Читать книгу Myths & Legends of Babylonia & Assyria - Lewis Spence - Страница 40

These three, then, Tiawath, Apsu, and Mummu, appear to have formed a trinity, which bore no good-will to the 'higher gods.'[3] They themselves, as deities of a primeval epoch, were doubtless regarded by the theological opinion of a later day as dark, dubious, and unsatisfactory. It is notorious that in many lands the early, elemental gods came into bad odour in later times; and it may be that the Akkadian descent of this trio did not conduce to their popularity with the Babylonian people. Be that as it may, alien and aboriginal gods have in all times been looked upon by an invading and conquering race with distrust as the workers of magic and the sowers of evil, and even although a Babylonian name had been accorded one of them, it may not have been employed in a complimentary sense. Whereas the high gods regarded those of the abyss with distrust, the darker deities of chaos took up an attitude towards the divinities of light which can only be compared to the sarcastic tone which Milton's Satan adopts against the Power which thrust him into outer darkness. Apsu was the most ironical of all. There was no peace for him, he declared, so long as the new-comers dwelt on high: their way was not his way, neither was it that of Tiawath, who, if Apsu represented sarcasm deified, exhibited a fierce truculence much more overpowering than the irony of her mate. The trio discussed how they might rid themselves of those beings who desired a reign of light and happiness, and in these deliberations Mummu, the son, was the prime mover. Here again the Tablets fails us somewhat, but we learn sufficient further on to assure us that Mummu's project was one of open war against the gods of heaven.

In connexion with this campaign, Tiawath made the most elaborate preparations along with her companions. She laboured without ceasing. From the waters of the great abyss over which she presided she called forth the most fearful monsters, who remind us strongly of those against which Horus, the Egyptian god of light, had to strive in his wars with Set. From the deep came gigantic serpents armed with stings, dripping with the most deadly poison; dragons of vast shape reared their heads above the flood, their huge jaws armed with row upon row of formidable teeth; giant dogs of indescribable savagery; men fashioned partly like scorpions; fish-men, and countless other horrible beings, were created and formed into battalions under the command of a god named Kingu, to whom Tiawath referred as her 'only husband' and to whom she promised the rule of heaven and of fate when once the detested gods of light are removed by his mighty arm.

The introduction of this being as the husband of Tiawath seems to point either to a fusion of legends or to the interpolation of some passage popular in Babylonian lore. At this juncture Apsu disappears, as does Mummu. Can it be that at this point a scribe or mythographer took up the tale who did not agree with his predecessor in describing Tiawath, Apsu, and Mummu, originally one, as three separate deities? This would explain the divergence, but the point is an obscure one, and hasty conclusions on slight evidence are usually doomed to failure. To resume our narrative, Tiawath, whoever her coadjutors, was resolved to retain in her own hands the source of all living things, that great deep over which she presided.

But the gods of heaven were by no means lulled into peaceful security, for they were aware of the ill-will which Tiawath bore them. They learned of her plot, and great was their wrath. Ea, the god of water, was the first to hear of it, and related it to Ansar, his father, who filled heaven with his cries of anger. Ansar betook himself to his other son, Anu, god of the sky. "Speak to the great dragon," he urged him; "speak to her, my son, and her anger will be assuaged and her wrath vanish." Duly obedient, Anu betook himself to the realm of Tiawath to reason with her, but the monster snarled at him so fiercely that in dread he turned his back upon her and departed. Next came Nudimmud to her, but with no better success. At length the gods decided that one of their number, called Merodach, should undertake the task of combating Tiawath the terrible. Merodach asked that it might be written that he should be victorious, and this was granted him. He was then given rule over the entire universe, and to test whether or not the greatest power had passed to him a garment was placed in the midst of the gods and Merodach spoke words commanding that it should disappear. Straightway it vanished and was not. Once more spake the god, and the garment re-appeared before the eyes of the dwellers in heaven. The portion of the epic which describes the newly acquired glories of Merodach is exceedingly eloquent. We are told that none among the gods can now surpass him in power, that the place of their gathering has become his home, that they have given him the supreme sovereignty, and they even beg that to them who put their trust in him he will be gracious. They pray[4] that he may pour out the soul of the keeper of evil, and finally they place in his hands a marvellous weapon with which to cut off the life of Tiawath. "Let the winds carry her blood to secret places," they exclaimed in their desire that the waters of this fountain of wickedness should be scattered far and wide. Mighty was he to look upon when he set forth for the combat. His great bow he bore upon his back; he swung his massive club triumphantly. He set the lightning before him; he filled his body with swiftness; and he framed a great net to enclose the dragon of the sea. Then with a word he created terrible winds and tempests, whirlwinds, storms, seven in all, for the confounding of Tiawath. The hurricane was his weapon, and he rode in the chariot of destiny. His helm blazed with terror and awful was his aspect. The steeds which were yoked to his chariot rushed rapidly towards the abyss, their mouths frothing with venomous foam. Followed by all the good wishes of the gods, Merodach fared forth that day.

"Mighty was he to look upon."—Evelyn Paul.

Soon he came to Tiawath's retreat, but at sight of the monster he halted, and with reason, for there crouched the great dragon, her scaly body still gleaming with the waters of the abyss, flame darting from her eyes and nostrils, and such terrific sounds issuing from her widely open mouth as would have terrified any but the bravest of the gods. Merodach reproached Tiawath for her rebellion and ended by challenging her to combat. Like the dragons of all time, Tiawath appears to have been versed in magic and hurled the most potent incantations against her adversary. She cast many a spell. But Merodach, unawed by this, threw over her his great net, and caused an evil wind which he had sent on before him to blow on her, so that she might not close her mouth. The tempest rushed between her jaws and held them open; it entered her body and racked her frame. Merodach swung his club on high, and with a mighty blow shattered her great flank and slew her. Down he cast her corpse and stood upon it; then he cut out her evil heart. Finally he overthrew the host of monsters which had followed her, so that at length they trembled, turned, and fled in headlong rout. These also he caught in his net and "kept them in bondage." Kingu he bound and took from him the tablets of destiny which had been granted to him by the slain Tiawath, which obviously means that the god of a later generation wrenches the power of fate from an earlier hierarchy, just as one earthly dynasty may overthrow and replace another. The north wind bore Tiawath's blood away to secret places, and at the sight Ea, sitting high in the heavens, rejoiced exceedingly. Then Merodach took rest and nourishment, and as he rested a plan arose in his mind. Rising, he flayed Tiawath of her scaly skin and cut her asunder. We have already seen that the north wind bore her blood away, which probably symbolises the distribution of rivers over the earth.[5] Then did Merodach take the two parts of her vast body, and with one of them he framed a covering for the heavens. Merodach next divided the upper from the lower waters, made dwellings for the gods, set lights in the heaven, and ordained their regular courses.

As the tablet poetically puts it, "he lit up the sky establishing the upper firmament, and caused Anu, Bel, and Ea to inhabit it." He then founded the constellations as stations for the great gods, and instituted the year, setting three constellations for each month, and placing his own star, Nibiru, as the chief light in the firmament. Then he caused the new moon, Nannaru, to shine forth and gave him the rulership of the night, granting him a day of rest in the middle of the month. There is another mutilation at this point, and we gather that the net of Merodach, with which he had snared Tiawath, was placed in the heavens as a constellation along with his bow. The winds also appear to have been bound or tamed and placed in the several points of the compass; but the whole passage is very obscure, and doubtless information of surpassing interest has been lost through the mutilation of the tablet.

We shall probably not be far in error if we regard the myth of the combat between Merodach and Tiawath as an explanation of the primal strife between light and darkness. Among the most primitive peoples, the solar hero has at one stage of his career to encounter a grisly dragon or serpent, who threatens his very existence. In many cases this monster guards a treasure which mythologists of a generation ago almost invariably explained as that gold which is spread over the sky at the hour of sunset. The assigning of solar characteristics to all slayers of dragons and their kind was a weakness of the older school of mythology, akin to its deductions based on philological grounds; but such criticism as has been directed against the solar theory—and it has been extensive—has not always been pertinent, and in many cases has been merely futile. In fact the solar theory suffered because of the philological arguments with which it was bound up, and neither critics nor readers appeared to discriminate between these. But we should constantly bear in mind that to attempt to elucidate or explain myths by any one system, or by one hard and fast hypothesis, is futile. On the other hand nearly all systems which have yet attempted to elucidate or disentangle the terms of myth are capable of application to certain types of myth. The dragon story is all but universal: in China it is the monster which temporarily swallows the sun during eclipse; in Egypt it was the great serpent Apep, which battled with Ra and Horus, both solar heroes; in India it is the serpent Vritra, or Ahi, who is vanquished by Indra; in Australia and in some parts of North America a great frog takes the place of the dragon. In the story of Beowulf the last exploit of the hero is the slaying of a terrible fire-breathing dragon which guards a hidden treasure-hoard; and Beowulf receives a mortal wound in the encounter. In the Volsung Saga the covetous Faffnir is turned into a dragon and is slain by Sigurd. These must not be confounded with the monsters which cause drought and pestilence. It is a sun-swallowing monster with which we have here to deal.

Conflict between Merodach and Tiawath.—Photo W. A. Mansell and Co.

The tablets here allude to the creation of man; the gods, it is stated, so admired the handiwork of Merodach, that they desired to see him execute still further marvels. Now the gods had none to worship them or pay them homage, and Merodach suggested to his father, Ea, the creation of man out of his divine blood. Here once more the tablets fail us, and we must turn to the narrative of the Chaldean writer Berossus, as preserved by no less than three authors of the classical age. Berossus states that a certain woman Thalatth (that is, Tiawath) had many strange creatures at her bidding. Belus (that is, Bel-Merodach) attacked and cut her in twain, forming the earth out of one half and the heavens out of the other, and destroying all the creatures over which she ruled. Then did Merodach decapitate himself, and as his blood flowed forth the other gods mingled it with the earth and formed man from it. From this circumstance mankind is rational, and has a spark of the divine in it. Then did Merodach divide the darkness, separate the heavens from the earth, and order the details of the entire universe. But those animals which he had created were not able to bear the light, and died. A passage then occurs which states that the stars, the sun and moon, and the five planets were created, and it would seem from the repetition that there were two creations, that the first was a failure, in which Merodach had, as it were, essayed a first attempt, perfecting the process in the second creation. Of course it may be conjectured that Berossus may have drawn from two conflicting accounts, or that those who quote him have inserted the second passage.

The Sumerian incantation, which is provided with a Semitic translation, adds somewhat to our knowledge of this cosmogony. It states that in the beginning nothing as yet existed, none of the great cities of Babylonia had yet been built, indeed there was no land, nothing but sea. It was not until the veins of Tiawath had been cut through that paradise and the abyss appear to have been separated and the gods created by Merodach. Also did he create annunaki or gods of the earth, and established a wondrous city as a place in which they might dwell. Then men were formed with the aid of the goddess Aruru, and finally vegetation, trees, and animals. Then did Merodach raise the great temples of Erech and Nippur. From this account we see that instead of Merodach being alluded to as the son of the gods, he is regarded as their creator. In the library of Nineveh was also discovered a copy of a tablet written for the great temple of Nergal at Cuthah. Nergal himself is supposed to make the statement which it contains. He tells us how the hosts of chaos and confusion came into being. At first, as in the other accounts, nothingness reigned supreme, then did the great gods create warriors with the bodies of birds, and men with the faces of ravens. They founded them a city in the ground, and Tiawath, the great dragon, did suckle them. They were fostered in the midst of the mountains, and under the care of the 'mistress of the gods' they greatly increased and became heroes of might. Seven kings had they, who ruled over six thousand people. Their father was the god Benani, and their mother the queen, Melili. These beings, who might almost be called tame gods of evil, Nergal states that he destroyed.[6] Thus all accounts agree concerning the original chaotic condition of the universe. They also agree that the powers of chaos and darkness were destroyed by a god of light.

The creation tablets are written in Semitic and allude to the great circle of the gods as already fully developed and having its full complement. Even the later deities are mentioned in them. This means that it must be assigned to a comparatively late date, but it possesses elements which go to show that it is a late edition of a much earlier composition—indeed the fundamental elements in it appear, as has been said, to be purely Akkadian in origin, and that would throw back the date of its original form to a very primitive period indeed. It has, as will readily be seen, a very involved cosmogony. Its characteristics show it to have been originally local, and of course Babylonian, in its secondary origin, but from time to time it was added to, so that such gods as were at a later date adopted into the Babylonian pantheon might be explained and accounted for by it; but the legend of the creation arising in the city of Babylon, the local folk-tale known and understood by the people, was never entirely shelved by the more consequential and polished epic, which was perhaps only known and appreciated in literary and æsthetic circles, and bore the same relation to the humbler folk-story that Milton's Paradise Lost bears to the medieval legends of the casting out of Satan from heaven.

Although it is quite easy to distinguish influences of extreme antiquity in the Babylonian creation myth, it is clear that in the shape in which it has come down to us it has been altered in such a manner as to make Merodach reap the entire credit of Tiawath's defeat instead of En-lil, or the deity who was his predecessor as monarch of the gods. Jastrow holds that the entire cosmological tale has been constructed from an account of a conflict with a primeval monster and a story of a rebellion against Ea; that these two tales have become fused, and that the first is again divisible into three versions, originating one at Uruk and the other two at Nippur at different epochs. The first celebrates the conquest of Anu over Tiawath, the second exalts Ninib as the conqueror, and the third replaces him by En-lil. We thus see how it was possible for the god of a conquering or popular dynasty to have a complete myth made over to him, and how at last it was competent for the mighty Merodach of Babylon to replace an entire line of deities as the central figure of a myth which must have been popular with untold generations of Akkadian and Babylonian people.