THE TABLET AND THE SCROLL Near Eastern Studies in Honor of WILLIAM W. HALLO edited by Mark E. Cohen Daniel C. Snell David B. Weisberg CDL Press Bethesda, Maryland 1993ASTRAL DUMUZI Daniel A. Foxvog ‘The University of California at Berkeley BM 96739 (CT 36, 33-34), an Old Babylonian tigi hymn to Inanna last edited by Falkenstein as a proof-text, ‘0 his examination of the Sumerian contrapunctive pre- formative (ZA 48 [1944], pp. 105-113), is remarkable in s number of ways. Leaving aside its tightly structured ‘compositional style, which is not unique," it is unusual for its martial portrayal of Dumuzi, in his aspect of Amausumgalanna, the royal consort of the goddess in he Sacred Marriage Rite, and for the astral references found throughout, particularly in its lst stanzas. Falken tein offered a slightly improved translation and brief de- scription in SAHG pp. 73-76, 364, but since that time no fall edition has yet appeared which incorporates Kram- er’s later collations. The following attempts to remedy this lack and is offered as a tribute to a scholar in whose debt we shall always be for his many contributions to the cstablishment of the Old Babylonian Sumerian literary corpus.” a) nin Shin-gal-e uke biel say-ga usumgal-im hu-béib §a-mu-ra-an-gil “inanna 4hin-gal-e ul-e bilisé say-ga uSumgal-im ‘bab? -bib Sa-mu-ra-an-fil @) ol-a us-a abzu-ta me Su ti-a-me-en ‘uagal dama-uSumgal-an-na bari—"kii'-za $i-im-mi-tus 4 inanna ulii-a us-a abzu-ta me Su ti ugal dama-[usu]mgal-an-na bari-ki-za ‘$i'-im-mi-tus + Compare, for example, the fi hymn to Sven, A Sjabers, 2465 (1973) sora. 3." Kramer's collations, fag 36 (1974). pp. 98-99. ae indicated sy asters. A srit Tneaion has nor been provided m order to vovd “confusing presentation of the abbrevisted repeated stanzas in the second section, Instead, whole stanzas ate numbered for later refer- nice. The scribe has made 1 nmber of cateleseeror which are di- -unted nthe translation. Otherwise, apart om the ber ue made of the contrapunctive preformative “thin, sa, correspondingly.” the ‘ext ily straightforward 103 G3) digir ur-sag-g4 "du* bi-in-gar me-2u an-na mu-un-diri- dam 34 ama-za-ta ‘uttig! mi-tum-ma 2} Sa-mu-ni-in-kés 4inanna ur'-sag-d8 [SJu* bi-in-gar me-zu an-na mu-un- diri-[dam] 83 dnin-fa"-ta utdg mi-tum-ma zi Sa-mu-ni-in- kes (a) Jugafl] kalam-ma gig zal-a “bard digir u,-"te? Sa-mu-rat— sugh-ge-es kufe-te bja-e-fl kur &2-mu-fug!-da-‘bal" aim dyma'-uSumgal-an-na kalam-ma jig zal-a ‘bari’ digir ug-te fa-mu-rat-sugt-ge- kur-re ‘bail kur Sa-mu-'ug'-da-hal- (3) nnin-§uyje dam nf-za im-mi-sé hiil"hal’ta-mu-un-da [He ma-ra-an-sum kur ni-gal-la §u-2u-u8 Sinanna dam ni-za im-mi-st hitl-hal-la-mu-un-da en-lil-le ma-ra-an-sum kur ni-gal-la $u-20-u8 © in-nin né-a-2u mu-un-na-sum lugal-am. 4ama>-ugumgal-an-na Se-"er'-2i Sa-ra-ab-2-de dinanna né-a-2u mu-un-na-sum lugal-am ama-ufumgal-an-na Se-er-2i Sa-ravab-e-de @ bala kur-bad-'ri é-a'-né stb-saby-a uy mi-s zakeal-e Sama-ugumgal-an-na-ke, kur-bad-ri é. si-sahg-a ug mi-ni-fib!-zal-zal-e yeu kur dim-28eren-na-ta 8-a-gin, (text -né) i-duyo-ga -pes-pei-e oa Sum kur fim-t Sacmu-'uy) ama-ufumgal-an gin, in(text &-)ou,o-ga Sa-mu-un eren-nacta &-2- pet-pel-e sa-gid-da-imlog DANIEL A. FOXVOG. @) ib-bu dumu-gal dsuen-na an-na &-a sii- lim ga-ga nam-gurui t6-bi-3@ gub-gub-bu mé ezen-giny S-mu- ra-dé-duy kicbala & rangle Jhoma-uSumgal-an-na ur-sag kala-ga uttig za-gin Sir fa n-ni-in-ug, pun mé-na mi (9) ‘inanna mé-né DIS nam-gurus DIS ki-bala DIS dama- ‘uSumgal-an-na (10) pin an-an-@ ki-ki-S@ ni Sau ni-gal a-ba-a mu-e-da- an-2u ivim-zu gu tab-ba mucku,-ru-da an téi-ba Si-im-da- "kaka? ooa-au “en-lil-le mu-ra-an-som ‘ama-usumgal-an-na-ke, mé ‘sabar'*-re-e3 ay usumgal- gin, nir-@al Sa-ra-ni-insa (11) “inanna nin an-an-% DIS inim-2u DIS a-a-zu DIS dama~ ufumgal-an-na (12) uin-§4yo Sama-usumgal-an-na-ke, nir Sa-mu-uy-da-gal O8ME-2uegin, bar-ra $i-bi-dul veda uy-sakar-ra dsuen-gin, an-né 2a!-ra Sasmucra-am- tet jugal ¢ama-uSumgal-an-na $i-za ki-ig-bil-im ne ‘tu G-aegin Sa-mu-na-an. 3) ‘inanna nin-guyg Sama-usumgal-an-na-key EME-2u-gin, DIS ita-da wy sakar-ra Jugal ¢ama-ufumgal-an-na Nuea-giny &-a Sa-mu-ug-da- ine (sic!) sa-Gar-ra-am tigi dinanna-kam_ 33 @) ady, though (fist) joyfully formed beautifully by Nin- gal for delight, hie then provided you with the power to destroy, like a dragon. lnanna, though (first) joyfully formed beautifully by Ningal for delight, she then provided you with che power to destroy, like a dragon. 2) And you, mounted upon the storm winds, with powers gotten from the Apsu, ou then seated king Amausumgalanna on your sacred ais, You, Inanna, mounted upon the storm winds, with powers gotten from the Apsu, you then seated king Amauiumgalanna on your sacred dais, (3) Goddess, who has favored the hero that he might make your powers surpass (even) An's, from your mother’s very womb you have girded on the sutug and mitwne maces. Inanna, who has favored the hero that he might make your powers surpass (even) An's, from Ningal’s very womb you have girded on the wing and mitum maces. @®) ‘The king — when the night had passed in the land and the rulers and gods had come to stand before you at daylight, and you bore him over the mountains and so the moun- tains rejoiced over you — Amauiumgelanna — when the night had passed in the land and the rulers and gods had come to stand before you at daylight, and you bore him over the mountains and so the moun- tains rejoiced over you — 6) My lady, you made him into your very own husband. Rejoice, rejoice over him! Enlil, that Great Mountain, has given him to you, into your hand. Inanna, you made him into your very own husband. Rejoice, rejoice over him! Enlil, that Great Mountain, has given him to you, into your hand. © Mistress, you have given him your might, the king, you have made Amaugumgalanna come forth before you in radiant splendor. Inanna, you have given him your might, the king, you have made Amausumgalanna come forth before you in radiant splendor, a ‘When he appears over the rebel lands, the far distane ‘mountains, he causes day after day to pass (there) in trouble and confusion, when Amaniumgalanna appears over “the rebel lands>, the far distant mountains, he causes day afier day to pass (there) in trouble and confiasion But when (he appears) like the sun come forth from the Mountains of Aromatic Cedar, the fine milkfit increases again and again because of him, when Amausumgalanna (appears) like the sun come forth fiom the Mountains of Aromatic Cedar,Astral Dumuzi 105 the fine milkfat increases again and again be- cause of him. (The above) is the sagida (section). ® Lady, in battle with whom none can stand, eldest child of Suen, when (you) appear in the heavens pro ducing awe-inspiring radiance, then all the young men standing as one shall join batde for you as though it were a festival, the houses of the rebel lands shall be razed of themselves, for you, and Amauiumgalanna the mighty hero shall slay multi- tudes for you with his lapis lazuli mace. @) Tnanna, in bate with whom , then all the young men , of the rebel lands , and Amaufumgalanna . (10) Lady, the matters of your heart are greater than all heav- en and all earth, who can know (anything) about you, and at your word, a doubled cord that cannot be cut, the whole heaven is consumed. Your father Enlil gaye him to you, and so Amausumgalanna, battling (the foe) to the earth like a dragon, shall be a match for you in prince- lines (ny Inanna, lady, than all heaven , and at your word, . Your father , and so Amauiumgalanna, . (12) My lady, Amauiumgalanna has relied upon you, and you have cloaked him as with your (own) mantle of divine power. And so, for you, Heaven shall beget him (anew) each month on the day of the new moon, like the Moon (himself), and king Amaugumgalanna, the beloved of your heart, they shall praise like the risen Sun! (13) My lady Inanna, Amaugumgalanna , as with your (own) mantle of divine power. each month on the day of the new moon, , and king Amausumgalanna, , they shall praise like the risen Sun! (The above) is the sagara (section). ‘This is a figi-hymn of Inanna. 53 (lines). Both Falkenstein and Kramer commented briefly on the text, but neither fully explained the significance ofits astral references. In SAHG p. 364, after noting the un usual warlike characterization of the god, Falkenstein re- marked that “Die jiingere Uberlieferung setzt Tammuz mit dem ,guten Hirten des Himmels’, dem sumerischen Namen des Orion, gleich. Die Anspielung von [Stanza 1233] bleibt dann aber unverstindlich.” Kramer, in Irag 36 (1974) 98, suggested that the text “celebrates, in the main, the trusting, harmonious, mutually advantageous rapport between the goddess and her beloved husband Amauiumgalanna, conceived as a bright heavenly star to whom An ‘gives birth’ every New Moon.” He goes on to suggest (n. 32) that “Since, as is well-known, the king of Sumer, as the husband of Inanna, was identified with Amauiumgalanna, it may be, to judge from this hymn, that there was current in Sumer a theological tenct that the king upon his death was turned into a heavenly star situated close to the Venus-star Inanna.” This suggestion has certainly received confirmation at least for Shulgi of Ur, who, it s now known, was said to have ascended to heaven at his death and there, for a time at least, o have become a star or constellation A decade later Kramer cited the last stanzas of our text again in connection with another Dumuzi-Inanna hymn, which seems to depict Dumuzi’s ascension to heaven in the form of an appeal to Inanna to “station him against the sky.”* In suggesting that Dumuzi was finally set there, “presumably as one of [heaven's] planets or stars, and (perhaps) not far from his spouse” (p. 5), Kramer surely had in mind something of what follows 3. See W. Horowite and P. Watton, AS} 1 (ayo!) 410-244 forthe most recent discussion of Watson, BCT | 12 with earir ret= ‘erences, Note ako W.W. Hallo sn AV Tadmor (1991) 158-159, 4. "BM 4838: The Ascension of Dumuzi to Heaven.” Re- ‘vei de Tisvsus et de Communicstions de "Aswciation des Etudes &u Proche-Onient Ancien 2 (1984) 5-9, See n. 2. This edition is, unfortu- nately filled with typological errors; see the handeopy in C1 58, No. 13, Perhaps the enigmatic -mul-an-na of BM 98396:16-18 (CT s& No. 5) connected in some fashion with astral Dursuzi. See Kram- cers edition, Erts-lral 16 (1982) 143*-146*,106 DANIEL A. FOXVOG. Astral Tammuz and Istar To begin, while Dumuzi may occasionally be called 1 “shepherd of An,”5 he cannot be linked with the Ori- on constellation ™MISIPAZLAN.NA, which is associated, sather, with Papsukkal, vizier of Anu and Btar.° There is no doubt that Dumuzi/Tammuz was instead regularly identified with the constellation known in later periods 's LULBUN.GA = agri, the Hired Man, for which see the basic references under CAD agrt 2. Note, further, that the constellations 4oUMU.z1 and 4Si-pa-zi-a-na are sep- vrate entries among the gods invoked by the diviner in he “Prayer to the Gods of the Night” treated by Op- penheim, AnBib 12 (1959) 282-301. For her part, Inanna/Eitar is regularly identified with «he constellation called Anunitu, almost certainly her old Sargonic by-name, used, possibly, to keep distinct her astral and planetary manifestations.® See Géssmann, SL \/2.No. 27 and ef. BM 82923 (Pinches Astrolabe) line 6: I MU[L A-nucni-tu)m = SINANNA be-let KUR ni-kitrtin 2 Agru and Anunitu represent, approximately, Aries and the eastern fish of Pisces respectively, thus the con ccllations of the first and last of the twelve classical zodi- veal signs, They are contiguous in many Babylonian descriptions, Anunitu preceding (rising before) Agra, a relationship that can easily been seen from ™"APIN Ti 42-43"? keakkabu fa arki If zzazzw Anunitu akkabu fa arkisi izzazzu Agra Dumuzi ‘The star which stands behind the Field [= Pegasus} Anunitu, The star which stands behind it: the Hired Man, Dumuzi In classical astrology, Venus is “exalted” (has her most potent influence) in Pisces,"' and Syrian Venus figures appear in connection with the Greco-Roman Pisces, while Aries is the “house” (phere of influence) of Mars." In modern popular astrology, Mars has become, the “ruler” of Aries, the sign of the firebrand, seducer, 5. For example, W. Farber, Bachusungotule an Star und Dunk Wiesbaden, 1977) 148 line 123. See P. Gdssmann SL 4/3 No. 248. alkerstin mst have boon thinking of texts which asiocate Onion with the month Tarn- vous for which cf A. Livingstone, Myst and Miytholgiat Explana- ory wrk of Ayan and Ballin Schl (Oxford, 1986) 186 7. See Reiner and D. Pingree. Babylonian Planetary Omens: Pa To, Bintes 2/2 (4981) 26 8" Onthe problem ofthe name, see JJM. Rabers, The Ear list Semitic Pantheon (Bltimote, 1972) 145-148. Kiar of Uruk and [Anunnita of Agade ate ofen refered to as separate manifestations of she goddess: ef Suu TV 168 and 170 9. CBE, Walker and H. Honger, “Zvilnalde,” MDOG soy (1977) 27-14: ef Reiner and Pingte, op. at. 10. H. Hinger and D. Pingres, MUL APIN! An Asronomial Compendium in Cancion, ATO Beat 24 (1989) 30. Ako already in Babylonia sce F. Rochberg-Halton, JAOS so (2088) 59. 12. FG, Allen, Stamos aud Thee Meanings (New York, $899) 79 and 3386 and conqueror, and Venus and Mars are opposed as male and female sexual principles. Thus are love and war con- stantly united in human imagination, in Mesopotamia above all in the person of Inanna/Ttar herself, but also in the contiguous constellations Anunitu/Pisces and Agra/ Aries. In the light of later belief, it should come, then, as less of a surprise that royal AmauSumgalanna in our present text is portrayed in heroic, militaristic terms, Dumuzi Rebom Monthly Like The Moon ‘The sun moves through the entire zodiacal belt of constellations over the course of a year, but the moon makes the same circuit monthly. For example, "™!APIN Liv 31-39 lists eighteen constellations, from the Pleiades (located within Taurus, the sign following Aries) through Anunitu and Agra, concluding in summary “All these are the gods who stand in the path of the Moon, through whose regions the Moon in the course of a month passes and whom he touches."¥ As F, Roch- berg-Halton has remarked “the list begins with MUL. MUL [the Pleiades, i. Taurus] in the manner of older sky lists, and concludes with MULLUBUNGA (Aries) which later became the first zodiacal sign.”"4 The older convention must reflect changes in the movement of the sun through the zodiacal constellations owing to the slow westward precession of the vernal equinox, which was located to the west of Aries in the third millennium, arrived at Aries around 2000 B.C., reached the middle of Aries around 1000 B., and now is beginning to leave Pisces, heralding the popularly celebrated coming of the ‘Aquarian Age. Later texts thus begin the stellar year with the first appearance of Aries, Compare the first line of the ideal 30-day month calendrical list ™!APIN T ii 36 - iii 12: ina Nisanni UD 1 Agrt innammar “On the 1st of ‘Nisannu the Hired Man becomes visible.” In reality, the beginning of a lunar year is not tied di- rectly to the location of the vernal equinox, but to the first new moon nearest the equinox, a rather more arbi- trary matter." But in the conception of an ideal, even fantastic, lunar calendar, I would suggest, lies the expla nation for the third line of the last two stanzas of our Inanna hymn, In such an ideal early second millennium calendar, in which the movement of the earth about the sun is disregarded, the moon would return each month to its starting point in its apparent course through the 0 diacal belt, and the first visibility of the new crescent would invariably coincide with the first visibility of Ar- 13. Hunger and Pingree, op. cit. 67-69. 14. Aapeas of Babylonian Celestial Divinotion: The Lunar Elipse Tablets of Eniima Anu Enlil, AIO Beihaf 22 (1988) 10 n. 9. 15, Equinoxes and solstices were important to the Babylonians ‘mainly for determining the length of day and night, and "Apis else where arbitrarily places these points at 15° of the signs. See BLL. wan et Waerden, “History of the Zodiac,” APO 16 (1952-53) 221-225 also Reiner and Pingtee, p. ct. 16E. on the normally inexact match between months and helical rings oftheir associated constellationsAstral Dumuzi 107 ies, the constellation into which the spring equinox moved around 2000 B.C. In this way, for the purposes of a priestly hymnographer uninterested in the details, the sky could indeed be said to “give birth” every month to both Suen and Amauiumgalanna/Aries on the day of the new moon.'® Aries The Ram ‘In his comparison of the Greek and Babylonian zodi- acs, van der Waerden states that “the conclusion is un- avoidable that the whole Greek zodiac with its 12 signs is of Babylonian origin,” but in discussing the respective names of the signs he remarks that “the Babylonian ‘hireling’ ... was replaced in the Greek zodiac by a Ram, of unknown origin.'7 Some years carlier, however, ‘Ungnad had pointed to the common late abbreviation LU for LU.JUN.GA, alongside HUN.GA and BUN, and suggested that the later replacement of the Hired Man by the Ram may go back to a reinterpretation of this LU as upu."® Whether this explanation is correct cannot yet be determined, but direct evidence now exists for a link ‘between the sign Aries and the figure or symbol ofa ram, SBTU II No. 43 (W 22646) is a small, unfortunately slightly damaged, tablet which has the character of a miniature astrological vade mecum. It associates each of the twelve months with zodiacal symbols, 30° divisions along the celestial sphere, idealized calendrical calcula tions including rough indications of the length of the days and night watches(?), and presents as well brief as- trological portents and a variety of ritual instructions — all in an abbreviated and rather arcane fashion. The sig- nificance of the sixth row of data on the obverse escaped von Weiher, but it seems clear that it lists symbols for ‘each zodiacal sign, perhaps pictures to be drawn for ritual ‘magic. I have rearranged the essential astrological data in tabular fashion: Zodiacal ‘Modem Month Symbol Sign Name BARA, UDUNITIA,) “am” LU, Aries GU, kph -ifut] MUL, ‘Taurus single) bull” (Pleiades) SIG, ames “men” SIPA wMAS.MAS Orion & Gemini SU AMES “water” NAGAR Cancer 16, The notion of the sky's “giving birth” to an astral body is certainly related to that of the day's or yeas “returning to its moth cr” (eg UD.AMABLSEGI,.A = htwm “evening” OBGT I 814: mut amna-bi/ni-ir ba-gi, Lugalbands Epic 11359), out of whom itis then reborn the next moming or at the New Year. 17. Op. cit 225 Compare the German (Widder) or French (Baler names for Arie, 8 well as Allen, op. cit. 75-79 18. A. Ungnad, “Besprechungskunst und Astrologie in Babyl- ‘onicn,” AfO 14 (1944) 256 9. 37. Such homophonous substitutions ‘would be unthinkable in eather orthography, but in Seleucid texts they ate common practice. Compare, for example, the use of LU asa determinative in LU um-man-n it a Seleucid Uruk lst of sages teat ed by I. Finkel in AV Sachs (1988) 144 line 18. NE URMAU “lion” = UR Leo. KIN SEBAR “grain” ABSIN, Virgo DU, RIN, “scales” zi Liber APIN. GUIR2-TAB)] cir, Scorpio “scorpion” GAN DIR xx? PA Sagitarius AB ferisa “gost” MAS, Capricom ZIZ, alm “figure” cu Aquarius SE SEIM? KUN Pisces The connection between Aries and a “ram” is here ‘made explicit. The “men” of the third month refer to Si- pazianna/Papsukkal (Orion the Hunter/Warrior) and the twin male gods of Gemini (Castor and Pollux). Of special interest are the “waters” linked with Cancer. Compare Weidner, AFO 19 (1959-60) 107:8 and 11f, (cited by CAD A/t 361): MUL ALLUL = ID, Idiglat ..., eakkabani pandti Sa MUL ALLUL = 1D, Idiglat, arkiitw 1D, Purattu “Cancer is the Tigris, the front stars of Can- cerare the Tigris, the back ones are the Euphrates.” Per- haps the still enigmatic medieval and modern symbol for Cancer is not in origin a crab’s claws or shell, but the echo of an early depiction of two stylized opposed ed- dies. Or are they, instead, the eyes of Tidmat, from which Marduk “opened the Euphrates and the Tigris” (Eniima Elif V 53), “the Tigris her right eye, the Euph- rates her left eye?” Finally, the older “goat-fish” of Capricorn has become simply the more familiar “goat, and the “figure” of Aquarius can only be that of the “Gi ant” associated with the water god Enki/Ea. CE BM 82923 (Pinches Astrolabe) 28: 1 MUL GU.LA = 4EN IDIM. 4B,-a “The Great One is the lord of springs, Ea.”"? Recapitulation And Last Thoughts If my translation is anywhere near the mark, Stanza 1 of our text seems to acknowledge not just the well known contradictory nature of Inanna but also the chro nological primacy of the more benevolent side of her character. Could this be a memory of a time before her syncretism with Kitar? If so, the theme is completed in Stanza 3 by the description of her elevation, through the victories of the king, her champion, to a rank above ‘An’s2" Stanzas 4-6 have kings and gods alike watching at daybreak? for Dumuzi’s heliacal rising, his first visi- bility in the morning sky after his time of invisibility. 19. So the explanatory text VAT 8p17 fev. 35 Livingstone pt Saf and 88 29. Walker and Munger. ep. ci. 30. See E. Por, "On the Origins of “Aguarius’y" AV Reiner (1989) 279-291, i particular for the iconography ofthe long-haired pant figure she asociates with, “Aquarius 1 this a "hairy" LAUAMA/lshmr of the Apse or one of “Giants of Eridu” which Gure in the Sumerian tale “Inanna and Enki" (G. Farber-Fligge, Suda Pol 10 (ome, 1971 passin)? 21, See the pioneering work of W.W. Hallo and JJ.A. van Ditk, The Exalation of Inanna (New Haven, 1968) for the Sargon peviod syncretizing of Inanna with the more warlike Klar and the fgoddes’ politically inspired “exaltation.” 22, Asming that ute i for uy-dé, eg. A, Sjoberg, TCS 3 (0960) 116108 DANIEL A. FOXVOG nana, whose constellation precedes his, lifs him after her over the mountains, and, after an explicit word-play on Enlil’s standard epithet kur-gal “great mountain,” umuzi finally shines forth over the eastern horizon, Stanza 7 contrasts the roles of royal Amausumgalanna, the perpetual conqueror of the enemies to the east, and Dumuzi the shepherd of the land, whose good husband- sy produces ever larger herds each spring. The second valf of the hymn expands upon the military successes of the goddess and her royal consort, climaxing in -line rather than 4-line stanzas which celebrate the ascension of the divine leader of the nation to the leading place imong the zodiacal constellations. 23. At the risk of reading too much into the text, I wonder \whether this concluding metaphorical linking of Duns and Aries 's not in fact announced at the beginning of the hymn, inthe form of a wordplay in Stanza 2 on bari “dai” and the name of the first, nonth, bari-zi-gar, the month of Aries, Dumuzi/Aries is thus placed atthe right side ofthe dais.” next to the constellation of his, jouse Inanna/Pisces, One wonders, in conclusion, whether it was really an ‘Old Babylonian period king who was the tacit subject of such an unusual cultic tribute. The divine Shulgi is cer tainly a better candidate. His accomplishments were ex- traordinary, some sort of ritual celebrated his ascension to heaven shortly after his death, and a star named for him even found its way into an Old Babylonian Fore- runner of BAR-ra.** Since our hymn is known only from a single copy and fails to mention any specific king, pethaps it represents merely a later, creative restatement of that earlier, most memorable theological fiction. 24. MSLXI 133 vii 41, See Horowite and Watson, op il. 413. for this and other socondary evidence for his ascension