Author Archives: nibirudb

Ig-alim / Galalim Quotes From Texts

Ig-alim / Galalim = Ninurta‘s Son, Superintendent

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

         Bau, lady …… true cream,

        As is fitting, she lets Lord Ig-alim have the scepter…”

 

       (Ninurta speaking)

        The guardians of my house and the fair-looking protective goddesses …….

        My chief superintendent, Ig-alim, is the neck-stock of my hands.

        He has been promoted to take care of my house; …….

        My messenger does not forget anything: he is the pride of the palace.

        In the city named after (?) Enlil, I recognize true and false…”

 

        Lugal-kur-dub walked in front of him (Gudea),

        Ig-alim directed him and Nin-jiczida (Ningishzidda),

        his personal god, held him by the hand throughout the time…”

 

        “With his divine duties, namely to guide the hand of the righteous one;

        to force the evil-doer´s neck into a neck stock;

        to keep the house safe; to keep the house pleasant;

        to instruct his city and the sanctuaries of Jirsu;

        to set up an auspicious throne; to hold the scepter of never-ending days;

        to raise high the head of Nin-jirsu´s shepherd, Gudea, as if he wore a blue crown;

        and to appoint to their offices in the courtyard of E-ninnu (Lagash temple) the skin-clad ones,

        the linen-clad ones and those whose head is covered,

        Gudea introduced Ig-alim, the Great Door (ig gal), the Pole (dim) of Jirnun,

        the chief bailiff of Jirsu, his beloved son to lord Nin-jirsu…”

 

        “Young woman Nin-Nibru (unidentified), lady …….

        Lord Ninurta, my king …….

        Ig-alim, my king …….

        Cul-cagana, my king …….”

 

        “For the god Gal-alim, the favorite son of the god Nin-girsu (Ninurta),

        for his king, Gudea, the patesi of Shirpurla (Lagash)

        his temple of E-me-ghush-gal-an-ki has constructed…”

 

        Gudea,...the offspring of the goddess Gutumdug (Ninsun),

        dowered with sovereignty and the scepter supreme by the god Gal-alim,…”

En-me-cara Quote From Text

En-me-cara = Enlil’s uncle

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

       (Namzidtara speaking to Enlil):

       ‘”When your uncle En-me-cara was a captive,

        after taking for himself the rank of Enlil, he said:

        ‘Now I shall know the fates, like a lord.’ … “

Enheduanna Information

(Daughter to Sargon The Great)

“Biography of Enheduanna, Priestess of Inanna2285-2250 B.C.

 

by Roberta Binkley

[Copyright 1998 Roberta Binkley]

Enheduanna is at once a mystical and heroic figure, one whose image may be destined to take hold of the popular imagination in an era of emerging feminism and the reclaiming of ancient feminine images. She is the world’s oldest known author whose works were written in cuneiform approximately 4300 years ago. Two of her known works are hymns to the goddess Inanna, The Exaltation of Inanna and In-nin sa-gur-ra. A third identified work, The Temple Hymns, addresses the sacred temples and their occupants, the goddess or god to whom they were consecrated. In each of these works she steps forward to speak in the first person moving from the third.

Although Enheduanna lived 4300 hundred years ago (ca. 2285-2250 B.C.E.), her existence as a historical personage is well established. There is the disk that has been restored evacuated from Ur with her image, and written historical records indicate that she was the daughter of Sargon of Akkad, the first ruler to unite northern and southern Mesopotamia. Her mother was a Sumerian from southern Mesopotamia, perhaps a priestess. Sargon was also purported to be the son of a priestess.

In the photograph of the disk of Enheduanna, she stands second in a line of four figures, preceded by a nude male priest and followed by two male attendants. She wears a flounced dress and a rolled brimmed turban, the aga, which she refers to in The Exaltation of Inanna as ‘the true cap/the sign of (appropriate to) en-ship’ (l.107). She was the high (en)priestess of the moon god, Nanna.

On the back, in a column of eleven cases, an inscription identifies Enheduanna as the ‘wife (dam) of Nanna [the Sumerian moon god] and daughter of Sargon’ (192). Winters notes that the nude priest pouring the libation and Enheduanna share the center of the disk. If the restoration is accurate, according to Winters, ‘only Enheduanna’s head actually touches the upper margin of the frieze–the violation of isocephaly serving to emphasize her dominant position’ (192-3).

While the disk represents the four figures making a ritual offering to the moon god, it is interesting that among Enheduanna’s works so far found, her major work, the hymn The Exaltation of Inanna–translated in 1968 by Willo and J. J. A Van Dijk–addresses the goddess Inanna. Apparently her official title was en (high-priestess) to the god Nanna, yet her passionate affiliation appears to have been to the goddess Inanna. Of her five recovered works, two are long hymns to Inanna.

The combined roles of priestess and princess may have set a precedent in Sumerian history that followed for the next five centuries. Scholar William W. Hallo explains that she was a personality ‘who set standards in all three of her roles for many succeeding centuries…’ (1). The names of high priestesses appear in historical lists just as do the kings testifying to interesting political and cultural implications of power, at least of royal women. For the next 500 years between sovereigns, the priestesses provided continuity of government.

Enheduanna: An Overview of Her Writings”

(gods in bluemixed-breed demigods in teal…)

by Roberta Binkley

[Copyright 1998 Roberta Binkley]

The Exhaltation of Inanna

The Exhaltation of Inanna, translated from the cuneiform by Hallo and van Dijk in a 1968 text edition runs 153 lines. It is the most widely known of her works, perhaps because of the completeness of the translation. It is carefully set up in a format, echoing the cuneifom exemplars, of two column stanzas that can often be read down as well as across. The hymn begins with a 65-line exordium of epithets and description, all carefully selected to illustrate the characteristics of the goddess. These epithets “arranged in a conscious sequence — worthy of the wisdom of an Amos — in which the range of Inanna’s activities is brought ever closer to the (presumable) audience of the poem” (48). Enheduanna implies Inanna’s equality with An, the senior god of the Sumerian pantheon which Hallo suggests politically equates the Sargonic kings as adhering to Sumerian norms and beliefs in order to justify Akkad’s imperial rule over Sumer (7).

Next Enheduanna depicts Inanna as disciplining mankind as a goddess of battle. She thereby unites the warlike Akkadian Ishtar’s qualities to those of the gentler Sumerian goddess of love and fecundity. She likens Inanna to a great storm bird who swoops down on the lesser gods and sends them fluttering off like surprised bats. Then, in probably the most interesting part of the hymn, Enheduanna herself steps forward in the first person to recite her own past glories, establishing her credibility, and explaining her present plight. She has been banished as high priestess from the temple in the city of Ur and from Uruk and exiled to the steppe. She begs the moon god Nanna to intercede for her because the city of Uruk, under the ruler Lugalanne, has rebelled against Sargon. The rebel, Lugalanne, has even destroyed the temple Eanna, one of the greatest temples in the ancient world. Further, he has dared to equate himself as an equal to the new high priestess and–in the most ancient recorded instant of sexual harassment–made sexual advances to the high priestess, his sister-in-law.

In the swelling of the “Magnificat”–a liturgy (lines 122-35)–the long hymn reaches its title theme. Enheduanna recites the me’s, divine attributes, of and to Inanna, again exalting her to equal status with the supreme god of pantheon, An. The hymn moves on to the peroration, a passage “unique to Sumerian literature describing the process of poetic inspiration” (Hallo, Exaltation 62). The poetess characterizes her creative labors as giving birth, i.e. “conceiving the word.” Then in the next stanza (lines 143-50) Enheduanna reverts to the third person as the simultaneous exaltation of Inanna and the restoration of Enheduanna are proclaimed. The concluding three-line doxology conveys the sense of the goddess and her poetess emerging triumphant.

In The Exaltation of Inanna there is a strong authorial presence that may be unmatched in ancient literary creation until the time of Sappho. She is self-consciously present in the process of writing and in the poem. The double “I” of the creatrix, Enheduanna and Inanna, are always at the center. And the hymn becomes a rhetorical creation of passionate complexity, one of death and birth, destruction and creation . . . those things that occupy the deepest part of the psyche.

She speaks of both her own and also by extension of the creative process itself near the end of the hymn. Through Inanna, Enheduanna has received the inspiration for the poem.

136 One has heaped up the coals / prepared the lustration (in the censer),
137 The nuptial chamber awaits you / let your heart be appeased!

In the lines above she intimates that she prepared herself to receive poetic inspiration–madness as Plato would characterize it. But Plato’s characterization of madness implies the purposelessness of chaos, and Enheduanna’s creative process is a very purposeful receiving. She heaps the coals in the censer and prepares the lustration to receive her greater self, her transcendent self, the Goddess. Her creative process appears to be one of intimate interaction with the Goddess. For a time in the middle of the night, they become one and out of that union comes the song.

I read her as at once inspired by the Goddess–she receives creative in-spiriting–and at the same time a poetess whose work comes from her own unique being while in a state of passionate and consuming love for the Goddess.

139 That which I recited to you at (mid)night
140 May the singer repeat it at noon! to you

Enheduanna’s own physical self-image also appears to be one of beauty and strength. She speaks of her “mellifluous” mouth (25, line 71) and mourns when her “choicest features are turned to dust” (line 72). She does not doubt her place:

66 Verily I had entered my holy giparu at your behest
67 I, the high priestess, I, Enheduanna!
120 (Yet) I am the brilliant high priestess of Nanna

In this work, the persona of Enheduanna appears as both physical and transcendent. She is a professional, a high priestess who is not only a possessor of the privileges of the rank and office, but she carries the burdens, the responsibilities . . . and the grief of that sometimes terrible role.

105 Like a swallow he made me fly from the window, my life is consumed.
117 (But) my own sentence is not Concluded. / A hostile judgment appears before my eyes as my judgment.
82 Let me give free vent to my tears like sweet drink for the holy Inanna!

In her personal role and her role as priestess she has had to watch the destruction of people, temple and sacred rites:

85 (Lugalanne) has altered the lustrations of holy An and all his (other rites).
86 He has stripped An Of (his temple) Eanna.
87 He has not stood in awe of An-lugal
88 That sanctuary whose attractions are irresistible, whose beauty is endless,
89 That sanctuary he has verily brought to destruction.

She speaks of her awareness of her own humanity and her limitations.

84 I cannot appease Ashimbabbar (Nannar)
92 In the place of sustenance what am I, even I?

But, finally, in the end there is a transcendence–and perhaps apotheosis–of both her person and that of her goddess when she steps back and in the third person describes the sumptuous vestments of the goddess and her priestess, vestments symbolic of both their spiritual and physical beauty.

146 The day was favorable for her, she was clothed sumptuously / she was garbed in womanly beauty.
147 Like the light of the rising moon, / how she was sumptuously attired!

Then she recounts that:

150 The (heavenly) doorsill called “Hail!”

Mircea Eliade explains the symbolic importance of a threshold in what he calls palaeo-oriental cultures (Babylon, Egypt, Israel). Thresholds, the door-sill shows the solution of continuity in space immediately and concretely; hence their great religious importance, for they are symbols and at the same time vehicles of passage from the one space to the other” (25). Thus Inanna in the form of her representative, the high priestess Enheduanna, stands at the threshold of heaven and earth, communicating between the two. Finally Enheduanna alludes the poem in praise and exaltation of Inanna.

151 For that her (Enheduanna’s) speaking to the Hierodule (Inanna) was exalted.
152 Praise be (to) the devastatrix of the lands, endowed with me’s from An,
153 (To) my lady wrapped in beauty, (to) Inanna!

The Goddess and her poet have both prevailed. Once exiled, they have been restored to their rightful places and they are both wrapped in the beauty of transcendent feminine energy and power.

Enheduanna’s long-forgotten poem–only translated in 1968- also foreshadows her own history and the history of women in religion, literacy, and western civilization for the next 4800 years.

70 They approach the light of day, about me, / the light is obscured
71 The shadows approach the light of day, / it is covered with a (sand) storm.

In-nin sa-gur-ra

Assyriologists traditionally title works by their first line, hence the title In-nin sa-gur-ra. This work, translated by Ake Sjoberg, and using 29 texts and fragments, is published (1976) as “In-nin-sa-gur-ra: A Hymn to the Goddess Inanna by the en-Priestess Enheduanna.” Although at 274 lines, it is the longest work so far discovered by Enheduanna it is much less complete than the translation of The Exaltation of Inanna. In all 57 lines are missing at important points in the composition. The text breaks off entirely at the point that Enheduanna steps forward: “I am Enheduanna, the en-Priestess of Nanna,……, I am the … Of Nanna (199). The Sjoberg translation does not begin again until line 243 with Enheduanna still speaking in the first person. When the text resumes Enheduanna still speaks of her own experience of punishment. The translator speculates her punishment may have been sent by Inanna to discipline Enheduanna: “‘I have experienced your great punishment’… this statement clearly indicates that Enheduanna had offended the goddess who then had punished her” (163). In a footnote on the same page, he notes that another translation is possible. “‘My body has experienced your great punishment,'”…referring to a disease sent against the en-Priestess by Inanna” (163). In any case, her apparent recovery must have occurred because she ends the hymn praising Inanna “My Lady, I will proclaim your greatness in all lands and your glory!” (254).

The main theme of the hymn according to Sjoberg is “Inanna’s omnipresent and omnipotent role in human affairs” (163). He criticizes the hymn as containing unnecessary repetition:

49 she turns the midday light into darkness”
177b Turning darkness into light

Sjoberg also explains that “you alone are great” occurs in both line 182 and 218 and with a variation in line 96. Such a critique is difficult to sustain since as a hymn it would be sung and the echoing lines, it could be argued, might be important in their placement. Furthermore, since Sjoberg spends only a page and three-quarters discussing the literary structure, a discussion that primarily summarizes the form and contents of the hymn, to critique it on these grounds for one-fourth of the section given the fact that so many lines are missing seems to me to be somewhat hasty.

The structure of the hymn is similar to The Exaltation. In lines 1-90 Enheduanna praises Inanna’s power speaking in the third person, more as a distant observer of the goddess and her power, relating the deeds that show that power:

4 She is the August leader among the great gods, she makes the verdicts final.
10 Her radiance covers the great mountain, silences the road.
11 The gods of the land are panic stricken by her heavy roar.
14 Without Inanna the great An has not made a decision, Enlil has not determined the destiny. (179)

Then Enheduanna speaks of Inanna’s anger as it’s reflected by the people:

45 She washes their (?) weapons with blood and gore,….,
53 Her murderous battle no one can oppose–who rivals her?(183)

Beginning with line 91 she then speaks to Inanna in the second person addressing her as “you.” Again, she notes that Inanna rivals An and Enlil, “You sit on their seat” (187). Lines 115-172 repeat the refrain in every line “are yours, Inanna” explaining and enumerating Inanna’s attributes and her contributions to civilization.

116 To run, to escape, to quite and to pacify are yours, Inanna. (189)
124 Information, instruction, inspection, to took closely, to approve are yours, Inanna. (191)

Not until line 219 does Enheduanna step forward in the first person, “I am Enheduanna, the en-Priestess of Nanna” (199). Here the poem breaks off until line 243 where it begins:

243 Advice (…)
244 Grief, hardship…
245 My Lady,…mercy….compassion….
246 I am yours! It will always be so! May your heart cool off for me,
250 I have experienced your great punishment (199)

She concludes the hymn:

270 My Lady, Your greatness is manifest,
271 May your heart for my sake ‘return to its place’!
272 Your great deeds are unparalleled,
273 Your greatness is always praised,
274 Young woman, Inanna, your praise is sweet!

Although longer than The Exaltation, as I stated in the beginning, the rhetorical structure is similar. Both works open with an exordium of epithets and descriptions selected to illustrate the characteristics of the goddess. In the Exaltation the opening is 65 lines versus the In-nin sa-gur-ra opening of 90 lines. Both works move from an opening address of Inanna in third person to addressing her in second person. In both hymns there is a section exalting Inanna. In the Exaltation it occurs in lines 122-135 where each stanza ends with “be it known!” (31-32). In In-nin sa-gur-ra lines 115-172 end with “are yours, Inanna (189-197). Since almost the entire section of In-nin sa-gur-ra in which Enheduanna steps forward in first person are missing, 24 of the most important lines in the hymn, it cannot be compared to The Exaltation except to say that this section which is the most personal contains the reason that Enheduanna speaks to Inanna, why she writes the hymn. It is in this personal section, that Enheduanna seems to explain her motivation and her process. In The Exaltation, she adds her meta commentary that helps to illuminate the meaning of the hymn on a personal, psychological, and universal level. Finally, both works conclude with a doxology to the goddess, once more returning to the theme of exaltation.

The Temple Hymns

The Temple Hymns are very different in character from the two works just discussed. They were translated by Ake Sjoberg in collaboration with E. Bergmann, S.J. in 1969. They consist of 42 hymns of various lengths addressed to temples. Each hymn follows the same form. The hymn directly addresses the temple in second or third person describing it in epithetical statements. For example the first Temple Hymn opens:

Eunir, which has grown high, (uniting) heaven and earth,
Foundation of heaven and earth, ‘Holy of Holies’, Eridu, (17)

She concludes each hymn by identifying the temple, naming the city and the god or goddess to whom it is dedicated. The narrative moves from the outside to the inside. In each of the hymns Enheduanna speaks to the holy place describing its significant sacred structure, “you have grown high, binding heaven and earth, fixing the above and the below” (28). She then moves inside to describe the sacred activities “where pure food is eaten” and the holy objects contained within such as the drum or the ovens. (17)

At the conclusion of the hymns, Enheduanna steps forward:

The compiler of the tablet (is) Enheduanna
My Lord, that which has been created (here) no one has created (before) (49).

The Temple Hymns contain several added later by scribes, hymns to temples that did not exist at the time Enheduanna wrote. Thus, her original creation was one that scribes continued to amend in a posthumous collaboration with the author, one who may have become a deity in her own right.

Additional Works

There are two additional works translated by scholar Joan Goodnick Westenholz, one by Enheduanna that she apparently wrote on the assumption of the en-ship (office of high priestess) to the moon god Nanna. The second fragmentary work, dedicated to Enheduanna and apparently written by an anonymous scribe, indicates her apotheosis during or immediately after her death, according to Westenholz. (539)

        She is shining The en-priestess chosen for the pure “divine offices,”

        Enheduanna may the she bring you your prayer to the abzu.

        The one who is worthy for Suen, my delight/pride… (555)

Anzu / Zu Quotes From Zecharia Sitchin Books

SEE SITCHIN’S EARTH CHRONICLES, ETC.:

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

 

ANZU VRS. NINURTA (later version)

As Enlil is taking his daily swim in the pool, Anzu steals the Tablets of Destinies.

        “At the entrance of the sanctuary,which he had been viewing,

        Zu awaits the start of the day.

        As Enlil was washing with pure water—

        his crown having been removed and deposited on the throne—

        Zu seized the Tablets of Destinies in his hands, took away the Enlilship.

        Suspended were the Divine Formulas;

        Stillness spread all over; silence prevailed….

        The Sanctuary’s brilliance was taken off.

        Father Enlil was speechless….”

Anu asked,

        “Which of the gods will smiteZu?

        His name shall be greatest of all!…”

To oppose Zu while he held the powers of Enlil was

        “he who opposes him becomes like clay…”

Ninhursag, mother of Enlil’s rightfull heir, Ninurta, calls upon her son to gain back the Tablets of Destinies and the Enlilship much needed for the royal rulership in Heaven and on Earth.

       “Launch thy offensive…capture the fugitive Zu….

        Let thy terrifying offensive rage against him….

        Slit his throat! Vanquish Zu!

        Let thy seven ill Winds go against him….

        Cause the entire Whirlwind to attack him….

        Let thy Radiance go against him….

        Let thy Winds carry his Wings to a secret place….

        Let sovereignty return to Ekur;

        Let the Divine Formulas return to the father who begot thee…”

 

Ninurta used “arrows” against Zu, but

        “the arrows could not approach Zu’s body…

        while he bore the Tablets of Destinies of the gods in his hand…”

       “Weapons were stopped in the midst…”

Ea / Enki advised Ninurta to use the “til-lum” on the weapons and aim at the”pinions” of Zu’s “wings”. Screaming “Wing to wing”, Ninurta did as Ea / Enki instructed and shot down Zu’s flying apparatus and successfully restored the Enlilship back to his father Enlil. Til in Hebrew means “missile”.

The action begins as the Igigi,“being gathered from all parts,” decided to appeal to Enlil.Their complaint was

        “until that time for the Igigi a break-taking place had not been built…”

To voice their complaint they selected Zu to be their spokesman, sending him to Enlil’s center in Nippur.

Enlil:

        “the father of the gods, in the Dur-An-Ki, saw him,

        and thought of what they (the Igigi) said…”

 

       “As “in his mind he pondered the request,

        he studied the heavenly Zu closely…”

Ea spoke up…Igigi could be postponed if Zu were delayed at Enlil’s headquarters.

       “’Your service let him enter” Ea said to Enlil;

        ‘in the sanctuary, to the innermost seat, let him be the one to block the way.’…”

       “To the words that Ea spoke to him the god (Enlil) consented.

        At the sanctuary Zu took up his position…

        At the entrance to the chamber

        Enlil had assigned him.”

Zu

        “constantly views Enlil, the father of the gods,

        the god of the Bond-Heaven-Earth…

        his celestial Tablet of Destinies Zu constantly views…”

And soon a scheme took shape:

        “The removal of the Enlilship he conceives in his heart…”

       “I will take the celestial Tablet of Destinies;

       The decrees of the gods I will govern;

        I will establish my throne, be master of the Heavenly Decrees;

        The Igigi in their space I will command!”…

       “His heart having thus plotted aggression…”

Zu saw his chance one day as Enlil went to take a cooling swim.

        “He seized the Tablet of Destinies in his hand…”

and in his Bird

        “took off and flew to safety in the HUR-SAG-MU…”

(“mountain of the skychambers”) No soner had this happened than everything came to a standstill:

        “Suspended were the Divine Formulas

        The lighted brightness petered out;

        Silence prevailed.

        In space, the Igigi were confounded;

        The sanctuary’s brilliance was taken off…”

At first “father Enlil was speechless.”

As the communications were restored:

        “the gods on Earth gathered one by one at the news…”

Several of the younger gods known for their valor were approached. But none dare track Zu…for he was now as powerful as Enlil, having also stolen the “Brilliance” of Enlil;

        “and he who opposes him shall become as clay…

        at his brilliance the gods waste away…”

When the gods looked for a volunteer to fight Zu, they promised the vanquisher of Zu:

        “Thy name shall be the greatest in the Assembly of the Great Gods;

        Among the gods, thy brothers, thy shall have no equal;

        Glorified before the gods and potent shall be thy name!…”

It was then that Ninurta, Enlil’s legal heir, stepped forth to undertake the task. Ninhursag... advised him to attack Zu…she lent Ninurta her own:

        “seven whirlwinds that stir up the dust…”

Ninurta…attatched the wirlwinds that stir up the dust, and set out against Zu;

        “to launch a terrifying war, a fierce battle:…”

        “Zu and Ninurta met at the mountainside.

        When Zu perceived him, he broke out in rage.

        With his Brilliance, he made the mountainside bright as daylight;

        He let loose rays in a rage…”

Zu shouted to Ninurta:

        I have carried off all Authority, the decrees of the gods I (now) direct!

        Who are thou to come fight with me?

        Explain thy self!”…

But Ninurta continued to “advance aggressively” against Zu. Zu “cut off his Brilliance” and“the face of the mountain was covered with darkness.”

From the“breast”of his vehicle, he let loose a Lightning at Zu,

        “but the shot could not approach Zu; it turned back…”

With the powers Zu had obtained, no lightning bolt could “approach his body”.

So,

        “the battle was stilled, the conflict ceased;

        the weapons were stopped in the midst of the mountain;

        they vanquished not Zu…”

       “Ishkur, the prince, took the report;

       the news of the battle he reported to Enlil…”

Enlil instructed Ishkur to go back and tell Ninurta:

        “In the battle do not tire; prove thy strength!…”

Ninurta in his “Whirlwind Bird,” should come as close as possible to the Bird of Zu, until they are “wing to wing”. ” Then he should aim the missile at thepinions” of Zu’s Whirlbird, and

       “let the missile fly like a lightning;

        when the Fiery Brilliance will engulf the pinions

        his wings will vibrate like butterflies; then will Zu be vanquished…”

The final battle scenes are missing from all the tablets, but we know that more than one “Whirlwind” participated in the combat.

Ninurta arrayed “seven whirlwinds which stir up the dust”, armed his chariots with the “Ill Winds” weapons and attacked Zu as suggested by his father.

        “The earth shook…the…became dark,

        the skies became black…

        the pinions of Zu were overcome…”

Zu was captured and brought back before Enlil in Nippur:

        “Lordship again entered the Ekur the Divine Formulas were returned…”

The captured Zu was put on trial before a court-martial…he was found guilty and sentenced to death; Ninurta, his vanquisher, “cut his throat”.

 

Amasilama Quotes From Texts

Amasilama = Ereshkigal‘s Daughter, Ningishzidda‘s Older Sister

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

 

       “His older sister removed the cover (?) from {the boat’s cabin}

        {(1 ms. has instead:) the cabin at the boat’s stern}:

        ‘Let me sail away with you, let me sail away with you, {brother}

        {(1 ms. has instead:) my brother}, let me sail away with you.

        {(2 mss. add 1 line:)

        My brother, let me sail on your barge with you, my brother, let me sail away with you.

        {(1 ms. adds 1 further line:)

        Let me sail on your splendid barge with you, my brother, let me sail away with you.}} ‘…”

 

       “Ama-šilama (Ninĝišzida‘s sister) said to Ninĝišzida:

        ‘The ill-intentioned demon may accept something — there should be a limit to it for you.

        My brother, your demon may accept something, there should be a limit to it for you.

        For him let me …… from my hand the ……, there should be a limit to it for you.

        For him let me …… from my hand the ……, there should be a limit to it for you.

        For him let me …… from my hips the dainty lapis lazuli beads, there should be a limit to it for you.

        For him let me …… from my hips the …… my lapis lazuli beads, there should be a limit to it for you.’ …”

 

       “You are a beloved ……, there should be a limit to it for you.

        How they treat you, how they treat you! — there should be a limit to it for you.

        My brother, how they treat you, how haughtily they treat you! — there should be a limit to it for you.

        ‘I am hungry, but the bread has slipped away from me!’ — there should be a limit to it for you.

        ‘I am thirsty, but the water has slipped away from me!’ – there should be a limit to it for you.’ …”

 

       “The evil demon who was in their midst,

        the clever demon, that great demon who was in their midst,

        called out to the man at the boat’s bow and to the man at the boat’s stern:

        ‘Don’t let the mooring stake be pulled out, don’t let the mooring stake be pulled out,

        so that she may come on board to her brother, that this lady may come on board the barge.’ …”

 

       “When Ama-šilama had gone on board the barge,

        a cry approached the heavens, a cry approached the earth,

        that great demon set up an enveloping cry before him on the river:

        ‘Urim (Ur), at my cry to the heavens lock your houses, lock your houses, city, lock your houses!’ …”

 

       “He …… to the empty river, the rejoicing (?) river:

        ‘You (addressing Ama-šilima ) shall not draw near to this house, …….

        …… to the place of Ereškigala (Ereshkigal).

        My mother …… out of her love.’ …”

Abu Quotes From Texts

Abu = son to Enki & Ninhursag via Uttu

Minor vegetation god, “king of the grasses”, “master of plants”

 

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

 

        “Enki heard Ninhursag‘s voice resonate all over his being:

        ‘ The first seed you ate and made you ill,

        I take its power into my myself and transform it into a newly born god,

        a younger brother and son to you, dearest.

        I therefore have given birth to the god Abu to set your body free.’ …”

 

        “(Ninhursaja asked:)

        ‘My brother, what part of you hurts you?’

        ‘The top of my head (ugu-dili) hurts me.’

        She gave birth to Ab-u out of it …”

      

        “Let Abu be the master of plants; …”

 

        “(She (Ninhursag) said:)

        ‘For the little ones to whom I have given birth may rewards not be lacking.

        Ab-u shall become king of the grasses,’ …”

The Black Pig

Published: Naville, Das Aegyptische Todtenbuch, pl. cxxiv.

Translated: Budge, Book of the Dead, ch. cxii.

The so-called Book of the Dead is a compilation of texts which are found, written on papyri or on coffins, in the tombs. No copy containing all the chapters is known; the order has therefore been arranged from a comparison of many examples.

The ancient name of these texts is “Chapters of Coming forth to the Day”; the modern name is “Book of the Dead,” as it is evidently a manual for the use of the dead. It consists of a series of prayers, hymns, magical formula, and allusions to mythological stories, a knowledge of which was considered necessary in order to escape the perils and dangers of the life hereafter. It is obviously very ancient, for even in the earliest known examples, the Pyramid Texts of the fifth dynasty, the text is often very corrupt. The Pyramid Texts show traces of very primitive usages and cults, many of which are lost in the later forms of the Book of the Dead.

The story related under the name of the Black Pig refers to an incident in the war between Horus and Set, and is not known elsewhere. Probably many such legends were current in ancient Egypt, but few have been preserved to us intact. Horus was the great hero-god, and, like the heroes of other countries, he absorbed all the legends of local champions. Some of his exploits and adventures seem to have been so well known that a mere allusion was sufficient to recall them to the mind of the reader. Sometimes a short and, to us confused account is given, as in chapter cxiii of the Book of the Dead, where the restoration to Horus of his hands and arms, which have been lost in a swamp, is related in a manner which conveys very little to the modern reader.

A great number of legends have been preserved in magical papyri, but even among these the quantity of tantalizing allusions is larger than the number of complete legends. Thus, in the Demotic Papyrus of London and Leyden, a charm against fever begins “Horus was going up a hill at midday in the verdure season, mounted on a white horse.” He finds the gods eating, and they invite him to join them, but he refuses as he has fever. This is all that is said, but it is evidently an allusion to a well-known story.

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

The reason why the city of Pé was given to Horus, I know and I will tell you.

3d -Horus, Osiris' & Isis' Son 4b - Seth, Satu (Horus; uncle Seth)

Between Horus and Set (Seth) there is enmity and hatred, war and battle.

Ever the fight goes on and the combatants rage furiously,

and victory is not yet declared to either, though the Gods are with Horus.

Now Set is cunning and crafty, and seeks to conquer

by subtlety rather than by courage and skill in the fray;

and such power is his that he can take what form he will and deceive both men and Gods.

This is the power of Set, but the power of Horus is not the same;

for to Horus belong righteousness and truth; deceit and falsehood are not in him.

Who so gazes into the blue eyes of Horus can see the future reflected there,

and both Gods and men seek Horus to learn what shall come to pass.

It came to the knowledge of Set that Ra (Marduk) would consult with Horus,

and it seemed to him that an opportunity was at hand to injure Horus,

so he took upon himself the form of a Black Pig.

Fierce was his aspect, long and sharp his tushes, and his color was the blackness of the thundercloud;

savage and evil was his look, and struck fear into the hearts of men.

7a - Ra - Marduk, Falcon  (Ra, grandfather to Horus)

Then came the Majesty of Ra to Horus and spoke to him saying,

“Let me look in thine eyes and behold what is to come.”

And he gazed into the eyes of Horus, and their color

was that of the Great Green Waters when the summer sky shines upon them.

                (wild boar under attack with observer above in his winged sky-disc)

And while he gazed, the Black Pig passed by.

Ra knew not that it was the Evil God, and he cried out to Horus and said,

“Look at that Black Pig! Never have I seen one so huge and so fierce.”

And Horus looked; neither did he know Set in this strange form,

and thought it was a wild boar from the thickets of the North Country.

Thus he was off his guard and unprotected against his enemy.

7g - Osiris flanked by Eyes of Horus  (giant alien gods of Mesopotamia & Egypt)

Then Set aimed a blow of fire at the eye of Horus,

and Horus shouted aloud with the pain of the fire, and raged furiously, and cried,

“It is Set, and he has smitten me with fire on the eyes.”

2a - Egyptian gold eye of Horus, Marduk's grandson (eye of Horus, symbol widely in use today)

But Set was no longer there, for he had conveyed himself away, and the Black Pig was seen no more.

And Ra cursed the pig because of Set, and said,

“Let the pig be an abomination to Horus (son to Ashur / Orien / Osiris).

And to this day men sacrifice the pig when the Moon is at the full,

          because Set, the enemy of Horus, and the murderer of Osiris (Ashur, Marduk‘s deceased son),

4c - Masons & Christianity & Horus (alien blue eye of Horus)

took its form in order to injure the blue-eyed God.

And for this reason also swineherds are unclean throughout the land of Egypt;

never may they enter the temples and sacrifice to the Gods,

and their sons and daughters may not marry with the worshipers of the Gods.

And when the eyes of Horus were healed, Ra gave to him the city of Pé,

and he gave to him two divine brethren in the city of Pé, and two divine brethren

in the city of Nekhen to be with him as everlasting judges.

Then was the heart of Horus glad and he rejoiced,

and at the joy of Horus the earth blossomed, and thunderclouds and rain were blotted out.

The Battles of Horus

Published: Naville, Mythe d’Horus (with French translation).

Translated: Wiedemann, Religion of the Ancient Egyptians, p. 69.

The account of the war between Horus and Set is sculptured on the inner part of the west side of the girdle-wall of the temple of Edfu. The whole temple is dedicated to Horus; though undoubtedly an early foundation, the present structure dates only to the Ptolemaic period. It was begun by Ptolemy III Euergetes I, and took 180 years to build and decorate. The girdle-wall, on which these scenes and inscriptions were sculptured, was built and decorated about 100 B.C., either by Soter II or Alexander I.

The temple was excavated by Mariette, and is the most perfect in condition of all the temples in Egypt, for with the exception of the wanton multilation of the faces, probably by Christian fanatics, both building and sculpture are untouched save by time.

The inscription appears to give in legendary form a fairly accurate account of tribal battles of a very early period. Though the actual inscription is of a late date, many primitive ideas are preserved, especially in the hymns of the women to Horus. “Eat ye the flesh of the vanquished, drink ye his blood,” is not a sentiment of the civilisation of Ptolemaictimes. Human sacrifice, however, appears to have been practised in Egypt at all periods. Harvest victims were burnt at Eleithyapolis (El Kab). Amasis II of the xxvith dynasty put an end to human sacrifice at Heliopolis; Diodorus says that red-haired men were offered up at the sepulchre of Osiris; as the king was the incarnate Osiris, this would mean that human sacrifices were made at the royal graves, probably during the funeral ceremonies. The Book of the Dead also continually alludes to human sacrifice. At Edfu an altar was found sculptured with representations of offerings in which human beings are the victims. Small figures, carved in the round, are known, which are in the form of bound captives; and show probably the method of binding the victim; the legs are bent at the knees, and the feet bound to the thighs; the arms are bent at the elbows and securely lashed to the body. This is not the ordinary way of binding a prisoner, but is a special method reserved probably for a human victim. The figures represent sometimes men, sometimes women.

Judging by the representations and scenes on the girdle-wall, a “mystery-play” was acted in the temple of Edfu, the Pharaoh playing the principal part, that of Horus. In early times it seems more than probable that Set, or the Ally of Set, was played by a human being, who was actually killed during the performance. When the custom of human sacrifice begins to die out, the human victim is often replaced by an animal. This is the case at Edfu, where Set is called a hippopotamus and represented as a pig.

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

         2a - Marduk, Enki's 1st son, god of Babylon (marduk / Ra)

It was in the three hundred and sixty-third year of the reign of the God Ra

Horakhti upon earth that the great war happened between Horus and Set.

              (Marduk / Ra, father to feuding sons)

The Majesty of the God Ra, whom men call Ra-Horakhti also,

was in Nubia with his army, a great and innumerable multitude of soldiers,

footmen and horsemen, archers and chariots.

He came in his Boat upon the river; the prow of the Boat was of palm-wood,

its stern was of acacia-wood, and he landed at Thest-Hor, to the east of the Inner Waters.

3a - Horon, Horus (Horus)

And to him came Horus of Edfu, he whose name is Harpooner and Hero,

seeking for that Wicked One, Set, the murderer of Osiris (Marduk / Ra‘s son).

Long had he sought, but Set had ever eluded him.

The Majesty of Ra (Marduk) had gathered his forces,

for Set had rebelled against him, and Horus was glad at the thought of battle,

for he loved an hour of fighting more than a day of rejoicing.

2 - Ningishzidda, younger son to Enki, son to Ereshkigal  (Marduk’s brother Ningishzidda, God of Knowledge)

He entered into the presence of Thoth (Ningishzidda), the twice great, god of magic,

and Thoth gave him the power to change himself into a great winged disk,

              2d - Marduk & flying discs (Marduk & winged sky-disc)

a disk that glowed like a ball of fire, with great wings on either side

like the colors of the sky at sunset when the blue shades from dark to light, and is shot with gold and flame.

1c - symbols of Nibiru-the planet that flys by-winged globe 3b - Chrysler with Nibiru flying disc

Men try to copy these hues when they carve the winged disk above the temple-doors,

or make it into a breast-ornament of gold inlaid with turquoise and carnelian and lazuli.

1e - Horon-Horus & Gibil's Gift, Winged Sandals (Horus)

Thus Horus, as a great winged disk (alien tech), sat on the prow of the Boat of Ra (alien tech),

and his splendor flashed across the waters and fell upon his foes as they lay in ambush.

Upon his glorious wings he rose into the air, and against his crafty enemies he made a curse,

a curse terrible and fear-striking, saying,

“Your eyes shall be blinded, and ye shall not see; and your ears shall be deaf, and ye shall not hear.”

And at once, when each man looked at his neighbor, he saw a stranger;

and when he heard his own familiar mother-tongue it sounded like a foreign language,

and they cried out that they were betrayed, and that the enemy had come among them.

They turned their weapons each against the other,

and in the quickness of a moment many had ceased to live, and the rest had fled,

               (wild boar & sky-disc above)

while over them flew the gleaming Disk (alien technologies) watching for Set.

But Set was in the marshes of the North Country and these were but his advance-guard.

Then Horus flew back to Ra, and Ra embraced him

and gave him a draught of wine mixed with water.

And to this day men pour a libation of wine and water to Horus at this place in remembrance.

When Horus had drunk the wine, he spoke to the Majesty of Ra and said,

“Come and see thine enemies, how they lie overthrown in their blood.”

3d - Inanna riding & Ninhursag 

                     (Astarte / Inanna, Mistress of Horses:                     Utu & Inanna with captive earthlings)

Ra came, and with him came Astarte (Inanna), Mistress of Horses, driving her furious steeds;

and they saw the corpse-strewn field where the army of Set had slain one another.

Now this is the first encounter in the South, but the last great battle was not yet.

Then the associates of Set came together and took counsel,

and took upon themselves the likeness of crocodiles and hippopotamuses,

for these great beasts can live under water and no human weapon can pierce their hides.

They came up the river, the water swirling behind them,

and rushed upon the Boat of Ra (alien technologies) to overturn it.

But Horus had gathered together his band of armorers and weapon-smiths,

and they had prepared arrows and spears of metal, smelted and welded,

hammered and shaped, with magical words and spells chanted over them.

When the fierce beasts came up the river in waves of foam,

the Followers of Horus drew their bowstrings and let fly their arrows,

they cast their javelins, and charged with their spears.

And the metal pierced the hides and reached the hearts,

and of these wicked animals six hundred and fifty were slain, and the rest fled.

Now this is the second encounter in the South, but the last great battle was not yet.

The associates of Set fled, some up the river and some down the river;

             

their hearts were weak and their feet failed for fear of Horus, the Harpooner, the Hero.

And those whose faces were towards the South Land fled fastest,

for Horus was at their back in the Boat of Ra (alien technology);

and with him came his Followers, their weapons in their hands.

(Ninhursag, Inanna, & Bau seated)

At the south-east of Denderah, the city of Hathor (Ninhursag),

Horus saw the enemy, and he rushed upon them with his Followers,

while Ra and Thoth (Ningishzidda) watched the conflict as they waited in the Boat.

Then said the Majesty of Ra to Thoth, “See, how he wounds his enemies!

See, how Horus of Edfu carries destruction among them!”

And afterwards men built a shrine in this place in remembrance of the fight,

and the Gods in the shrine were Ra and Min and Horus of Edfu.

Now this is the third encounter in the South, but the last great battle was not yet.

Then quickly they turned the Boat, and swiftly was it carried downstream,

following the fugitives, whose faces were towards the North Land.

For a night and a day they followed after, and at the north-east of Denderah Horus saw them.

And he made haste, he and his Followers, and fell upon them, and slew them.

Great and terrible was the slaughter as he drove them before him.

Thus was destroyed Set‘s army in the South in four great encounters,

but the last great battle was not yet.

Now the allies of Set turned their faces towards the lake and towards the marshes of the sea.

Horus came behind them in the Boat of Ra,

3a - Ashur in his flying disc (Ashur in winged sky-disc)

and his form was the form of a great winged disk (alien technologies);

and with him came his Followers, their weapons in their hands.

Then Horus commanded silence, and silence was upon their mouths.

Four days and four nights were they upon the water seeking the enemy.

But none did they find, for their foes had turned their shapes

into the shapes of crocodiles and hippopotamuses, and lay hidden in the water.

On the morning of the fifth day Horus saw them; at once he gave battle,

and the air was filled with the noise of the combat,

while Ra and Thoth watched the conflict as they waited in the Boat.

Then the Majesty of Ra cried aloud when he saw Horus like a devouring flame upon the battlefield,

“See, how he casts his weapon against them, he kills them,

he destroys them with his sword, he cuts them in pieces, he utterly defeats them!

See and behold Horus of Edfu!”

At the end of the fight Horus came back in triumph

and he brought one hundred and forty-two prisoners to the Boat of Ra.

Now this is the first encounter in the North, but the last great battle was not yet.

For the enemies, who were upon the Northern Waters,

turned their faces towards the canal to reach the sea,

and they came to the Western Waters of Mert, where the Ally of Set had his dwelling.

Behind them followed Horus, equipped with all his glittering weapons (alien tech),

and he went in the Boat of Ra, and Ra was in the Boat with eight of his train.

They were upon the Northern Canal, and backwards and forwards they went,

turning and re-turning, but nothing did they see or hear.

Then they went northward for a night and a day and they came to the House of Rerhu.

There Ra spoke to Horus and said,

“Behold, thy enemies are gathered together at the Western Waters of Mert, where dwell the Allies of Set.”

And Horus of Edfu prayed the Majesty of Ra to come in his Boat against the Allies of Set.

Again they traveled to the northwards, where the never-setting Stars wheel round a certain point in the sky,

and on the banks of the Western Waters of Mert were the Allies of Set, ready for battle.

Then Horus of Edfu delayed not a moment, but rushed upon the foe,

and with him came his Followers, their weapons in their hands.

Death and destruction they dealt to right and to left till the enemy fled before them.

When the conflict was over, they counted the prisoners; three hundred and eighty-one were taken,

and these Horus slew before the Boat of Ra, and their weapons he gave to his Followers.

Now this is the second encounter in the North, but the last great battle was not yet.

4a - Seth, Marduk's son, Osiris' brother (Seth upon his pig symbol)

And now, at last, Set himself came forth from his hiding-place.

Fierce and savage he is, cunning and cruel; in his nature like a beast of prey, without ruth or pity;

4b - Seth, Satu (Seth upon his throne)

and men make his image with the head of a wild beast, for human feeling is to him unknown.

From his hiding-place he came forth and he roared terribly.

The earth and the heavens trembled at the sound of his roaring and at the words which he uttered,

for he boasted that he would himself fight against Horus

            

and destroy him as he had destroyed Osiris (Ashur).

The wind bore the words of his boasting to Ra,

and Ra said to Thoth the twice great, Lord of Magic and Wisdom,

“Cause that these high words of the Terrible One be cast down.”

Then Horus of Edfu sprang forward and rushed at his enemy, and a great fight raged.

Horus cast his weapon and killed many, and his Followers fought also and prevailed.

Out of the dust and the noise of the combat came Horus, dragging a prisoner;

and the captive’s arms were bound behind him,

and the staff of Horus was tied across his mouth so that he could make no sound,

and the weapon of Horus was at his throat.

Horus dragged him before the Majesty of Ra.

And Ra spoke and said to Horus, “Do with him as thou wilt.”

Then Horus fell upon his enemy, and struck the weapon into his head

and into his back, and cut off his head, and dragged the body about by the feet,

and at last he cut the body into pieces.

Thus did he treat the body of his adversary as Set had treated the body of Osiris.

This took place on the seventh day of the first month

of the season when the earth appears after the inundation.

And the lake is called the Lake of Fighting to this day.

Now this is the third encounter in the North. but the last great battle was not yet.

For it was the Ally of Set whom Horus had slain, and Set himself was still alive,

and he raged against Horus as a panther of the South.

And he stood up and roared in the face of heaven, and his voice was the voice of thunder,

and as he roared he changed himself into a great snake, and entered into the earth.

               (gods vrs. gods)

None saw him go and none saw him change, but he was fighting against the Gods,

and by their power and knowledge are they aware of what comes to pass, though no man tells them.

And Ra said to Horus, Set has transformed himself into a hissing snake and has entered the earth.

We must cause that he never comes forth; never, never no more!”

The associates of Set took courage, knowing that their leader was alive,

and they assembled again, and their boats filled the canal.

The Boat of Ra went against them,

              (glory of the great winged disc)

and above the Boat shone the glory of the great winged Disk (alien technologies).

When Horus saw the enemy gathered together in one place,

he drove at them and routed them and slew them without number.

Now this is the fourth encounter in the North, but the last great battle was not yet.

Then Horus of Edfu remained in the Boat of Ra upon the canal for six days and six nights,

watching for the enemy, but he saw none, for they lay as corpses in the water.

And to this day men make ceremonies in remembrance of the Battles of Horus

on the first day of the first month of the inundation,

on the seventh day of the first month of the appearing of the earth after the inundation,

and on the twenty-first and twenty-fourth days of the second month of the earth’s appearing.

These days are kept holy at Ast-abt, which is at the south side of Anrudef,

where is one of the graves of Osiris.

              (Isis, spouse to Osiris)

And Isis made magical spells round Anrudef that no enemy might come near it;

and the priestess of Anrudef is called “The Lady of Spells” to this day in remembrance;

and the waters are called “The Waters of Seeking,” for there it was that Horus sought for his foe.

And Horus sent out his Followers, and they hunted down the enemy,

and brought in prisoners; one hundred and six from the East and one hundred and six from the West.

These they slew before Ra in the sanctuaries.

Then Ra gave to Horus and his fighters two cities which are called the Mesen-cities to this day,

for the Followers of Horus are Mesenti, the Metalworkers.

In the shrines of the Mesen-cities Horus is the God,

and his secret ceremonies are held on four days in the year.

Great and holy are these days in the Mesen-cities, for they are in remembrance of the Battles of Horus

which he fought against Set, the murderer of Osiris (father to Horus).

Now these enemies, they gathered again in the East, and they traveled towards Tharu.

Then was launched the Boat of Ra to follow after them,

              (Horus)

and Horus of Edfu transformed himself into the likeness of a lion with the face of a man;

his arms were like flint, and on his head was the Atef-crown,

which is the white diadem of the South Land with feathers and horns,

and on either side a crowned serpent.

And he hastened after his enemies, and defeated them,

and brought of prisoners one hundred and forty-two.

Then said Ra to Horus of Edfu, “Let us journey northwards to the Great Green Waters,

and smite the foe there as we have smitten him in Egypt.”

Northwards they went, and the enemy fled before them, and they reached the Great Green Waters,

where the waves broke on the shore with the noise of thunder.

Then Thoth arose and he stood in the midst of the Boat,

and he chanted strange words over the boats and barges of Horus and his Followers,

and the sea fell calm as the sound of the words floated across its waves.

And there was silence on the Great Green Waters, for the wind was lulled,

and naught was in sight save the boats of Ra and of Horus.

Then said the Majesty of Ra, “Let us sail round the whole extent of the land, let us sail to the South Land.”

And they knew that Ra was aware of the enemy.

They made haste and sailed to the South Land by night, to the country of Ta-kens,

and they came to the town of Shaïs, but until they reached Shaïs they saw naught of any enemy.

Now Shaïs is on the border of Nubia, and in Nubia were the guards of the enemy.

1e - Horon-Horus & Gibil's Gift, Winged Sandals (winged Horus)

Then Horus of Edfu changed himself into a great winged Disk with gleaming pinions outspread,

and on either side of him came the goddesses Nekhbet and Uazet,

and their form was the form of great hooded snakes with crowns upon their heads;

on the head of Nekhbet was the white crown of the South Land,

on the head of Uazet was the red crown of the North Land.

And the Gods in the Boat of Ra cried aloud and said,

“See, O Thou who art twice great, he has placed himself between the two goddesses.

Behold how he overthrows his adversaries and destroys them.”

Now this is the encounter in Nubia, but the last great battle was not yet.

Then came Ra in his Boat and he moored at Thest-Hor, and he gave commandment

              (great winged sky-disc)

that in every temple throughout the Two Lands men should carve the Winged Disk,

and on the right and left of the Disk should be Nekhbet and Uazet

as great hooded snakes with crowns upon their heads.

And the temple at the point of Thest-Hor is called “The House of Horus in the South”

to this day in remembrance, and a great offering is made there to Ra and Horus.

And Ra gave to Horus the province of the House of Fighting,

and Ast-Abt, and the Mesen-cities of the East and the West,

and Edfu of the North, and Tharu, and Gauti, and the Sea of Sailing,

and Upper Shasu, and Edfu-of-the-House-of-Ra.

And from the lake south of Edfu-of-the-House-of-Ra

they bring water to the two Houses of the King on the day of the Sed-festival.

2b - Isis & Horus (mother Isis & son Horus)

And Isis carried Ar-stone of sand to Thest-Hor—Ar-stone of the Star was it;

and in every place in the South Land to which Horus went, there is Ar-stone found to this day.

Now some say that the last great battle is still to come,

and that in the end Horus will kill Set, and that Osiris and all the Gods

will reign on earth when their enemy is utterly destroyed.

But others say that the battle is already ended and that Horus slew the great

and wicked Foe who had wrought misery and calamity to all.

And this is what they say: After months and years Horus the Child grew to manhood.

Then came Set with his allies, and he challenged Horus in the presence of Ra,

And Horus came forth, his Followers with him in their boats, with their armor,

and their glittering weapons with handles of worked wood, and their cords, and their spears.

And Isis made golden ornaments for the prow of the boat of Horus (alien tech),

and she laid them in their places with magic words and spells, saying,

“Gold is at the prow of thy boat, O Lord of Mesen,

Horus, Chieftain of the boat, the great boat of Horus, the boat of rejoicing.

May the valor of Ra, the strength of Shu, power and fear be around thee.

Thou art victorious, O son of Osiris, son of Isis, for thou fightest for the throne of thy father.”

Then Set took upon himself the form of a red hippopotamus, great and mighty,

and he came from the South Land with his Allies, traveling to the North Land to meet Horus of Edfu.

And at Elephantine, Set stood up and spoke a great curse against Horus of Edfu and against Isis, and said,

“Let there come a great wind, even a furious north-wind and a raging tempest”;

and the sound of his voice was like thunder in the East of the sky.

His words were cried from the southern heaven and rolled back to the northern heaven,

a word and a cry from Set, the enemy of Osiris and the Gods.

At once a storm broke over the boats of Horus and his Followers, the wind roared,

and the water was lashed into great waves, and the boats were tossed like straws.

But Horus held on his way; and through the darkness of the storm

and the foam of the waves gleamed the golden prow like the rays of the sun.

And Horus took upon himself the form of a young man; his height was eight cubits;

3d -Horus, Osiris' & Isis' Son (Horus)

in his hand he held a harpoon, the blade was four cubits, the shaft twenty cubits,

and a chain of sixty cubits was welded to it.

Over his head he brandished the weapon as though it were a reed,

and he launched it at the great red hippopotamus which stood in the deep waters,

ready to destroy Horus and his Followers when the storm should wreck their boats.

And at the first cast the weapon struck deep

into the head of the great red hippopotamus and entered the brain.

Thus died Set, that great and wicked One, the enemy of Osiris and the Gods.

And to this day the priests of Horus of Edfu, and the King’s daughters,

and the women of Busiris and the women of Pé chant a hymn and strike the drum for Horus in triumph.

And this is their song: “Rejoice, O women of Busiris! Rejoice,

O women of Pé! Horus has overthrown his enemies!

“Exult, dwellers in Edfu! Horus, the great God, Lord of heaven, has smitten the enemy of his father!

“Eat ye the flesh of the vanquished, drink ye his blood, burn ye his bones in the flame of the fire.

Let him be cut in pieces, and let his bones be given to the cats, the fragments of him to the reptiles.

“O Horus, the Striker, the great One of Valor, the Slayer, the Chief, of the Gods,

the Harpooner, the Hero, the only begotten, Captor of captives, Horus of Edfu, Horus the Avenger!

“He has destroyed the wicked One,

he has made a whirlpool with the blood of his enemy, his shaft has made a prey.

Behold ye, see ye Horus at the prow of his boat.  Like Ra, he shines on the horizon.

He is decked in green linen, in binding linen, in fine linen and byssus.

The double diadem is upon thy head, the two serpents upon thy brow,

O Horus the Avenger! “Thy harpoon is of metal, the shaft is of the sycomore of the desert,

2e - Ninhursag & DNA experiments (Ninhursag / Hathor)

the net is woven by Hathor (Ninhursag) of the Roses.

Thou hast aimed to the right, thou hast cast to the left.

We give praise to thee to the height of heaven, for thou hast chained the wickedness of thine enemy.

We give praise to thee, we worship thy majesty, O Horus of Edfu, Horus the Avenger!”

Horus Quotes From Zecharia Sitchin Books, etc.

SEE SITCHIN’S EARTH CHRONICLES, ETC.:

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

 

a document does exist that describes the first war in which the gods involved mortal man. It is an inscription on the walls of the great temple at Edfu, an ancient Egyptian holy city dedicated to the god Horus…an Egyptian text declared:

       “When the doors of the foundry open the Disc riseth …”

 

       “In the year 363 His Majesty, Ra, the Holy One, the Falcon of the Horizon,

       the Immortal Who Forever Lives, was in the land of Khenn.(Nubia)

       He was accompanied by his warriors

       for his enemies had conspired against their lord in the district,

       which has been called Ua-Ua (northern Nubia) since that day.

       Ra went there in his boat, his companions with him.

       He landed in the district of the Throne Place of Horus,

       in the western part of the district, east of the House of Khennu (Enki),

       the one which has been called Royal Khennu from that time on.

       Horus, the Winged Measurer, came to the boat of Ra.

       He said to his forefather: ‘O Falcon of the Horizon,

       I have seen the enemy conspire against thy Lordship,

       to take the Luminous Crown unto themselves’ …”

 

And Horus came out to greet his forefather and reported to him that “the enemy” was gathering its forces.

       “Then Ra, the Holy One, the Falcon of the Horizon,

       said unto Horus, the Winged Measurer:

       ‘Lofty issue of Ra, my begotten:

       Go quickly, knock down the enemy whom you have seen’ …”

 

So instructed, Horus took off in the Winged Disc to search for the enemy from the skies:

       “So Horus, the Winged Measurer,

       flew up toward the horizon in the Winged Disc of Ra;

       it is therefore that he has been called from that day on

       ‘Great God, Lord of the Skies’…”

 

From the skies, flying in the Winged Disc, Horus spotted the enemy forces and unleashed upon them a “storm” that could neither be seen nor heard, yet it brought instantaneous death:

       “In the heights of the skies, from the Winged Disc,

       he saw the enemies, and came upon them from behind.

       From his forepart he let loose against them a Storm

       which they could neither see with their eyes

       nor hear with their ears.

       It brought death to all of them in a single moment;

       not a being remained alive through this.

       Then Horus, the Winged Measurer, reappeared in the Winged Disc,

       which shined in many colors;

       and he came back to the boat of Ra, the Falcon of the Horizon.

       And Thoth said: ‘O Lord of the gods!

       The Winged Measurer has returned in the great Winged Disc,

       shining with many colors’ …”

 

       “Therefore is he named from that day on “The Winged Measurer,”

       And they named after Horus, the Winged Measurer,

       the city of Hut “Behutet” from that day on. …”

Behutet, which was granted to Horus as a prize for his victory, was the very city of Edfu, which has been dedicated to Horus ever since.

Hovering in the sky, Horus called on Ra to scout the land below:

       “And Horus said: ‘Advance, O Ra!

       Look for the enemies who are lying below, upon the land!’

       Then Ra, the Holy One, traveled forth;

       and Ashtoreth (Ashur) was with him.

       And they looked for the enemies upon the land;

       but each one of them was hidden …”

 

Since the enemies on the land were hidden from sight, Ra had an idea:

       “And Ra said unto the gods accompanying him:

       ‘Let us guide our vessel toward the water,

       for the enemy lies in the land.’

       And they called the waters “The Traveled Waters” from that day on …”

 

Horus was in need of a waterborne vessel. So they gave him a boat,

       “and called it Mak-A (Great Protector) unto this day …”

 

It was then that the first battle involving mortal men ensued:

       “But the enemies too went into the waters,

       making themselves as crocodiles and hippopotami,

       and they were striking at the boat of Ra, the Falcon of the Horizon…

       It was then that Horus, the Winged Measurer, came along with his helpers,

       those who served as warriors, each one called by name,

       with the Divine Iron (alien technology) and a chain in their hands,

       and they beat off the crocodiles and hippopotami.

       And they hauled up 651 enemies to that place;

       they were killed in sight of the city.

       And Ra, the Falcon of the Horizon, said unto Horus, the Winged Measurer:

       ‘Let this place be known as the place where thine victory

       in the southlands has been established’ …”

 

the victory of Horus seemed complete; and Thoth called for a celebration:

       “Then Thoth said unto the other gods:

       ‘O Gods of Heaven, let your hearts rejoice!

       O Gods of Earth, let your hearts rejoice!

       The young Horus has brought peace,

       having performed extraordinary feats in this campaign’ …”

It was then that the Winged Disc was adopted as the emblem of Horus victorious:

       “It is from that day that the metal emblems of Horus have existed.

       It was Horus who had fashioned as his emblem the Winged Disc,

       placing it upon the forepart of the boat of Ra.

       The goddess of the north and the goddess of the south,

       represented as two serpents, he place alongside.

       And Horus stood behind the emblem, upon the boat of Ra,

       the Divine Iron (technology of the gods) and the chain in his hand …”

 

peace was not yet at hand. As the company of gods kept advancing northward,

       “they glimpsed two brightnesses on a plain southeast of Thebes.

       And Ra said to Thoth:

       ‘This is the enemy; let Horus slaughter them…’

       And Horus made a great massacre among them …”

with the aide of the army of men he had trained and armed, Horus was victorious; and Thoth kept naming the locations after the successful battles…

For several days the gods advanced northward, —Horus keeping watch from the skies in the Winged Disc, Ra and his companions sailing down the Nile, and the Metal People guarding the flanks on land.

       “Then the enemies distanced themselves from him, toward the north.

       They placed themselves in the water district,

       facing the back-sea of the Mediterranean ;

       and their hearts were stricken with fear of him.

       But Horus, the Winged Measurer,

       followed close behind them in the boat of Ra,

       the Divine Iron in his hand.

       And all his Helpers, armed with weapons of iron forged,

       were staged all around …”

But the attempt to surround and entrap the enemies did not succeed:

       “For four days and four nights he roamed the waters in pursuit of them,

       without seeing even one of the enemies …”

Ra then advised him to go up again in the Winged Disc, and this time Horus was able to see the fleeing enemies;

       “he hurled his Divine Lance after them and he slew them,

       and performed a great overthrow of them.

       He also brought 142 enemy prisoners to the forepart of the boat of Ra, …”

where they were quickly executed.

The Edfu temple inscription now shifts to a new panel…The enemies that had managed to escape

       “directed themselves by the Lake of the North,

       setting themselves toward the Mediterranean,

       which they desired to reach by sailing through the water district.

       But the god smote their hearts (with fear),

       and when they reached the middle of the waters as they fled,

       they directed themselves from the western lake

       to the waters which connect with the lakes of the district Mer,

       in order to join themselves there with the enemies who were the Land of Seth …”

It was then, according to the inscription in the great temple of Edfu, that Seth was so enraged that he faced Horus for a series of battles–on the ground and in the air—for god-to-god combat.

Seth suggested that the gods’ deliberations be recessed so as to give him a chance to discuss the problem peacefully with his newly appeared nephew. He invited Horus to

       “come, let us pass a happy day in my house, …”

 

       “And when it was eventide, the bed was spread for them,

       and the twain lay thereon …”

 

       “And in the night Seth caused his member to become stiff,

       and he made it go between the loins of Horus …”

Seth demanded…Horus be disqualified…the seed of Seth was now in him, entitling him to succeed, not precede, Seth! Now it was the turn of Horus to surprise the gods. When Seth poured out his semen,

       “I caught the seed between my hands …”

 

       “Not only is Seth’s seed not in me,

       but my seed is in him.

       It is Seth who has been disqualified! …”

Seth did not wait…Only a fight to the bitter end could now settle the issue, he shouted as he left.

According to the Edfu temple inscriptions, the first face to face battle between Horus and Seth took place at the “Lake of the Gods”, thereafter known as the “Lake of Battle.”

Horus…hit Seth with his Divine Lance…captured him and brought him before Ra.

       “His spear was in his (Seth’s) neck,

       and the legs of the evil one were chained,

       and his mouth had been closed by a blow

       from a club of the god (Horus) …”

 

       Isis had pity on her brother Seth, and set him free.”

infuriated Horus…The texts describe a battle that raged far and wide, and the first to be hit was Horus—struck by a bolt of light from Seth’s vehicle. The Nar lost one of itseyes and Horus continued to fight from the Winged Disc of Ra…he shot aharpoonat Seth; now Seth was hit, and lost his testicles…

Seth, having lost his testicles, could no longer have offspring…And so Geb

       “Lord Earth , gave his heritage to Horus …”

the whole of Egypt. To Seth a domain away from Egypt was to be given…

       “Horus is triumphant in the presence of the whole company of the gods.

       The sovereignty over the world hath been given unto him,

       and his dominion is in the uttermost parts of Earth.

       The throne of the god Geb hath been adjudged unto him,

       along with the rank which had been founded by the god Shu …”

This legitimization, the Papyrus went on to say:

       “Hath been formalized by decrees (lodged) in the Chamber of Records;

       It hath been inscribed upon a metal tablet

       according to the commandments of thy father Ptah (Enki)

       Gods celestial (Igigi space truckers)

       and gods terrestrial (those on Earth Colony)

       transfer themselves to the services of thy son Horus.

       They follow him to the Hall of Decrees.

       He shall lord over them …”

Horus Quotes From Texts

(Texts: All Artifacts, Color Coding, & Writings in Bold Type With Italics Inside Parenthesis, are Added by Editor R. Brown, not the Authors, Translators, or Publishers!)

(gods in blue)

 

         Horus belong righteousness and truth; deceit and falsehood are not in him.

         Who so gazes into the blue eyes of Horus can see the future reflected there,

         and both Gods and men seek Horus to learn what shall come to pass. …”

 

         “Then Set aimed a blow of fire at the eye of Horus,

and Horus shouted aloud with the pain of the fire, and raged furiously, and cried,

         “It is Set, and he has smitten me with fire on the eyes. …”

 

         Set, the enemy of Horus, and the murderer of Osiris (Ashur, Marduk‘s deceased son),

         took its form in order to injure the blue-eyed God. …”

 

         “when the eyes of Horus were healed, Ra gave to him the city of Pé,

and he gave to him two divine brethren in the city of Pé, and two divine brethren

         in the city of Nekhen to be with him as everlasting judges. …”

 

         “he would himself fight against Horus and destroy him as he had destroyed Osiris (Ashur).

 

         “Out of the dust and the noise of the combat came Horus, dragging a prisoner;

and the captive’s arms were bound behind him,

and the staff of Horus was tied across his mouth so that he could make no sound,

and the weapon of Horus was at his throat.

Horus dragged him before the Majesty of Ra.

And Ra spoke and said to Horus, “Do with him as thou wilt.”

Then Horus fell upon his enemy, and struck the weapon into his head

and into his back, and cut off his head, and dragged the body about by the feet,

and at last he cut the body into pieces.

         Thus did he treat the body of his adversary as Set had treated the body of Osiris. …

         it was the Ally of Set whom Horus had slain, and Set himself was  still alive, …”

   

         “May the valor of Ra, the strength of Shu, power and fear be around thee.

Thou art victorious, O son of Osiris, son of Isis, for thou fightest for the throne of thy father. …”

 

          “Over his head he brandished the weapon as though it were a reed,

and he launched it at the great red hippopotamus which stood in the deep waters,

ready to destroy Horus and his Followers when the storm should wreck their boats.

And at the first cast the weapon struck deep

into the head of the great red hippopotamus and entered the brain.

          Thus died Set, that great and wicked One, the enemy of Osiris and the Gods. …”