TRADITION
Religión mesopotámica
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Ninguno de los dos volúmenes traduce un texto que se llame a sí mismo por el nombre de una religión: el nombre se lo ponen los modernos y los dos lo dicen con su firma. George remite al lector a la bibliografía con la fórmula más amplia: «For the religion of Sumer and Akkad, as well as of Babylonia and Assyria, see Thorkild Jacobsen, The Treasures of Darkness (New Haven, Conn.: Yale University Press, 1976).» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 18». Dalley usa el adjetivo al presentar a un dios: «Erra, also known as Nergal, one main subject of the poem, is a great god in the Mesopotamian pantheon whose aspects as a god of plague and lord of the Underworld made him particularly» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 305», y a la vez niega que debajo del adjetivo haya una doctrina única: «Thus we cannot speak of 'the Mesopotamian view of creation' as a single, specific tradition, and this in turn shows the futility of claiming a direct connection between genesis as described in the Old Testament and any one Mesopotamian account of creation.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 301». Lo que sigue se consigna con esa advertencia puesta.
Los poemas empiezan por el trabajo y por el reparto del mundo entre los dioses. Atrahasis abre así: «When the gods instead of man1 Did the work, bore the loads, The gods' load was too great, The work too hard, the trouble too much,Z The great Anunnaki made the Igigi Carry the workload sevenfold.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 32», y el sorteo que ordena el cosmos viene enseguida: «Anu their father was king, Their counsellor warrior Ellil, Their chamberlain was Ninurta, Their canal-controller Ennugi. They took the box (of lots) ... , Cast the lots; the gods made the division. 4 Anu went up to the sky, (And Ellil (?)] took the earth for his people (?). The bolt which bars the sea Was assigned to far-sighted Enki.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 32».
El hombre aparece en el mismo poema como quien oye a su dios y le contesta: «Now there was one Atrahasis Whose ear was open (to) his god Enki. He would speak with his god And his god would speak with him.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 41». Su respuesta al hambre es la ofrenda: «Then the very wise man Atra-hasis Wept daily. He would carry a massakku-offering along the riverside pasture, Although the irrigation-water was silent. Half-way through the night he offered a sacrifice.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 45». Cuando los dioses acuerdan el diluvio, el dios que avisa al hombre lo hace en sueños, y después lo sostiene ante los demás por un tecnicismo del juramento: «I did not disclose the secret of the great gods, I just showed Atrahasis a dream, and thus he heard the secret of the gods.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 138», después de haber contestado a la exigencia de juramento con preguntas: «Why should you make me swear an oath? Why should I use my power against my people? The flood that you mention to mt.~ What is it? I don't even know! Could I give birth to a flood? That is Ellil' s kind of work!» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 52». Del diluvio mismo el poema da el estruendo: «The Flood roared like a bull, Like a wild ass screaming the winds [howled] The darkness was total, there was no sun.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 54». En Gilgamesh lo cuenta el superviviente en primera persona: «‘The town of Shuruppak, a city well known to you, which stands on the banks of the river Euphrates: this city was old – the gods once were in it – when the great gods decided to send down the Deluge.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 164», y lo que dice de los dioses en ese trance no los favorece: «‘Even the gods took fright at the Deluge, they left and went up to the heaven of Anu, XI 115 lying like dogs curled up in the open.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 168». El que sobrevive se llama distinto en cada texto: Uta-napishti cuando el rey lo interpela —«‘O Uta-napishti, what should I do and where should I go? A thief has taken hold of my [flesh!] For there in my bed-chamber Death does abide, XI 245 and wherever [I] turn, there too will be Death.’» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 174»— y Ziusudra en el poema sumerio de la muerte del héroe, donde lo que el viajero trae de vuelta son los ritos: «‘Your matter – having travelled each and every road, having fetched that unique cedar down from its mountain, having slain Huwawa in his forest, having set up monuments for future days, M 55 having founded temples of the gods, you reached Ziusudra in his abode! The rites of Sumer, forgotten there since distant days of old, the rituals and customs – you brought them down to the land.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 243».
De la muerte estos textos no prometen nada. La fórmula que ordena la epopeya entera la dice la tabernera: «The life that you seek you never will find: when the gods created mankind, death they dispensed to mankind, life they kept for themselves.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 52». El sitio a donde se va lo describe el amigo que lo soñó: «‘to the house whose residents are deprived of light, where dust is their sustenance and clay their food, where they are clad like birds in coats of feathers, and see no light, but dwell in darkness.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 133», y lo que hay dentro son los oficios del culto, nombrados uno por uno en acadio: «‘In the House of Dust that I entered, there were the en-priests and lagar-priests, there were lustration-priests and lumahhu-priests, VII 200 there were the great gods’ gudapsû-priests, ‘there was Etana, there was Shakkan, [there was] the queen of the Netherworld, the goddess Ereshkigal.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 133». El Descenso de Ishtar abre con la misma descripción y le pone su nombre propio: «To Kurnugi, land of [no returnV Ishtar daughter of Sin was [determined] to go; 2 The daughter of Sin was determined to go To the dark house, dwelling of Erkalla's god, To the house which those who enter cannot leave, On the road where travelling is one-way only, To the house where those who enter are deprived of light, Where dust is their food, clay their bread. They see no light, they dwell in darkness, They are clothed like birds, with feathers. 3 Over the door and the bolt, dust has settled.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 178».
Dentro de los poemas el culto se hace y se describe paso por paso. La diosa madre sube a interceder: «She climbed the staircase and went up on the roof, on the roof she set up a censer to Shamash.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 89», y su oración pide vientos con nombre: «‘“O Shamash, rouse against Humbaba the mighty gale-winds: South Wind, North Wind, East Wind and West Wind, Blast, Counterblast, Typhoon, Hurricane and Tempest, III 90 Devil-Wind, Frost-Wind, Gale and Tornado.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 90». También el rey reza, y lo hace recordándole al dios un trato anterior: «Gilgamesh lifted his head, [weeping before Shamash,] V 90 [his tears] flowing under the rays of the sun: ‘[Do not forget] that day, O Shamash, that I placed my trust in you! Now come to my aid and …… Upon Gilgamesh, offshoot sprung from Uruk’s midst, [place your protection!]’» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 108». La ofrenda funeraria se exhibe con su fórmula: «he butchered fattened [oxen] and sheep, piled them high for his friend. ‘[These gifts I display,] O Shamash, for my friend!’» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 140». El Descenso termina en instrucciones de rito: «Wash (him) with pure water, anoint him with sweet oil, Clothe him in a red robe, let the lapis lazuli pipe play (?). 21 Let party-girls raise a loud lament (?)» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 183», y en el aparato del mismo volumen se cita entero el texto ritual que las explica: «If a man is chosen for death, and a ghost has seized him, you must purify everything, ... place a bread ration before Shamash, Ea, and Marduk, threefold; scatter dates, flour, set up three adagurru-vessels, set up three censers with aromatics, scatter all kinds of cereals. You must put down a chair to the left of the offerings for the ghost of his kin» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 186». A los dioses se los nombra también con el nombre que cada volumen imprime, y no coinciden: George escribe Enlil en la oración del moribundo —«‘In [your presence] I will pray [to Anu,] father of the gods, [may] great counsellor Enlil [hear] my prayer in your presence, VII 80 may [my entreaty find favour with Ea!] I will fashion your statue in gold without limit,» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 127»— donde Dalley escribe Ellil.
Varios de estos textos dicen qué son y para qué se dicen. El prólogo de la epopeya se presenta como noticia traída de antes del diluvio: «He who saw the Deep, the country’s foundation, [who knew the proper ways,] was wise in all matters! [Gilgamesh, who] saw the Deep, the country’s foundation, [who] knew the [proper ways, was] wise in all matters! [He] explored everywhere the seats of [power,] I 5 [he knew] of everything the sum of wisdom. He saw what was secret, discovered what was hidden, he brought back a tale of before the Deluge.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 63», y manda leerse en voz alta: «[Find] the tablet-box of cedar, [release] its clasps of bronze! I 25 [Lift] the lid of its secret, [pick] up the tablet of lapis lazuli and read out the travails of Gilgamesh, all that he went through.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 64». Los poemas sumerios se cierran alabando a un dios, y no al héroe que los protagoniza: «The Bull of Heaven being slain, O holy Inanna sweet is your praise!» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 217»; «O Ereshkigal, mother of Ninazu, sweet is your praise!» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 255». Atrahasis se declara canto de alabanza: «How we sent the Flood. But a man survived the catastrophe. You are the counsellor of the gods; On your orders I created conflict. Let the Igigi listen to this song In order to praise you, And let them record (?) your greatness. I shall sing of the Flood to all people: 46 Listen!» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 58». La Epopeya de la Creación convoca la letanía de los nombres del dios: «Come, let us call him by his fifty names! His ways shall be proclaimed, and his deeds likewise!» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 288», y cierra ordenando su propia transmisión: «May they always be cherished, and may the older explain (to the younger). Let the wise and learned consult together, Let the father repeat them and teach them to the son.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 296». Erra declara autor y revelación nocturna: «The one who put together the composition about him was Kabti-ilani-Marduk son of Dabibis s (Some god) revealed it to him in the middle of the night, and when he recited it upon waking, he did not miss anything out, Nor add a single word to it.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 334», y promete beneficios a quien lo copie, lo cante o lo recite: «The king who magnifies my name shall rule the world, The prince who recites the praise of my valiant deeds shall have no rival, The musician who sings it shall not die in an epidemic. The words of it will find favour with kings and princes. The scribe who learns it will survive even in enemy country, and will be honoured in his own.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 335».
Lo que los dos traductores dicen por su cuenta va con su firma y no se mezcla con lo anterior. Dalley enumera los usos antiguos del relato: «Ancient stories were used for a multitude of purposes, often in extracts: attached to a ritual, to give authenticity or to provide an aetiology; to give the weight of some ancient tradition to a custom or to an incantation.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 17», y a la vez consigna una negativa expresa sobre la epopeya: «There is no suggestion anywhere that the epic was performed or recited as part of a ceremony or ritual.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 62». Del diluvio dice además qué corta: «The Flood is also important for Mesopotamian tradition because it marks the end of the period when true sages lived on earth and brought to mankind the arts of civilization from the gods.» «Myths from Mesopotamia, ed. y tr. Stephanie Dalley (ed. revisada, 2000) · p. 28». George describe el oficio del erudito a quien la tradición adjudica la redacción del poema: «By profession he was an exorcist, which is to say that he was trained in the art of the expulsion of evil by prayer, incantation and magic ritual. This was a very important skill, whose principal applications were treating the sick, absolving sin, averting bad portents and consecrating holy ground.» «La epopeya de Gilgamesh, trad. Andrew George (Penguin Classics, 2.ª ed.) · p. 34».
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39 entries«For the religion of Sumer and Akkad, as well as of Babylonia and Assyria, see Thorkild Jacobsen, The Treasures of Darkness (New Haven, Conn.: Yale University Press, 1976).» — para la religión de Sumer y Akkad, y la de Babilonia y Asiria, George remite al Treasures of Darkness de Thorkild Jacobsen; es la única remisión religiosa de su lista de lecturas.
«Erra, also known as Nergal, one main subject of the poem, is a great god in the Mesopotamian pantheon whose aspects as a god of plague and lord of the Underworld made him particularly» — Dalley presenta a Erra, también llamado Nergal, como gran dios del panteón mesopotámico, dios de la peste y señor del Inframundo; el tramo se corta en el cruce de plana.
«Thus we cannot speak of 'the Mesopotamian view of creation' as a single, specific tradition, and this in turn shows the futility of claiming a direct connection between genesis as described in the Old Testament and any one Mesopotamian account of creation.» — Dalley niega que quepa hablar de una visión mesopotámica de la creación como tradición única y específica, y de ahí saca la futilidad de conectar el Génesis con un solo relato mesopotámico.
«When the gods instead of man1 Did the work, bore the loads, The gods' load was too great, The work too hard, the trouble too much,Z The great Anunnaki made the Igigi Carry the workload sevenfold.» — Atrahasis, tablilla I, versión paleobabilonia: el poema abre con los dioses haciendo el trabajo del hombre y los grandes Anunnaki cargando a los Igigi con siete veces la faena; los numerales pegados a las palabras son las llamadas de nota del impreso.
«Anu their father was king, Their counsellor warrior Ellil, Their chamberlain was Ninurta, Their canal-controller Ennugi. They took the box (of lots) ... , Cast the lots; the gods made the division. 4 Anu went up to the sky, (And Ellil (?)] took the earth for his people (?). The bolt which bars the sea Was assigned to far-sighted Enki.» — el reparto del mundo por sorteo: Anu sube al cielo, Ellil toma la tierra y el cerrojo que cierra el mar queda para Enki el previsor.
«Now there was one Atrahasis Whose ear was open (to) his god Enki. He would speak with his god And his god would speak with him.» — la presentación del hombre en el poema: uno llamado Atrahasis cuyo oído estaba abierto a su dios Enki, que hablaba con él y a quien su dios hablaba.
«Then the very wise man Atra-hasis Wept daily. He would carry a massakku-offering along the riverside pasture, Although the irrigation-water was silent. Half-way through the night he offered a sacrifice.» — la respuesta del hombre al hambre es el culto: lleva la ofrenda *massakku* por el pastizal de la ribera y sacrifica a media noche. En esta plana el volumen imprime el nombre *Atra-hasis*, con guion, y en la 41 lo imprime *Atrahasis*: las dos grafías son del mismo libro y aquí van las dos.
«Why should you make me swear an oath? Why should I use my power against my people? The flood that you mention to mt.~ What is it? I don't even know! Could I give birth to a flood? That is Ellil' s kind of work!» — voz de Enki negándose, en preguntas: por qué usar su poder contra su gente, y qué es ese diluvio que ni siquiera conoce, si engendrar un diluvio es faena de Ellil; el troceo imprime *to mt.~* donde el impreso dice *to me*.
«I did not disclose the secret of the great gods, I just showed Atrahasis a dream, and thus he heard the secret of the gods.» — la defensa literal de Ea en la tablilla XI del Gilgamesh de Dalley, que salva el juramento por un tecnicismo: no reveló el secreto de los grandes dioses, solo le mostró un sueño a Atrahasis.
«The Flood roared like a bull, Like a wild ass screaming the winds [howled] The darkness was total, there was no sun.» — los símiles del Diluvio: brama como un toro, los vientos aúllan como un asno salvaje que grita, y la oscuridad es total.
«‘The town of Shuruppak, a city well known to you, which stands on the banks of the river Euphrates: this city was old – the gods once were in it – when the great gods decided to send down the Deluge.» — voz de Uta-napishti, tablilla XI: el lugar y el tiempo del Diluvio, una ciudad vieja a orillas del Éufrates donde los dioses estuvieron.
«‘Even the gods took fright at the Deluge, they left and went up to the heaven of Anu, XI 115 lying like dogs curled up in the open.» — voz de Uta-napishti, tablilla XI: los dioses aterrados subiendo al cielo de Anu y echados como perros; es el símil que la introducción del volumen señala como desfavorable a los dioses.
«‘O Uta-napishti, what should I do and where should I go? A thief has taken hold of my [flesh!] For there in my bed-chamber Death does abide, XI 245 and wherever [I] turn, there too will be Death.’» — versión estándar, tablilla XI: el rey interpela por su nombre al superviviente del Diluvio y dice que la Muerte habita ya en su alcoba.
«‘Your matter – having travelled each and every road, having fetched that unique cedar down from its mountain, having slain Huwawa in his forest, having set up monuments for future days, M 55 having founded temples of the gods, you reached Ziusudra in his abode! The rites of Sumer, forgotten there since distant days of old, the rituals and customs – you brought them down to the land.» — poema sumerio la Muerte de Gilgamesh: el balance que los dioses hacen de la vida del héroe, con el superviviente llamado aquí Ziusudra y con los ritos, rituales y costumbres de Sumer traídos de vuelta a la tierra.
«The life that you seek you never will find: when the gods created mankind, death they dispensed to mankind, life they kept for themselves.» — voz de Shiduri en la versión paleobabilónica, citada por George: la vida que buscas no la hallarás, porque al crear a la humanidad los dioses le repartieron la muerte y guardaron para sí la vida.
«‘to the house whose residents are deprived of light, where dust is their sustenance and clay their food, where they are clad like birds in coats of feathers, and see no light, but dwell in darkness.» — versión estándar, tablilla VII: la descripción del Inframundo en el sueño del amigo, donde el polvo es sustento y la arcilla comida y los muertos van vestidos de plumas como pájaros.
«‘In the House of Dust that I entered, there were the en-priests and lagar-priests, there were lustration-priests and lumahhu-priests, VII 200 there were the great gods’ gudapsû-priests, ‘there was Etana, there was Shakkan, [there was] the queen of the Netherworld, the goddess Ereshkigal.» — versión estándar, tablilla VII: la lista de los oficios sacerdotales que pueblan la Casa del Polvo, conservados en su nombre acadio, y la reina del Inframundo al final.
«To Kurnugi, land of [no returnV Ishtar daughter of Sin was [determined] to go; 2 The daughter of Sin was determined to go To the dark house, dwelling of Erkalla's god, To the house which those who enter cannot leave, On the road where travelling is one-way only, To the house where those who enter are deprived of light, Where dust is their food, clay their bread. They see no light, they dwell in darkness, They are clothed like birds, with feathers. 3 Over the door and the bolt, dust has settled.» — la apertura del Descenso de Ishtar: Kurnugi, la tierra sin retorno, la casa que nadie deja, el camino de una sola dirección y los muertos vestidos de plumas. Dalley señala que el pasaje aparece casi literal en Nergal y Ereshkigal y en el Gilgamesh.
«She climbed the staircase and went up on the roof, on the roof she set up a censer to Shamash.» — versión estándar, tablilla III: el rito de intercesión en la azotea, con incensario al Sol.
«‘“O Shamash, rouse against Humbaba the mighty gale-winds: South Wind, North Wind, East Wind and West Wind, Blast, Counterblast, Typhoon, Hurricane and Tempest, III 90 Devil-Wind, Frost-Wind, Gale and Tornado.» — versión estándar, tablilla III: la lista de los trece vientos que la diosa pide contra el guardián del bosque.
«Gilgamesh lifted his head, [weeping before Shamash,] V 90 [his tears] flowing under the rays of the sun: ‘[Do not forget] that day, O Shamash, that I placed my trust in you! Now come to my aid and …… Upon Gilgamesh, offshoot sprung from Uruk’s midst, [place your protection!]’» — versión estándar, tablilla V: la oración del héroe al Sol en el momento del miedo, recordándole el día en que puso su confianza en él.
«he butchered fattened [oxen] and sheep, piled them high for his friend. ‘[These gifts I display,] O Shamash, for my friend!’» — versión estándar, tablilla VIII: el sacrificio del velorio y la fórmula con que el rey exhibe los dones ante el Sol.
«Wash (him) with pure water, anoint him with sweet oil, Clothe him in a red robe, let the lapis lazuli pipe play (?). 21 Let party-girls raise a loud lament (?)» — las instrucciones rituales con que cierra el Descenso de Ishtar, y que Dalley lee como el *taklimtu*: lavar, ungir, vestir de rojo y hacer sonar la flauta de lapislázuli.
«If a man is chosen for death, and a ghost has seized him, you must purify everything, ... place a bread ration before Shamash, Ea, and Marduk, threefold; scatter dates, flour, set up three adagurru-vessels, set up three censers with aromatics, scatter all kinds of cereals. You must put down a chair to the left of the offerings for the ghost of his kin» — Dalley cita entero un texto ritual en su aparato: purificar todo, disponer las raciones de pan ante Shamash, Ea y Marduk, los vasos y los pebeteros, y poner una silla a la izquierda de las ofrendas para el fantasma del pariente.
«‘In [your presence] I will pray [to Anu,] father of the gods, [may] great counsellor Enlil [hear] my prayer in your presence, VII 80 may [my entreaty find favour with Ea!] I will fashion your statue in gold without limit,» — versión estándar, tablilla VII: el moribundo promete rezar a Anu, a Enlil y a Ea y ofrecer una estatua de oro sin límite. George imprime *Enlil* donde Dalley imprime *Ellil*; las dos formas quedan como las trae cada libro.
«He who saw the Deep, the country’s foundation, [who knew the proper ways,] was wise in all matters! [Gilgamesh, who] saw the Deep, the country’s foundation, [who] knew the [proper ways, was] wise in all matters! [He] explored everywhere the seats of [power,] I 5 [he knew] of everything the sum of wisdom. He saw what was secret, discovered what was hidden, he brought back a tale of before the Deluge.» — voz del poema, versión estándar, tablilla I: el prólogo presenta al héroe como el que vio el Abismo, supo de todo la suma de la sabiduría, vio lo secreto y trajo noticia de antes del Diluvio; los corchetes son restitución del aparato.
«[Find] the tablet-box of cedar, [release] its clasps of bronze! I 25 [Lift] the lid of its secret, [pick] up the tablet of lapis lazuli and read out the travails of Gilgamesh, all that he went through.» — versión estándar, tablilla I: la instrucción de abrir la caja de cedro, alzar la tapa y leer en voz alta la tablilla de lapislázuli, que es donde el poema se declara a sí mismo escritura del héroe.
«The Bull of Heaven being slain, O holy Inanna sweet is your praise!» — poema sumerio Gilgamesh y el Toro del Cielo: la doxología final, que alaba a la diosa derrotada y no al héroe vencedor.
«O Ereshkigal, mother of Ninazu, sweet is your praise!» — poema sumerio la Muerte de Gilgamesh: la doxología de ese final, dirigida a la reina del Inframundo y no al héroe.
«Literature was already being written down in Mesopotamia by 2600 BC, but because the script did not yet express language fully, these early tablets remain extremely difficult to read.» — George fecha la literatura escrita de Mesopotamia hacia el 2600 a. C. y acota de inmediato que esas tablillas siguen siendo dificilísimas de leer porque la escritura aún no expresaba la lengua entera.
«How we sent the Flood. But a man survived the catastrophe. You are the counsellor of the gods; On your orders I created conflict. Let the Igigi listen to this song In order to praise you, And let them record (?) your greatness. I shall sing of the Flood to all people: 46 Listen!» — el cierre de la tablilla III de Atrahasis: el canto del Diluvio que los Igigi deben oír para alabanza del dios, con la fórmula de apertura oral que Dalley señala también en Gilgamesh, Anzu y Erra.
«Come, let us call him by his fifty names! His ways shall be proclaimed, and his deeds likewise!» — la fórmula que abre las dos últimas tablillas de la Epopeya de la Creación: los cincuenta nombres del dios, con sus caminos y sus obras proclamados.
«May they always be cherished, and may the older explain (to the younger). Let the wise and learned consult together, Let the father repeat them and teach them to the son.» — la instrucción de transmisión con que acaba la Epopeya de la Creación: que se guarden, que el mayor los explique al menor y el padre se los enseñe al hijo.
«The one who put together the composition about him was Kabti-ilani-Marduk son of Dabibis s (Some god) revealed it to him in the middle of the night, and when he recited it upon waking, he did not miss anything out, Nor add a single word to it.» — la atribución que el propio texto hace, única en el volumen: el que compuso la obra fue Kabti-ilani-Marduk hijo de Dabibi, a quien un dios se la reveló a media noche y que al recitarla al despertar no omitió ni añadió palabra.
«The king who magnifies my name shall rule the world, The prince who recites the praise of my valiant deeds shall have no rival, The musician who sings it shall not die in an epidemic. The words of it will find favour with kings and princes. The scribe who learns it will survive even in enemy country, and will be honoured in his own.» — la lista de beneficios que el poema promete a quienes lo transmitan: el rey, el príncipe, el músico y el escriba.
«Ancient stories were used for a multitude of purposes, often in extracts: attached to a ritual, to give authenticity or to provide an aetiology; to give the weight of some ancient tradition to a custom or to an incantation.» — Dalley enumera los usos del relato antiguo: extractado, pegado a un ritual para autentificarlo o para dar una etiología, o para prestar el peso de lo antiguo a una costumbre o a un encantamiento.
«There is no suggestion anywhere that the epic was performed or recited as part of a ceremony or ritual.» — Dalley consigna una negativa expresa: nada indica en ninguna parte que la epopeya se representara o recitara como parte de una ceremonia o de un rito.
«The Flood is also important for Mesopotamian tradition because it marks the end of the period when true sages lived on earth and brought to mankind the arts of civilization from the gods.» — Dalley dice qué corta el Diluvio para la tradición mesopotámica: el fin del tiempo en que vivían sabios verdaderos sobre la tierra y traían de los dioses las artes de la civilización.
«By profession he was an exorcist, which is to say that he was trained in the art of the expulsion of evil by prayer, incantation and magic ritual. This was a very important skill, whose principal applications were treating the sick, absolving sin, averting bad portents and consecrating holy ground.» — George describe el oficio del erudito a quien la tradición adjudica la redacción del poema: expulsar el mal por oración, conjuro y ritual mágico, para tratar enfermos, absolver pecados, conjurar presagios y consagrar suelo sagrado.