3.2.1.2: Commentary
- Page ID
- 279483
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)As an annual performance, the story reinforces the cooperative agreement between human and natural fertility, and the value of worshiping cosmic forces that allow for both forms of life to endure. The ethic of work is also clearly delineated for mankind to survive, and their place in the cosmos is also clearly stated: to serve the gods.
The productive relationship between Apsu and Tiamat establishes water as the source of life, but also its tempestual nature. As a natural element, water can just as easily take life in the form of floods and tidal waves, a common theme in creation stories. The biblical epic of Noah and his ark, and Zeus’ flood in Ovid’s Metamorphosis both contain generational-ending floods and the re-establishment of a more humble human race.
The children’s violent response to their father’s threats, and their mother’s passivity to the threats might reflect the challenges of dynastic political rule of the age, where parents often feared being overthrown by their ambitious children. Zeus fulfills this ancient fear by killing his own father, Kronos, who had killed his father, Ouranos. Much like the Greek gods, the final conflict between Tiamat and Marduk seems unavoidable.
The defeat and division of Tiamat establishes two important cultural points: that the female generative spirit (Mother Goddess) is the source of life on earth, but that same creative power must be tamed or conquered by male spirits, heralding the oncoming replacement of the Mother Goddess in favor of the patriarchal structure of gods
Other interpretations focus on the astronomical connections between key characters. Marduk, who as the patron deity of Babylon is affiliated with the bull as his totem. His name might translate into “bull-calf of the sun.” To concretize his solar qualities, his crown is described as “Five fearsome rays,” very like the points of a star (Davis, et al 47). Additionally, the army of beasts that Tiamat raises to fight the other gods is composed of creatures we might recognize in the celestial bodies: giant snakes, dragons, a (rabid) dog, a fish-man or goat-fish, a scorpion-man, and a bull-man or minotaur. Rationale for the astronomical analogy aligns with the culture’s need to chart the seasons by the night sky to track planting and harvest seasons. The ability to calculate and track heavenly movements also offered kingdoms invaluable knowledge for warcraft, specifically, when to plan invasions, wars and potential conquests.