Genealogy in The Epic of Anzu and The Cyrus’ Cylinder Essay Example

Hierarchies have been a part of human societies since the beginning of civilisation. In

earlier societies, the disparity between social classes was larger and more defined than later societies, yet far less noticeable and provoked almost no revolts from the lower classes. Persia and Babylon both had myths about the powerful and influential people of their society. The Epic of Anzu and The Cyrus’ Cylinder use genealogy, the contrast between inviolable, righteous characters and vilified ones, exaggerated repetition and ‘evil’-conquering narratives to evoke a fear of God into the lower class and stratify gods and kings far above all other citizens.

In The Epic of Anzu, the portrayal of the conflict between Anzu and the Sumerian Gods clearly legitimizes social inequality through a restoration of the cosmic order. Throughout the epic, Anzu is illustrated as solely inferior to the gods. It is claimed that the “water of the spate [begot Anzu]” (The Epic of Anzu 206) making it clear that Anzu is an earthly being, unlike the gods. This demonstrates how Anzu symbolically represents the audience of this song, lower-class farmers. Although one could argue that Anzu being half- lion and half-eagle is supernatural and so refutes the aforementioned claim, Anzu is forced to “serve [Ellil] and never [cease]!” (The Epic of Anzu 206) showing how his treatment is similar to that of Babylon’s lower class. This revelation changes how one views the narrative of The Epic of Anzu. Anzu’s theft of the Tablet of Destinies can now be seen as a form of rebellion against his servitude and Ninurta’s killing of Anzu can be seen as the squashing of this rebellion (The Epic of Anzu 206). The ‘McGuffin’ in this epic, the Tablet of Destinies, is symbolic of the power of the Gods as it is commonly referred to as the “Ellil power” (The Epic of Anzu 207). Its restoration to the gods is meant to promote the might of the gods. Furthermore, “the ideology of kingship in the ancient Near East tended to perceive the ruler as a representative of the gods, chosen to maintain the divine order on earth” (The Education of Neo-assyrian Princes 313) showing how the epic segments the kings away from the lower class, along with the gods. However, in this process it also diminishes the power of the common people and lowers the standing of their strata.

Similarly, The Cyrus’ Cylinder uses its portrayal of Cyrus’s rise to power to validate his authority. The text begins in a third-person point of view, where Marduk is shown to be infuriated by the ruling style and methods of Nabonidus, hence in search for a new ruler. The text vivaciously describes the overthrow of Nabonidus and celebration of the new King Cyrus as seen in the lines “Without battle and fighting he let him enter his city Babylon ... All the inhabitants of Babylon, the whole of the land of Sumer and Akkad, princes and governors knelt before him, kissed his feet, rejoiced at his kingship; their faces shone” (The Cyrus’ Cylinder 17-18). This part of the passage delves into the power dynamics of this society. The unhappiness of a god causes the rise of a new king, illustrating that the will of the gods is supreme (The Cyrus’ Cylinder 17-18). Furthermore, there is an underlying theme of good vs. evil associated with this text to give the gods moral superiority. Nabonidus’s actions are referred to as “unsuitable ... and, an evil thing” (The Cyrus’ Cylinder 6) and he is even said to do “that which was bad for his city” (The Cyrus’ Cylinder 8). On the other hand, Marduk is shown to be “the great lord, who cares for his people, look[ing] with pleasure at his good deeds and his righteous heart”(The Cyrus’ Cylinder 14). Throughout history, those who possess moral superiority are considered icons and seen as greater beings. In this text, the author uses the antagonist, Nabonidus, as a contrasting character to Cyrus in order to empower and elevate Cyrus’s dominion.

Both texts flaunt the genealogy of its protagonist to sanction their supremacy. In The Epic of Anzu, Ninurta is referred to repeatedly as “Ellil’s son” and “beloved of Mami” (The Epic of Anzu 205). This portrayal is combined with words such as supreme, powerful, and leader to draw a correlation between the characteristics of Ninurta’s ancestors and Ninurta (The Epic of Anzu 205). Similarly, Cyrus self-proclaims how he is “king of the universe, mighty king, king of Babylon, king of Sumer and Akkad, king of the four quarters, son of Cambyses, great king, king of Anshan, grandson of Cyrus, great king, king of Anshan, descendant of Teispes, great king, king of Anshan”(The Cyrus’ Cylinder 20-21). By name- dropping all these well-recognized figures, both Cyrus and Ninurta are given an emblematic segment of royalty and divine power over the subordinate classes in their respective societies.

To conclude, both The Epic of Anzu and The Cyrus’ Cylinder utilize hereditary status, the contrast of good and evil characters, and a Hero’s Journey narrative to legitimize the power of the higher class and create lasting, awe-inspiring symbols of power and order. The power of words comes from their ability to change minds. These captivating myths have changed many minds in both Babylon and Persia, preventing the downfall of these ‘great’ rulers and it is apparent why from the evidence above.