诺坎普魔女- 安祖神
柏拉图、普罗提诺、达马斯基乌斯还有伊蕾娜的旅途都在永远地进行下去,或者说旅途本身就是永远。我何时能成为他们的旅伴呢?
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(大氵)贝希斯顿铭文埃兰语版 {disz}u2 {disz}da-ri-ia-ma-u-isz _{disz}lugal_ ir-sza2-ir-ra _{disz}lugal_ {disz}lugal-ip-in-na _{disz}lugal_ {asz}par2-szipx(ESZ)-ik-ka4 _{disz}lugal_ {disz}da-a-u2-isz#-pe3-na {disz}mi-isz-da-asz2-ba sza2-ak-ri {disz}ir-sza2-ma {disz}ru-uh-hu-sza2-ak-ri {disz}ha-ka4-man-nu-szi-ia . a-ak {disz}da-ri-ia-ma-u-isz _{disz}lugal_ na-an-ri {disz}u2 {disz}at-ta2-ta2 {disz}mi-isz-da-asz2-ba a-ak {disz}mi-isz-da-asz2-ba {disz}at-te-ri {disz}ir-sza2-u2-ma a-[ak] {disz}ir-sza2-u2-ma {disz}at-te-ri {disz}har-ri-ia-ra-um-na a-ak {disz}har-ri-ia-ra-um-na {disz}at-te-ri {disz}zi2-isz-pi-isz a-ak {disz}zi2-[isz-pi]-isz [{disz}]at-te-ri {disz}ha ak-ka4-man-nu-isz a-ak {disz}da-ri-ia-ma-u-isz _{disz}lugal_ na-an-ri hu-uh-pe3 in-tuk-ki-me {disz}nu-ku _{disz}numun-mesz_ {disz}ha-ak-[ka4-man-nu]-szi-ia ti-ri-ma-nu-un sza2-asz2-sza2-ta2 ka4-[ra]-ta2-la-ri sza2-lu-u2-ut a-ak sza2-asz2-sza2-ta2 ka4-ra-ta2-la-ri _{disz}numun-mesz_ {disz}nu-ka4-mi [{disz}lugal-ip]a-ak {disz}da-ri-ia-ma-[u]-isz _{disz}lugal_ na-an-ri 8(disz) {disz}lugal-ip _{disz}numun-mesz_ {disz}u2-ni-na ap-pu-ka4 {disz}lugal-me mar-ri-isz {disz}u2 9(disz)-u2-[me-ma {disz}lugal-me] hu-ut-ta2 sza2-ma-ak-mar {disz}nu-ku {disz}lugal-ip-u2-ut en: And Darius the king says: 8 kings in my family held kingship before me. I held the 9th kingship. One after the other, we were kings. 5. a-ak {disz}dar-ri-ia-ma-u-isz _{disz}lugal_ na-an-ri za-u-m-in [{dingir}u]-ra-[masz-da-na] {disz#}lugal#-me {disz}u2 hu-ut-ta2 {dingir}u-ra-masz-da {disz}lugal-me {disz}u2 du-nu-isz en: And Darius the king says: (By) the intercession of Ahuramazda, I exercised kingship. Ahuramazda gave me the kingship 6. a-ak {disz}da-ri-ia-ma-u-isz _{disz}lugal_ na-an-ri {disz}da-[a]-ia-[u-isz hi ap-pa] {disz}u2-ni-na ti-ri-isz-ti za-u-mi-in {dingir}u-ra-masz-da-na {disz}u2 {disz}lugal-me ap-pi-ni hu-ut-ta2 {disz}par2-szipx(ESZ) a-ak {disz}ha-tam-tup [a-ak {disz}ba-bi3-li]-ip# a-ak {disz}asz2 szu-ra-ip a-[ak {asz}ar]-ba-ia-ip a-ak {disz}mu-iz-za-ri-ia-ip a-ak _{disz}an-kam-mesz_-ip a-ak [{disz}isz-par2-da-pe3 a]-ak {disz}i-ia-u-na-ip a-ak {disz}ma-da-pe3 a-ak {disz}har-mi-nu-ia-ip a-ak {disz}ka4-at-ba-du-kasz-pe3 a-ak {disz}par2-tu-ma-ip# [a-ak {disz}sir-ra]-in-kasz-pe3 a-ak {disz}ha-ri-i-ia-ip# [a]-ak {disz}ma-rasz2-mi-ia-ip a-ak {disz}ba-ak-szi-isz a-ak {disz}su-ug-dasz-pe3 a-ak [{disz}par2-ru-ba-ra-e]-sa-na a-ak {disz}sza2-ak-ka4-pe3 a-ak [{disz}]sa-ad-da-ku-isz a-ak {disz}har-ra-u-ma-ti-isz a-ak {disz}ma-ak-ka4 PAP ir tar-tin [2(u) 3(disz) {disz}da-a-ia-u]-isz a-ak {dingir}da-ri-ia-[ma-u]-isz [{disz}]lugal# na-an-ri {disz}da-a-ia-u-isz hi ap-pa {disz}u2-ni-na ti-ri-isz-ti za-u-mi-in [{dingir}u-ra-masz-da-na] _tasz#_ li-pa2-me {disz}u2-ni-na hu-ut-ta2-uh# [ba-zi]-isz {disz}u2-ni-na ku-ti-isz ap-pa {disz}u2 [...] ap ti-ri-ia {dingir}szi-ut-ma-na {dingir}na-an-ma-na hu-uh#-pe3 hu-ut-ta2-isz a-ak {disz}da-ri#-ia-ma-u-isz _{disz}lugal_ na-an-ri {disz}da-a-ia-u-isz hi ha-ti-ma _{disz}ruh-mesz_-ir-ra [ak-ka4 kan2?-na?-isz?] hu#-pir2-ri ir ku uk-ti ak-[ka4 ...] hu-pir2-ri szil-la-ka4 mi-ul-e ha-pi za-u-mi-in {dingir}u-ra-masz-da-na [da-at-tam ap-pa {disz}u2]-ni-na {disz}da-a-ia-u-isz hi ha-ti ku-uk-ta2-ak ap-pa an-ka4 {disz}u2-ik-ki-mar ap ti-ri-ik-ka4 hu-uh-pe3 hu-ut-[ta2-isz]
个人收集到的有关基什主神扎巴巴的资料ザババ( [ˈzɑːbɑ 个人收集到的有关基什主神扎巴巴的资料 ザババ( [ˈzɑːbɑːbɑː]あるいはザママ)はメソポタミア神话の戦いを司る男性神。 古代メソポタミア、バビロニア北部の都市・キシュの都市神で[1][2]、后代にはラガシュの主神・ニンギルスと同一视されるようになる。 通常はババ(Baba)が配偶者とされるが、女神イシュタルが配偶神として描かれることもある。 ともに戦いの神という共通点がありイシュタルとのペアリングはよく见られ、古代バビロニアの王サムス・イルナの碑にはザババとイシュタルがキシュの主神であると刻まれている。 戦いの神として王の远征を守护し、また誓约の神としての面も持っており[3]、そのため商人によってよく信仰され、ザババの武器はカーミ・ターミス(kami-tamisu、誓いを立てたものを结びつけるもの)とよばれた[4]。 また、キシュのマナナ王朝(mananaia dynasty)では不动产取引や给与の支払いなど公的な记录の中でたびたび、「ザババとイアウィウム王(Yawirum、或いはIawium)の名により」という文言で誓约がなされている[5][6]。 鹫头の杖がザババのシンボルとされたり[7]、ライオンの头の杖あるいはメイスとともに描かれる。 また别の文献では右手にはライオンがモチーフの、左手には鹫がモチーフの二本のシミターを持っているとされ[8]、これらはイガリマ、シュルシャガナという名前で人格化され神格化されている[9]。 このイガリマ(野牛の门の意)とシュルシャガナ(最爱の青年の意)は、ときに古代都市ニップルの女神ニン・ニニブとニヌルタの2人の男児として[10]、またはラガシュ市の主神ニンギルス(ニヌルタ、ニニブと同一视される)とババ の子として描かれる[10]。 Zababa,也可写作Zamama,是战争之神,基什城(Kish)的守护神。他与尼努尔塔(Ninurta,大神恩利尔之子,也是战神)有联系,扎巴巴的象征——鹰头权杖——经常被描绘在尼努尔塔的象征旁边。女神芭芭(Baba)与伊南娜(Inanna)常被描述为他的妻子
2019年《吉尔伽美什与胡瓦瓦》版本A翻译尝鲜新东西,和原来 2019年《吉尔伽美什与胡瓦瓦》版本A翻译尝鲜 新东西,和原来那版还是有些不同的,不定期更新 1王决定向那座能使人名垂青史的山进发 2吉爾伽美什王决定去那座能让人名垂青史的山。 他對他的奴隶恩基都說: 4“恩基都,年輕人的生命无可避免地要走向终结, 5我要進入那座山,我要建立起我的名字, 6在先人留名的碑文上,我就要確立我的名字, 7在无人留名的地方,我要立神之名!” 8他的奴隶恩基杜回答說: 9“我的主人,如果你要進入那座山,一定要会知乌图! 10烏圖,年輕的烏圖,一定要让他知晓! 11关于这座山的权力在乌图手里 砍伐杉树的权力掌握在乌图手里,一定要会知他!” 13吉爾伽美什挑選了一隻白色的公山羊 14他把一隻棕色的公山羊放在胸前作為禮物 15他把一根纯净的權杖高舉到鼻子上 16他向天堂上的乌图乞求道: 17“烏圖,如果我要進入这座山,那你一定是我的保护者, 如果我为了砍伐杉树而进入那座山,那你一定是我的庇护者!” 19烏圖在天上回答道 20“你本身是一個年輕人,一個平原上的人,那座山对你来说有什么价值?” 21“烏圖,我恳求你,请你倾听 22我想和你讲一件事,或许会引起你的注意 23在我的都市裏,有人去世了 24有人(後來)被遺忘了:我的心為此而痛苦 25我把头伸出城牆 26注意到一具屍體漂浮在河裡 27但我不该沦落至此!我的命运注定如此嗎? 28一个高大的人不能触碰到到天堂 29一个博大的人无法包羅萬象 30年輕人的生命无可避免地要走向终结 31我要進入这座山,我要建立我的名字 32在先人留名的碑文上,我就要確立我的名字, 在无人留名的地方,我要立神之名!” 34烏圖接受了他的眼淚作為禮物 35他帶著同情心,就像一個有同情心的人类 36他們是七位英雄,同一母親所生的兒子 37第一個,他是長兄,最重要的青年,有獅子的爪子和鷹(第二個是散射的光(?)……在山的底部……,一個强大的圖爾蛇…第三個是…用它的頭(?)在面朝祖国的方向,一條龍,一條…蛇…
Hey Muska, thanks for the refe Hey Muska, thanks for the reference to the Kassite text in PBS 10. Definitely an interesting text. I enjoyed Langdon's assessment concerning Enmeshara: "The association of gold with Enmesharra , here obviously the earth god, is completely unintelligible (p. 334)." That is because we do not have the underlying oral tradition which would give us a background to understanding the numerous texts such as this one. Without the keys these texts simply remain lists of unrelated words. The connection between Anu, Enmeshara and Dumuzi can perhaps be found in the not very well understood concept of dying gods. These three deities are often mentioned in the late Assyrian mystical texts as dead gods. this is not unusual for Dumuzi, who has always been considered a dying god, but why Anu is mentioned in these late texts as a dying god is unknown. Anu is usually killed, often flayed by ether Bel (Lord) or specifically Marduk. Anu has always been an interesting god, he shares his temple with Inana and does not have any hymns specifically dedicated to him and there is no indication that he was worshipped in the same way as the other gods. Enmeshara is solely associated with these dying gods by being mentioned in these texts. Another connection between these three is their importance to the cults of Eridu and Uruk. Dumuzi is the lover of Inana and by tradition was an early King of Uruk. Anu's cult place was Uruk and he shared his temple with Inana: an unusual situation. Again Enmeshara is associated with Uruk and Eridu just by hints, his name is a masculine form of one of Inana's major epithets: ninmeshara. Furthermore, Many of the late texts mentioning Enmeshara are texts from the gala tradition, the gala were priests strongly associated with the cults of Inana and Enki. I doubt the references to gold, silver, etc., refer to any notion of historical ages, interesting idea though. the idea of history and dealing with the past changed over time, but for the Sumerians, the notion of time seems to have been simply the present and the mythological past. the term ud-ri-a refers to the time when things were not like they were now, they were either better (like a golden age) but more often it refers to a time when the world was incomplete, not properly created, a time when the social institutions and the "normal way of things" were not yet set. We translate this term as "days of yore," "back in the day," "the past," "those days," "those remote days," or even "once upon a time...." Many of the texts we call myths begin with this phrase. As far as we can tell, the Sumerians were not concerned much with the future, the word for future: ud-na-me-kam, is very rare in the literature. However we do know that a least the kings thought about the future a little because of the widespread practice of leaving foundation deposits when building or rennovating temples. These were texts and cult items buried in the foundation of the temples which mention the name of the king (re)building the temple for later generations to find and realize how great a king so-and-so was because of his works. The last Babylonia king, Nabonidus, while renovating the temple of Sin, found some of these foundation deposits and they caused him to completely revive the cult of Sin and abandon the worship of Marduk. (Sin also appeared to him in dreams after he found these ancient texts). One last note, it is interesting that in the Neo-Assyrian version of Gilgamesh, the "moral" of the story is that the only way to gain immortality is to leave these foundation deposits for later generations to find, definitely a belief grounded in the idea of "future." However, none of this reference to future generations and the importance of writing and documents can be found in the Old Babylonian version. There the moral of the story seems to be encapsulated in the famous speech of Siduri to Gilgamesh: "Gilgamesh, where are you going? You will not find the life for which you are searching. When the gods created man, They allotted death for mankind, Keeping life for themselves. Gilgamesh, let your belly be full, make merry by day and by night. Make a feast of rejoicing every day. By day and by night, dance and play. Let your clothing be clean and fresh, your head be washed, your body bathed in water. Look to the child who clutches your hand, Let your wife enjoy herself in your lap. This is the fulfilment of man! Differences in philosophies between the Old Babylonians and the Neo-Assyrians. In any case, thanks Muska for bring the PBS 10 text to my attention. Interesting stuff! 原来安努总是被马尔杜克杀死
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