ‘to pray’; dEN.ZU,; the signs EN.ZU in archaic reverse order spell ZU.EN for ‘zu’en’, the name of the Moon God Sin; bēlu, ‘lord’
46 GAZ? lìb?-bi? li-ib-l[i la ta-ta-a]b-ba-al
Let my heartbreak (?) be extinguished! [Do you not disap]pear!
GAZ (ideogram) = ḫīpu, ‘break’; libbu, ‘heart’; balû, ‘to be extinguished’; tabālu, ‘to carry off’
47 × x × x × x ak? [x × x x] x-ti?-bi ik-la
… darkness
48 i-na
× [x (x)]-ia
Into my […] …
49 dEN.ZU i-na GIŠ.G[U.ZA-šu it-ta-m]e ga-ma-ar-tam
Sin, from his thr[one swo]re as to annihiliation
dEN.ZU for Sin; ina, ‘in’, ‘from’; GIŠ.GU.ZA (ideogram) = kussû, ‘seat’, ‘throne’; tamû, ‘to swear’; gamartu, ‘annihilation’
50 ù ar-m[u-tam i-na u4-mi-im] e-ṭi-i[m (x × x)]
And desola[tion on (the)] darkened [day (to come)].
armūtu, ‘desolation’, ūmu, ‘day’, eṭû, ‘dark’
Lines 51–2: The Wild Animals Come Aboard
51 ù na-ma-aš-t[um i-na ṣe]-ri-i[m (…)]
But the wild anim[als from the st]eppe [(…)]
u, ‘and’, or ‘but’; namaštu, ‘animals’; ina, ‘from’; ṣēru, ‘steppe’
52 ša-na MÁ! lu-[ú × x × x] × x × [x × x x]
Two by two the boat did [they enter] … [… …]
šanā, ‘two by two’; MÁ (ideogram) = eleppu, ‘boat’; lū, ‘indeed did …’
Lines 53–8: Supplies for the Wild Animals
53 5 KAŠ ar ma? × x uš-t[a- × x × x]
I had … 5 of beer (?) I … […]
KAŠ (ideogram) = šikāru, ‘beer’; uš-ta- … probably part of a verb in the first person sing.
54 11 12 ú-za-ab-ba-lu × (x) [x × x]
They were transporting eleven or twelve [… …]
zabālu, ‘to transport’
55 3 Ú ši-iq-bi u[k?-ta-x x] × x × x
Three (measures) of šiqbum (?) I […] … …,
Ú = šammu, ‘plant’, determinative sign before plant names; šiqbu, if a useful plant, is unidentified; uk-ta …, part of a verb in the first person sing.
56 1/³ ú-ku-lu-ú um?/dub? mu?/gu? [kur(?)]-din-nu
One-third (measure) of fodder, … and kurdinnu plant (?).
ukulû, ‘fodder’; kurdinnu, ‘a malodorous plant.’
57 1 ŠU.ŠI na-ḫa-am a-na gi-ri-ma-de-e aq?-ta?-na?-bi?
I ordered several times (?) a one-finger (layer) of lard for the girmadû
ŠU.ŠI (ideogram) for ubānu, ‘finger’; nāḫu, ‘lard’; ana, ‘for’; girmadû, application tool; qabû, ‘to order’, ‘to demand’.
58 e-zu-ub 30 GUR ú-pá-az-zi-rù LÚ.MEŠ um-mi-a-[ni]
out of the thirty gur which the work[men] had put to one side.
ezub, ‘out of’ (rather than ‘leaving aside’); puzzuru, ‘to put aside’; LÚ.MEŠ, ‘men’ (determinative, not pronounced, omitted in parallel line 33); ummi’ānu, ‘worker’
Lines 59–60: The Door is Sealed
59 i-nu-ma a-na-ku e-ru-bu-ma
When I shall have gone into the boat,
inūma, ‘when’; anāku, ‘I’; erēbu, ‘to enter’
60 pi-ḫi pít ba-bi-ša
‘Caulk the frame of her door!’
peḫû, ‘to caulk’; pītu, ‘opening’; bābu, ‘door’
Textual Notes to Appendix 4
7 eṣirtu is for uṣurtu A.
10 The final -a in aš-la-a is not to mark a long vowel but to confirm the accusative as shown by spacing; traces of -ur are slight but possible.
14 The stanchions are described by length from the point of view of preparation; once cut they will ‘stand up’.
17 ‘Above and below’ here means exactly that, rather than ‘fore and aft’ as these terms sometimes mean in Ark descriptions (George 2003, Vol. 2: 880).
18, 19, 20, 22, 23 In these lines the Ark Tablet scribe consistently writes the sign ESIR, ‘bitumen’, which properly is A.ESÍR (LAGABxNUMUN), as A.LAGAB (i.e. without any small inside sign). This represents a kind of shorthand; the context leaves no doubt that it stands for ESIR. In line 21 he seems to write A.LAGABxBAD.
26 The word signs are read GIŠ.ŠINIG by the overall shape; the following word could refer to a second wood, but GIŠ.GIŠIMMAR.TUR! (wr. erroneously I), ‘young date palm’, is probably to be excluded.
32 ESIR UD.DU is more than possible but not certain, complicated by erasures here.
46 GAZ? lìb?-bi? – this reading, which is allowed by the traces, derives from Old Babylonian Atrahasis III ii 47 in identical context: ḫe-pí-i-ma li-ib-ba-šu, ‘his heart was broken’. For the following restoration, see ibid. 39: ib-ba-b]i-il ar-ḫu, ‘the moon disappeared’.
49 gamartu, ‘annihilation’, is said of the Flood in Old Babylonian Schϕyen: iv 2 (George 2009: 22).
50 For some reason CAD A/2 294 doubts the authority of the lexical compilation that apparently equates armūtu with namûtu, ‘desolation’, ‘wasteland’, and questions its very existence, but the present context does much to support its re-election.
53 ga-ar-ma- is also possible but I do not know how to understand it.
54 The number ‘11’ is written over a partial erasure; it is possible that the text should in fact be ‘12 12’.
55 I cannot find a plant Ú *šiK-bi anywhere, but unless the plan was to annoy Gilgamesh we cannot read Ú igigallu (IGI.GÁL.BI), the ‘plant of wisdom’.
56 The plant kurdinnu is only lexically attested and all we know about it is that it reeked, but along with other animal fodder in the depths of a whacking great travelling zoo, who would be troubled by that? At any rate, the uncommon last word in this line, like amurdinnu, ‘bramble (or similar)’, ends in -dinnu.
59 For girmadû as ‘roller’ see this page and note on this page.
In the latter stages of writing this book the writer has had the benefit of a first-rate resin cast of the Ark Tablet which was specially made in 2012 from the original by Mike Neilson, the British Museum cast maker. This has now been deposited in the cast collection of the Middle East Department, where it is freely available for inspection or collation. It is virtually indistinguishable from the original tablet.
Notes
Notes to Chapter 1: About this Book
1. one George Smith … A readable account of the background to this heart-stopping episode and the man himself is Damrosch 2006; Smith’s own writings on all this (especially Smith 1875 and 1876) are by no means too antiquated to be worth a look today.
2. ‘Izdubar’ … Cuneiform signs, as we will see, can often be read in more than one way, and the correct interpretation of ‘Izdubar’ as Gilgamesh was only established about fifteen years later (in great exhilaration) by Theophilus Pinches, one of Smith’s successors as British Museum Assyriologist (Pinches 1889–90). Difficulties in understanding this ancient and famous name persist to this day; Andrew George devoted a twenty-page chapter of modern cuneiform exposition to the question in George 2003, Vol. 1: 71–90.
3. E. A. Wallis Budge … Quoted after Budge 1925: 152–3. Budge, a very complex character, has been brought to convincing life in Ismail 2011, with further insight by Reade 2011.
4. London, 1872 … An account of the occasion was published in The Times newspaper on the following day, 3 December 1872, while Smith wrote up the full details in two impressive articles published by the host society as Smith 1873 and 1874.
5. where he had lived … See Damrosch 2006: 75–6.
6. answering public enquiries … In the author’s department in the British Museum (successively the Department of Western Asiatic Antiquities, the Department of the Ancient Near East, and now the Middle East Department), which covers the whole of the Middle East, the demand for curatorial identification of objects has come to diminish over recent years. In earlier times there were frequent visits from auctioneers, dealers and collectors but the significant progress that has been made in inhibiting the trade in antiquities illegally exported from the Middle East has meant that today we tend only to see objects with legitimate provenance.
7. a few interesting specimens … Eight cylinder seals were purchased for the British Museum, now numbered BM 141632–141639.
8. what was emerging … He knew therefore that his Ark was round (discovering which, I nearly fell off my chair); he allowed me to describe it on television (a cameo appearance in The Truth Behind the Ark, Zigzag Films, 2010
, produced by Alex Hearle), and he permitted me to discuss it with journalists (Maeve Kennedy wrote a full-page article in the Guardian newspaper, Friday 1 January 2010, entitled ‘The animals walked round and round: Relic reveals Noah’s Ark was circular’, while Cathy Newman gave a brief account in the National Geographic Magazine for February 2011 under the title ‘Hark the Round Ark’).
Notes to Chapter 2: The Wedge between Us
1. The Wedge Between Us … This title derives from a series of broadcasts on Radio 4 in 1992 designed to recruit Assyriologists from the public at large. Cuneiform studies today are as open-ended and exciting as Latin and Greek were in the eighteenth century and, as I argued then, should probably be introduced at secondary school on a national level, as there are so many marvellous tablets to be deciphered. So far this policy seems not to have been adopted.
The Ark Before Noah Page 33
