In the religion of ancient Babylon, Tiamat is a primordial goddess of the salt sea, mating with Abzû, the god of fresh water, to produce younger gods.
She is the symbol of the chaos of primordial creation. She is referred to as a woman and described as the glistening one.
It is suggested that there are two parts to the Tiamat mythos, the first in which Tiamat is a creator goddess, through a sacred marriage between salt and fresh water, peacefully creating the cosmos through successive generations.
In the second Chaoskampf Tiamat is considered the monstrous embodiment of primordial chaos. Some sources identify her with images of a sea serpent or dragon.
In the Enûma Elish, the Babylonian epic of creation, she gives birth to the first generation of deities; her husband, Apsu, correctly assuming they are planning to kill him and usurp his throne, later makes war upon them and is killed.
Enraged, she, too, wars upon her husband’s murderers, taking on the form of a massive sea dragon, she is then slain by Enki’s son, the storm-god Marduk, but not before she had brought forth the monsters of the Mesopotamian pantheon, including the first dragons, whose bodies she filled with “poison instead of blood“. Marduk then forms heavens and the earth from her divided body.
Abzu fathered upon Tiamat the elder deities Lahmu and Lahamu, a title given to the gatekeepers at Enki’s Abzu/E’engurra-temple in Eridu.
Lahmu and Lahamu, in turn, were the parents of the ‘ends’ of the heavens (Anshar, from an-šar = heaven-totality/end) and the earth (Kishar); Anshar and Kishar were considered to meet at the horizon, becoming, thereby, the parents of Anu (Heaven) and Ki (Earth).
Tiamat was the “shining” personification of salt water who roared and smote in the chaos of original creation. She and Apsu filled the cosmic abyss with the primeval waters. She is “Ummu-Hubur who formed all things“.
In the myth recorded on cuneiform tablets, the deity Enki (later Ea) believed correctly that Apsu was planning to murder the younger deities, upset with the noisy tumult they created, and so captured him and held him prisoner beneath his temple the E-Abzu.
This angered Kingu, their son, who reported the event to Tiamat, whereupon she fashioned eleven monsters to battle the deities in order to avenge Apsu’s death.
These were her own offspring: Bašmu (“Venomous Snake”), Ušumgallu (“Great Dragon”), Mušmaḫḫū (“Exalted Serpent”), Mušḫuššu (“Furious Snake”), Laḫmu (the “Hairy One”), Ugallu (the “Big Weather-Beast”), Uridimmu (“Mad Lion”), Girtablullû (“Scorpion-Man”), Umū dabrūtu (“Violent Storms”), Kulullû (“Fish-Man”) and Kusarikku (“Bull-Man”).
Tiamat possessed the Tablet of Destinies and in the primordial battle, she gave them to Kingu, the deity she had chosen as her lover and the leader of her host, and who was also one of her children.
The deities gathered in terror, but Anu, (replaced later, first by Enlil and, in the late version that has survived after the First Dynasty of Babylon, by Marduk, the son of Ea), first extracting a promise that he would be revered as “king of the gods”, overcame her, armed with the arrows of the winds, a net, a club, and an invincible spear.
And the lord stood upon Tiamat’s hinder parts,
And with his merciless club he smashed her skull.
He cut through the channels of her blood,
And he made the North wind bear it away into secret places.
Slicing Tiamat in half, he made from her ribs the vault of heaven and earth. Her weeping eyes became the source of the Tigris and the Euphrates, her tail became the Milky Way.
With the approval of the elder deities, he took from Kingu the Tablet of Destinies, installing himself as the head of the Babylonian pantheon. Kingu was captured and later was slain: his red blood mixed with the red clay of the Earth would make the body of humankind, created to act as the servant of the younger Igigi deities.
The principal theme of the epic is the justified elevation of Marduk to command over all the deities. “It has long been realized that the Marduk epic, for all its local coloring and probable elaboration by the Babylonian theologians, reflects in substance older Sumerian material,” American Assyriologist E. A. Speiser remarked in 1942 adding “The exact Sumerian prototype, however, has not turned up so far.”
This surmises that the Babylonian version of the story is based upon a modified version of an older epic, in which Enlil, not Marduk, was the god who slew Tiamat, is more recently dismissed as “distinctly improbable“.
In fact, Marduk has no precise Sumerian prototype. It is generally accepted amongst modern Assyriologists that the Enûma Elish—the Babylonian creation epic to which this mythological strand is attributed—was written as political and religious propaganda rather than reflecting a Sumerian tradition; the dating of the epic is not completely clear, but judging from the mythological topics covered and the cuneiform versions discovered thus far, it is likely to date to the 15th century BCE.
The Tiamat myth is one of the earliest recorded versions of the Chaoskampf, the battle between a culture hero and a chthonic or aquatic monster, serpent or dragon.
Chaoskampf motifs in other mythologies linked directly or indirectly to the Tiamat myth include the Hittite Illuyanka myth, and in Greek tradition Apollo‘s killing of the Python as a necessary action to take over the Delphic Oracle.
According to some analyses, there are two parts to the Tiamat myth, the first in which Tiamat is creator goddess, through a “sacred marriage” between salt and fresh water, peacefully creating the cosmos through successive generations.
In the second “Chaoskampf” Tiamat is considered the monstrous embodiment of primordial chaos.
Robert Graves considered Tiamat’s death by Marduk as evidence for his hypothesis of an ancient shift in power from a matriarchal society to patriarchy. Grave’s ideas were later developed into the Great Goddess theory by Marija Gimbutas, Merlin Stone, and others.
The theory suggests Tiamat and other ancient monster figures were presented as former supreme deities of peaceful, woman-centered religions that were turned into monsters when violent.
Their defeat at the hands of a male hero corresponded to the manner in which male-dominated religions overthrew ancient society. This theory is rejected by academia and modern authors such as Lotte Motz, Cynthia Eller, and others.
*This article was originally published at en.wikipedia.org.