The Shadow Side and Prospects for Return
Dec 24, 2009 23:11:33 GMT -5
Post by us4-he2-gal2 on Dec 24, 2009 23:11:33 GMT -5
Reviewing
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Scenes from the Shadow Side
(Frans Wiggermann - 1996)
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Scenes from the Shadow Side
(Frans Wiggermann - 1996)
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In Frans Wiggermann's article "Scenes from the Shadow Side" (Mesopotamian Poetic Language 1996), the author gives a broad discussion on the subject of Mesopotamian Cosmic Geography and the creatures thought to inhabit the fringes of the known world. Attempts to understand the edges of the world in a time before science and before reliable geographical information frequently resulted in notions of the world which were, in part, mythological. The Greek notion of cosmos is an example, on it's fringes were thought to be imprisoned Giants and Titans, among other things. Wiggermann will assert that this tension between empirical geography and mythology is well attested in ancient Mesopotamia as well.
At an earlier point our very astute and pedantic member, Madness, has reviewed parts of this same article - his aim was to elaborate on the concept of the four winds for us. For this excellent post please see the "Pentacle/Pentagram + Madness 4 winds" thread here, or the enenuru.net adaption located here. I gratefully draw from both these summations below, and intend present some additional insights from Wiggermann 1996 below.
Mesopotamian Cosmic Geography/
Wiggermann proceeds by identifying and explaining the principal pieces of archeology that assist the Assyriologist in understanding the Mesopotamian idea of cosmic geography - in particular, these are an assortment of tablets which sometimes contain not only cuneiform text but a drawing or map - these maps depict the notion of the world as it was in those times. The earliest of these maps is to be found on a ED IIIA tablet from Fara, which according to the author, "has on one side a copy of the best known list of professional names, and on the other a drawing that can hardly be anything other than a map of the world."
a) Map from ED Fara
CDLI entry here
(Madness:) "Drawn four times is the sign ašagx (GANA2) "field." In the centre the sign kur, of which Wiggermann says is "undoubtedly referring to the city of Nippur and the Ekur, "Mountain House", whence Enlil, surnamed the "Great Mountain" (dkur-gal), rules his human subjects. Four rivers are drawn, surrounding the world."
In addition, a tablet from about the same time from Abu Salabikh has a similar list of professions and what Wiggermann
believes to be a sort of abstract version of the cosmic map, pictured here:
b) Map from ED Abu Salabikh
[See See Inscriptions from Tell Abu Salabikh. OIP 99, p. 31 fig. 29]
This notion of cosmic geography that was similar to the Greek is therefore evidenced at quite early points in Mesopotamian history: the known world is surrounded by 4 rivers, the center of the world is the E-kur, Enlil's great mountain. However there is perhaps an even more impressive map specimen that survives from a Late Babylonian source - a well known tablet often called the Mappa Mundi (Map of the World).
c) Mappa Mundi - the late Babylonian map of the world
In this map, Wiggermann says, "the cosmic river surrounding the earth is called marratu, "ocean", and in the descriptive part of the obverse it is explained as Tâmtu, "Sea', the name of Marduk's arch-enemy in the Enūma Elish." In fact, the map more or less represents the way in which Marduk settled the bodies of his vanquished opponents here and there on the sea around the world - and so, as the author implied early on, the map thus demonstrates perfectly the tendency of ancient cosmology to resort to myth in dealing with the fringes of the world.
The Outer Regions and their Inhabitants/
From the 4th Millennium onward the Mesopotamians steadily (if slowly) gained knowledge about the world around them - this included both geographical insight, but also ethnological information (the knowledge of close and distant peoples necessarily for extensive trade). Wiggermann writes that the acquisition of this sort of information is observable in a wide variety of Mesopotamian literature, and as the Mappa Mundi indicates, results in a world view
which blends with mythology, theology, and impacts certainly on the Mesopotamian's own perspective of themselves. The author has charted the following contrastive elements which play a part "in the native definition of Mesopotamian civilization":
As we can see, the left column (Center / Mesopotamian) represents the ancients own notions about themselves, and what defined their society. The right column is what Wiggermann terms "the shadow side", all that the Mesopotamians considered 'other', the opposite in each case of what they saw as their society. Of course, we might deduce that while these things were contrastive, they had an important role in defining what was Mesopotamian, if only by being tangible examples of opposition. The right column is just as instructive as the left therefore.
The author continues explaining that the two spheres do not normally intermingle, but entities from the right column such as enemies, wild animals, spirits, demons or monsters, infringe on the civilized world - sometimes this is seen as a sign of divine displeasure with a king or inhabitants. There is no impassable boundary between the two spheres. The dead, indeed, "have no choice in the matter, but must travel westwards through the desert" says Wiggermann.
The subject of direction that the dead must travel is made complex by the fact that notions of the netherworld underwent significant changes from the original Sumerian netherworld located in the mountain land, and the Semitic concept which places it under the earth. About the former concept, the author says: "the most common term for the Other World is kur, "mountain land", which is in opposition to kalam, "our country". This kur is where the dead go, and where rebellious mountain gods, demons, and monsters are at home. Human enemies as well descend from the mountains, and sometimes they are so dreadful that they cannot be distinguished from demons... Both steppe and mountains harbor a host of wild animals which are hunted and killed by Mesopotamian rulers from the late Uruk period onwards; they were brought to the capital as spoils or tribute, and symbolically express the wide extent of just rule. Assyrian kings make statues of some of the more exotic animals, and stand them as guardians of their palaces as apotropaic monsters."
All that is from the perphery is stands in defiance of the gods - and in opposition to the Mesopotamian people therefore. Commenting again on the right hand column, the author states that the "properties of the elements in the right hand column of our scheme are more or less interchangeable; that the inimical fuses with the demonic, and the peripheral with death and the underworld, thus resulting in a more or less unified image of all that is evil and conspires against civilized life, i.e. zi-ša3-gal2. The geography involved is marked by an increasing loss of empirical content, until finally the Land of No Return is reached; this is the realm of the dead, whence no traveler can bring back reliable information."
Scenes from the Shadow Side/
While textual evidence can be hard to date, iconography, the author believes, provides a medium that is more easily datable. He turns next to Mesopotamian iconography which can be shown to represent scenes from the shadow side - imagery from the periphery of Mesopotamian life. After turning to a few early seals which contain beings from the peripheral (anzu birds, bison faced men, the bird man and so on - creatures which in one way or another are described by the right side column), the author turns unexpectedly to a very familiar item; and here he examines the animal inlay found on the Bull-headed Lyre of Ur, a now well known artifact from the Early Dynastic cemetery of Ur, grave number PG 789 -
Wiggermann describes the lowest register: "A scorpion man holding a dipper, a gazelle holding two beakers, and a large container with a dipper."
second lowest: a donkey/onager plays the lyre, sitting is a fawn/jerboa/jackel with a sistrum and a small drum, and behind is a dancing bear.
second from top: "a wolf? with butcher's knife holding a table with animal heads, and a lion with a large vessel and a lamp"
uppermost register: "the upper register contrasts with the three below it, and has a static scene: a hairy hero (lahmu) holding two Man-faced Bisons (alim)."
Wiggermann has previously explain that animals acting as humans (playing instruments, dancing) are acting abnormally, and belong to the mythical periphery - the Scorpion man, as in Gilgamesh, acts as a doorman to the underworld, the man-faced bisons appear often associated with Utu as they are from the mountains (the periphery) where the sun risings and sets.
The author now proposes what I think is a brilliant interpretation of this inlay scene - he recognizes that "what is being shown is clearly the preparation for a festive meal, the reception of a guest" (thus a refreshing drink in the lowest register, music in the next, and food in the third) , however, "the guest is conspicuously absent, or in other words, yet to arrive." Further, he observes that the inlay was fixed to a lyre with a bull shaped body "the same type of lyre played by the wild ass.. it does not require a great stretch of the imagination to conclude that with this self-reference the lyre reveals its purpose. It will serve at a banquet similar to the one depicted on the panel: a feast to be held on the Other Side. With this conclusion all elements fall into place; the expected guest is the person laid to rest in PG 789, and the lyre is among the gifts to the inhabitants of the Other Side, the world of the dead. The scenes on the panel reveal how the dead person and his contemporaries imagined their future as ghosts."