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Saturday, October 15, 2016

2200 BC-Minoan civilization


The Minoan civilization was an Aegean Bronze Age civilization that arose on the island of Crete and other Aegean islands and flourished from approximately 3650 to 1400 BC. It belongs to a period of Greek historypreceding both the Mycenaean civilization and Ancient Greece.[1] It was rediscovered at the beginning of the 20th century through the work of British archaeologist Arthur Evans. Historian Will Durant dubbed the Minoans "the first link in the European chain,"[2] and their civilization has been referred to as the earliest of its kind in Europe.[3]
The term "Minoan" refers to the mythic King Minos, and was originally given as a description to the pottery of this period. Minos was associated in Greek myth with the labyrinth and the Minotaur, which Evans identified with the site at Knossos, the largest Minoan site. The poet Homer recorded a tradition that Crete once had 90 cities.[4]
The Minoan period saw significant contacts between Crete, the Aegean and the Mediterranean, particularly the Near East. As traders and artists, their cultural influence reached far beyond the island of Crete—throughout the Cyclades, to Egypt's Old Kingdom, to copper-bearing CyprusCanaan and the Levantinecoasts beyond, and to Anatolia. Some of its best art is preserved in the city of Akrotiri, on the island of Santorini, destroyed during the Thera eruption.
The Minoan language and writing system (Linear A) remain undeciphered and a matter of academic dispute, but seemingly convey a language entirely different from the Greek dialects in later periods. The causes of the changes to bring about the end of the Minoan period (around 1,400 BC) are unclear, though theories include an invasion from the mainland, or the volcanic eruption of Thera.

2250 BC-Epic of Gilgamesh


The Epic of Gilgamesh is an epic poem from ancient Mesopotamia. Dating from the Third Dynasty of Ur(circa 2100 BC), it is often regarded as the earliest surviving great work of literature. The literary history of Gilgamesh begins with five Sumerian poems about 'Bilgamesh' (Sumerian for 'Gilgamesh'), king of Uruk. These independent stories were later used as source material for a combined epic. The first surviving version of this combined epic, known as the "Old Babylonian" version, dates to the 18th century BC and is titled after its incipitShūtur eli sharrī ("Surpassing All Other Kings"). Only a few tablets of it have survived. The later "Standard" version dates from the 13th to the 10th centuries BC and bears the incipit Sha naqba īmuru ("He who Saw the Deep", in modern terms: "He who Sees the Unknown"). Approximately two thirds of this longer, twelve-tablet version have been recovered. Some of the best copies were discovered in the library ruins of the 7th-century BC Assyrian king Ashurbanipal.
The first half of the story discusses Gilgamesh, king of Uruk, and Enkidu, a wild man created by the gods to stop Gilgamesh from oppressing the people of Uruk. After an initial fight, Gilgamesh and Enkidu become close friends. Together, they journey to the Cedar Mountain and defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven, which the goddess Ishtar sends to punish Gilgamesh for spurning her advances. As a punishment for these actions, the gods sentence Enkidu to death.
In the second half of the epic, distress about Enkidu's death causes Gilgamesh to undertake a long and perilous journey to discover the secret of eternal life. He eventually learns that "Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands".[1][2] However, because of his great building projects, his account of Siduri's advice, and what the immortal man Utnapishtim told him about the Great Flood, Gilgamesh's fame survived his death. His story has been translated into many languages, and in recent years has featured in works of popular fiction.


2270 BC-Enheduanna Hymns


Enheduanna (Akkadian𒂗𒃶𒁺𒀭𒈾[citation needed], also transliterated as EnheduanaEn-hedu-ana, or variants;[1] fl. 23rd century BC)[2] was a daughter of Sargon of AkkadHigh Priestess of the moon god Nanna (Sin)[3] in the Sumerian city-state of Ur.
Enheduanna has left behind a corpus of literary works, definitively ascribed to her, that include several personal devotions to the goddess Inanna and a collection of hymns known as the "Sumerian Temple Hymns" (certain texts not ascribed to her might also be her works[4]). This makes her one of the earliest author and poets known by name in world history.[5]
She was the first known woman to hold the title of EN, a role of great political importance that was often held by royal daughters.[6] She was appointed to the role by her father, King Sargon of Akkad. Her mother was probably Queen Tashlultum.[7][8] Enheduanna was appointed to the role of High Priestess in a shrewd political move by Sargon to help secure power in the Sumerian south where the City of Ur was located.[9]
She continued to hold office during the reign of Rimush, her brother. It was during the reign of Rimush that she was involved in some form of political turmoil, expelled, then eventually reinstated as high priestess. Her composition 'The Exaltation of Inanna' or ‘nin me sar2-ra’[10] details her expulsion from Ur and eventual reinstatement (Franke 1995: 835). This correlates with 'The Curse of Akkade'[11] in which Naram-Sin, under whom Enheduanna may have also served, is cursed and cast out by Enlil. After her death, Enheduanna continued to be remembered as an important figure, perhaps even attaining semi-divine status.[12]

Archaeological and textual evidence[edit]


A modern reconstruction of the Ziggurat of Ur (background) looms over the ruins of the Giparu, the temple complex where Enheduanna lived and was buried
Enheduanna is well-known from archaeological and textual sources. Two seals bearing her name, belonging to her servants and dating to the Sargonic period, have been excavated at the Royal Cemetery at Ur.[13][14] In addition an alabaster disc bearing her name and likeness was excavated in the Giparu at Ur, which was Enheduanna's main residence. The statue was found in the Isin-Larsa (c. 2000–1800 BCE) levels of the Giparu alongside a statue of the priestess Enannatumma.[15]
Copies of Enheduanna's work, many dating to hundreds of years after her death, were made and kept in Nippur, Ur and possibly Lagash alongside Royal inscriptions which indicates that they were of high value, perhaps equal to the inscriptions of Kings (Westenholz 1989:540).

Literary work[edit]

Enheduanna composed 42 hymns addressed to temples across Sumer and Akkad including EriduSippar and Esnunna.[16] The texts are reconstructed from 37 tablets from Ur and Nippur, most of which date to the Ur III and Old Babylonian periods (Sjöberg and Bergman 1969:6–7). This collection is known generally as 'The Sumerian Temple Hymns'. The temple hymns were the first collection of their kind; in them Enheduanna states: “My king, something has been created that no one has created before.”[17] The copying of the hymns indicates the temple hymns were in use long after Enheduanna's death and were held in high esteem.
Her other famous work is 'The Exaltation of Inanna'[18] or 'Nin-Me-Sar-Ra'[19] which is a personal devotion to the goddess Inanna and also details Enheduanna's expulsion from Ur.
Enheduanna's authorship raises the issue of female literacy in ancient Mesopotamia; in addition to Enheduanna royal wives are known to have commissioned or perhaps composed poetry[20] and the goddess Nindaba acted as a scribe: As Leick notes "to some extent the descriptive epithets of Mesopotamian goddesses reveal the cultural perception of women and their role in ancient society".[21]
The majority of Enheduanna's work is available in translation at the Electronic Text Corpus of Sumerian Literature.[2] It has also been translated and compiled into a unified narrative by Sumerian scholar Samuel Noah Kramer and poet Diane Wolkstein. Their version, published under the title Inanna, Queen of Heaven and Earth: Her Stories and Hymns from Sumer, was published by Harper Perennial in 1983.

List of compositions[edit]

  • Nin-me-šara, "The Exaltation of Inanna", 153 lines, edited and translated first by Hallo and van Dijk (1968), later by Annette Zgoll (1997) in German. The first 65 lines address the goddess with a list of epithets, comparing her to An, the supreme god of the pantheon. Then, En-hedu-ana speaks in the first person to express her unhappiness at being exiled from the temple and the cities of Ur and Uruk. En-hedu-ana asks for intercession of Nanna. Lines 122–135 recite divine attributes of Inanna.
  • In-nin ša-gur-ra (named by incipit), 274 lines (incomplete), edited by Sjöberg (1976) using 29 fragments.
  • In-nin me-huš-a, "Inanna and Ebih", first translated by Limet (1969)
  • The Temple Hymns, edited by Sjöberg and Bergmann (1969): 42 hymns of varying length, addressed to temples.
  • Hymn to Nanna, edited by Westenholz

Modern popular culture[edit]

Diane Wolkstein and Samuel Noah Kramer compiled Enheduanna's poems into a unified epic poem, Inanna: Queen of Heaven and Earth in 1983[22]Wolkstein's adaptation became the basis of various other publications, including Judy Grahn's Queen of Swords (1987) Alice Notley's The Descent of Alette (1996) and Annie Finch's Among the Goddesses' (2010). Jungian analyst Betty De Shong Meador in 2001 translated works by Enheduanna and written two books on the subject, Inanna: Lady of Largest Heart[23] and Princess, priestess, poet: the Sumerian temple hymns of Enheduanna.[24]Minnesota author Cass Dalglish has published a "contemporary poetic adaptation" of Nin-me-sar-ra in 2008.[25] Being not just the earliest known poet in world history, but one of the first women known to history, Enheduanna has gained attention in feminism.[26]
Enheduanna is the subject of the episode "The Immortals" of the science television series Cosmos: A Spacetime Odyssey, where she was voiced by Christiane Amanpour.
In 2015, the IAU named a crater on Mercury after Enheduanna.[27] Under IAU rules, all new craters on Mercury must be named after an artist, composer, or writer who was famous for more than 50 years and has been dead for more than three years.


2350 BC-The Maxims of Ptahhotep


The Maxims of Ptahhotep or Instruction of Ptahhotep is an ancient literary work attributed to Ptahhotep, a vizier under King Isesi of the Egyptian Fifth Dynasty (ca. 2414-2375 BC).[1] It is a collection of maxims and advice in the sebayt ("teaching") genre on human relations, that are directed to his son. The work survives today in papyrus copies, including the Prisse Papyrus which dates from the Middle Kingdom and is on display at the Bibliothèque Nationale in Paris. There are considerable differences between the Prisse Papyrus version and the two texts at the British Museum.[2] The 1906 translation by Battiscombe Gunn, published as part of the "Wisdom of the East" series, was made directly from the Prisse Papyrus, in Paris, rather than from copies, and is still in print.[3]
In the introduction, the author explains the reason for writing the instruction, namely his having reached old age and wanting to pass on the wisdom of his ancestors who had, in his words, listened to the gods.[4] The Maxims are conformist precepts extolling such civil virtues as truthfulness, self-control and kindness towards one's fellow beings. Learning by listening to everybody and knowing that human knowledge is never perfect are a leitmotif.[5] Avoiding open conflict wherever possible should not be considered weakness. Justice should be pursued and in the end it will be a god's command that prevails.[6]
Some of the maxims refer to one's behaviour when in the presence of the great, how to choose the right master and how to serve him. Others teach the correct way to lead through openness and kindness. Greed is the base of all evil and should be guarded against, while generosity towards family and friends is praiseworthy.[7] Rise in the social order should be accepted as a gift from an Egyptian god[8] and could be preserved by accepting the precedence of one's superior.

Selected passages[edit]

Quotations are taken from Christian Jacq, "The Living Wisdom of Ancient Egypt".[9]
  • "Great is the Law (Maat)." (p. 24)
  • "All conduct should be so straight that you can measure it with a plumb-line." (p. 27)
  • "Injustice exists in abundance, but evil can never succeed in the long run." (p. 32)
  • "Punish with principle, teach meaningfully. The act of stopping evil leads to the lasting establishment of virtue." (p. 32)
  • "The human race never accomplishes anything. It's what God commands that gets done." (p. 41)
  • "Those whom God guides do not go wrong. Those whose boat He takes away cannot cross." (p. 43)
  • "Follow your heart all your life, do not commit excess with respect to what has been ordained." (p. 66)
  • "If you work hard, and if growth takes place as it should in the fields, it is because God has placed abundance in your hands." (p. 74)
  • "Do not gossip in your neighbourhood, because people respect the silent." (p. 74)
  • "Listening benefits the listener." (p. 74)
  • "If he who listens listens fully, then he who listens becomes he who understands." (p. 76)
  • "He who listens becomes the master of what is profitable." (p. 76)
  • "To listen is better than anything, thus is born perfect love." (p. 76)
  • "God loves him who listens. He hates those who do not listen." (p. 76)
  • "As for the ignorant man who does not listen, he accomplishes nothing. He equates knowledge with ignorance, the useless with the harmful. He does everything which is detestable, so people get angry with him each day." (p. 77)
  • "A perfect word is hidden more deeply than precious stones. It is to be found near the servants working at the mill-stone." (p. 78)
  • "Only speak when you have something worth saying." (p. 79)
  • "As for you, teach your disciple the words of tradition. May he act as a model for the children of the great, that they may find in him the understanding and justice of every heart that speaks to him, since man is not born wise." (p. 85)
  • "A woman with happy heart brings equilibrium." (p. 107)
  • "Love your wife with passion." (p. 107)
  • "As for those who end up continually lusting after women, none of their plans will succeed." (p. 108)
  • "How wonderful is a son who obeys his father!" (p. 112)
  • "How happy he is of whom it is said: 'A son is kind-natured when he knows how to listen.'" (p. 112)
  • "Do not blame those who are childless, do not criticise them for not having any, and do not boast about having them yourself." (p. 113)
  • "May your heart never be vain because of what you know. Take counsel from the ignorant as well as the wise..." (p. 119)
  • "So do not place any confidence in your heart in the accumulation of riches, since everything that you have is a gift from God." (p. 126)
  • "Think of living in peace with what you possess, and whatever the Gods choose to give will come of its own accord." (p. 127)
  • "Do not repeat a slanderous rumour, do not listen to it." (p. 139)
  • "He who has a great heart has a gift from God. He who obeys his stomach obeys the enemy." (p. 140)
  • "Those who[m] the Gods guide cannot get lost. Those they forbid passage will not be able to cross the river of life." (p. 143)


2400 BC-Palermo Stone

The Palermo Stone is one of seven surviving fragments of a stele known as the Royal Annals of the Old Kingdom of Ancient Egypt. The stele contained a list of the kings of Egypt from the First Dynasty (~3150–2890 BCE) through to the early part of the Fifth Dynasty (approx 2392–2283 BCE) and noted significant events in each year of their reigns. It was probably made during the Fifth dynasty.[1] The Palermo Stone is held in the Antonio Salinas Regional Archaeological Museum in the city of PalermoItaly, from which it derives its name.
The term "Palermo Stone" is sometimes applied to all seven surviving fragments of the Royal Annals, including those held in museums in Cairo and London. The fragments are also sometimes described collectively as the "Cairo Annals Stone",[2] although the term "Cairo Stone" is also used to mean only those fragments of the Royal Annals now in Cairo.
The Palermo Stone and other fragments of the Royal Annals preserve what is probably the oldest historical text that has survived from Ancient Egypt and form a key source for Egyptian history in the Old Kingdom.

Description[edit]

The Royal Annals stele, of which the Palermo Stone formed part, may originally have been about 60 cm high and 2.1m wide. The fragments are composed of a compact hard black stone, probably a form of basalt.
The Palermo Stone itself is an irregular shield-shaped fragment, 43.5 cm high, 25 cm wide and 6.5 cm thick (maximum dimensions).
The inscription on the "front" (recto) of the Palermo Stone consists of 6 horizontal bands or registers of hieroglyphic text running right to left. The first register lists the names of predynastic kings of Lower Egypt (identified as such by the wearing of the Red Crown). The second and subsequent registers contain portions of royal annals for pharaohs of the First to Fourth Dynasties, that is lists of the key events in each year of the reign of each king, arranged chronologically. The second register on the Palermo Stone begins with the final year entries for a king of the First Dynasty whose name is not preserved, but who is generally assumed to be either Narmer or Aha.[3] The rest of the second register is taken up with the first nine annual entries for this king's successor, who is again not named on the fragment, but is assumed to be either Aha or his successor Djer. The remainder of the inscription on this side continues with royal annals down to the kings of the Fourth Dynasty.
The text continues on the "back" (verso) of the Palermo Stone, cataloguing events during the reigns of pharaohs down to Neferirkare Kakai, third ruler of the Fifth Dynasty.[4] From the surviving fragments it is unclear whether the Royal Annals originally continued beyond this point in time. Where a king is named, the name of his mother is also recorded, such as Betrest mother of the First Dynasty king Semerkhet and Meresankh I mother of the Fourth Dynasty king Seneferu.
Information recorded in the Royal Annals (as preserved on the Palermo Stone) includes measurements of the height of the annual Nile flood (see Nilometer), the Inundation, details of festivals (such as Sed festivals), taxation, sculpture, buildings, and warfare.[5]

Archaeological history[edit]

The original location of the stele is unknown and none of the surviving fragments have a secure archeological provenance. One fragment now in Cairo is said to have been found at an archaeological site at Memphis, while three other fragments now in Cairo were said to have been found in Middle Egypt. No find site for the Palermo Stone itself has been suggested.

The Royal Annals of Egypt, showing a suggested reconstruction of the stele and the positions of the seven surviving fragments. P is the Palermo Stone, nos. 1-5 are the Cairo fragments, and L is the London fragment
The Palermo Stone was purchased by a Sicilian lawyer, Ferdinand Guidano, in 1859 and it has been in Palermo since 1866. On 19 October 1877, it was presented to the Palermo Archaeological Museum by the Guidano family, where it has remained since.
There are five fragments of the Royal Annals in the Egyptian Museum in Cairo, four of which were acquired between 1895 and 1914. The fifth was purchased on the antiquities market in 1963. One small fragment is in the Petrie Museum of University College London, forming part of the collection of the archeologist Sir Flinders Petrie(and purchased by him in 1914).

A fragment of the Royal Annals, on display at the Petrie Museum, London, which is inscribed with part of the Khasekhemwy register and at the bottom with a sign from the Sneferuregister
The importance of the Palermo Stone was not recognized until it was noticed by a visiting French archaeologist in 1895. The first full publication and translation was that done in 1902 by Heinrich Schäfer.

Controversies[edit]

There are controversies regarding the date of the Palermo Stone and of the Royal Annals it records. Arguments have raged as to whether the inscription was done in one go or was added to over time and as to whether it dates from the period it describes (i.e. from no later than the Fifth Dynasty). It has been argued that the stele was made much later, perhaps in the Twenty-Fifth Dynasty (747-656 BCE). It seems clear from the content of the inscription that, even if the Royal Annals, as preserved by the Palermo Stone and other fragments, were not carved at or soon after the period they describe, they are directly based on an Old Kingdom original.[6]
There are also controversies as to whether all the surviving fragments are part of the same stele or come from different copies. It has been suggested in this connection that not all of the fragments held in Cairo (none of which have any clear provenance) are genuine.[7]
The text is difficult to decipher due both to the state of preservation of the inscription (which varies widely) and due to its antiquity. If the text is a later copy, rather than a Fifth Dynasty original, there is also the possibility that errors crept in during the copying process.

Significance[edit]

The Palermo Stone and the other associated fragments of the Royal Annals are a vital source for the history of the Old Kingdom and, for example, preserve names of members of the royal families during the first five dynasties which are not otherwise recorded.
New Kingdom Egyptian king lists, such as the Turin Canon (13th century BCE) and the Abydos king list (reign of Seti I, 1294–1279 BCE), identify Menes(probably Narmer) (c. 3100 or 3000 BCE) as the first king of the first dynasty and so credit him with unifying Egypt. However, the top register of the Royal Annals names some predynastic rulers of Upper and Lower Egypt, presumably referring to a time before Egypt was unified. Identification of these kings with historical persons remains controversial.
The ancient historian Manetho may have used information similar to the complete Royal Annals stele to construct his chronology of the early dynasties of Egypt, forming part of his Aegyptiaca (History of Egypt), written during the third century BCE, although the surviving king list most closely related to his work (as preserved by later ancient and later writers) is the Turin Canon.