Thomas Yaeger's Blog: Abstraction and the Instantiation of Divine things in Mesopotamia

Wednesday, 7 August 2019

Abstraction and the Instantiation of Divine things in Mesopotamia

My work The Sacred History of Being is cited in an article by the writer Ben Thomas - "The God Enki and the Ocean of Everywhen" - on his website 'The Strange Continent'' (published August 3, 2017). This is a fascinating article which is well worth checking out - the link to the full article is at the foot of this post. We've been corresponding occasionally over the past few years, mostly about Mesopotamia and Mesopotamian modes of thought. The argument of The Sacred History of Being is complex and sometimes abstruse, and it is always a joy to find it has been understood.

I've quoted the passages most relevant to The Sacred History of Being. Ben wrote:

...The upwelling of cool, sweet, fresh water seems to have spoken of something deeper to these people: a limitless potentiality; a permission to play with the world and reinterpret it; to import new realities from the world of Mind.

Because it’s clear – as the philosopher Thomas Yaeger’s book The Sacred History of Being explains in depth – that certain ancient Mesopotamians understood the concepts of Being, Becoming, Matter and Mind every bit as clearly as the Greek philosophers did.

But where the Greeks defined and explored these concepts explicitly, in writing and debate, the Mesopotamians explored them experientially, through symbol and ritual: The Ceremony of the Tree. The Opening of the Mouth of a God. (When Mesopotamian texts say, “This is how to make a god,” Yaeger argues, they mean it literally!) The intercessory deities who hold cups overflowing with endless streams of fresh water.

The Sumerians consciously recognized that they stood on a great threshold – and across thousands of years, they perfected the techniques of stepping back and forth across it; carrying material facts one way, and new inventions the other.

And what lived on the other side of that doorway? The god Enki – lord of intelligence and knowledge, keeper of the arts and crafts; also called Nudimmud, “the Shaper,” who “opens the doors of understanding” (emphasis mine) and teaches humans how to construct canals, plan temples, write letters and compose music.

From his hidden “House in the Waters,” Enki monitors the flow of all information in the world, and guards new ideas until they’re ready to be born. He’s not exactly a trickster, but he’s definitely playful, and he inspires playfulness.

Still more crucially, Enki is the custodian of the mé – an untranslatable (plural) Sumerian word, which the great Sumerologist Samuel Noah Kramer explained as the “fundamental, unalterable, comprehensive assortment of powers and duties, norms and standards, rules and regulations, relating to… civilized life.”

The Sumerians have left us lists of more than 100 mé, including “kingship,” “truth,” “law,” “sexual intercourse,” “weapons,” “scribeship,” “sacred prostitution,” “leatherwork,” “judgment,” and “the troubled heart.”

As Kriwaczek says, the mé “show how self-consciously aware the ancient Mesopotamians were of the difference between civilization and other ways of living… that they expressed it with an entirely new cognitive concept, for which we have no equivalent.

As Yaeger explains in his Sacred History, the mé are far more than just abstract concepts. In the poem known as Inanna and Enki, the goddess Inanna gets Enki drunk, steals the mé, and loads them onto her “boat of heaven.” Braving seven attacks by sea monsters, Inanna manages to transport the mé to the cities of Eridu and Uruk, where the people unload them amidst great jubilation and feasting.

This would be a very strange way to talk about the mé if they were simply abstractions. But a clue is offered by the fact that the Sumerians treated many seemingly abstract concepts in similar ways.

Ceremonies for “opening the mouth of a god” refer to “putting on the melammu,” the divine splendor, as if it were a sort of cloak. Kingship, too, is often described as something that “descended from Heaven,” and can be “carried” from one city to another.

In light of all this, it seems very likely that – just as the term mé is untranslatable into our frame of reality – our discrete categories of “symbol,” “referent,” “abstract” and “concrete” would have been equally baffling to a Sumerian.

This framing is so different from ours that it can be difficult to comprehend: a scepter does not symbolize kingship; it is kingship. The statue does not symbolize Enki; once its “mouth is opened,” the statue is Enki – even as the god Enki is not limited by this one statue, and dwells in the eternal ocean.

To ask whether the Sumerians thought of the mé as abstractions or physical objects is to pose a wrong question. The mé sat at the border between reality and Mind – and once the Sumerians had stumbled on that doorway, they took great pains to keep it open, and to facilitate passage across it.

I knew none of this, of course, as I sat in my apartment paging through images of Mesopotamian archaeology. I only knew that I’d stumbled on some primordial wellspring of originality; a mystery I wanted not so much to solve as to experience for myself.

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The great historian Thorkild Jacobsen describes the god Enki as “the numinous inner will-to-form in the Deep.” This is not the dead god of a vanished civilization – this is the Ocean where “2+2=4” and “the steam engine” and “scribeship” and “the troubled heart” have always lived, along with all things unimagined and yet to be.