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Prose and Poetry in the Mythic and Epic Texts from UgaritAuthor(s): Frank Moore CrossReviewed work(s):Source: The Harvard Theological Review, Vol. 67, No. 1 (Jan., 1974), pp. 1-15Published by: Cambridge University Press on behalf of the Harvard Divinity SchoolStable URL: http://www.jstor.org/stable/1509263 .Accessed: 03/01/2012 15:22

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HARVARD THEOLOGICAL REVIEW VOLUME 67 JANUARY 1974 No. 1

PROSE AND POETRY IN THE MYTHIC AND EPIC TEXTS FROM UGARIT

FRANK MOORE CROSS HARVARD UNIVERSITY

i. The myths and epics of Ugarit are composed in poetic formulae and patterns which reveal original oral composition. Parallelistic structure derives, originally at least, from the techniques of orally composed poetry, and the use of traditional formulae including parallelistic pairs has been well established in Ugaritic and Early Hebrew poetry.' Usually the formulaic structure gives an extreme symmetry or regularity to Ugaritic verse.

This symmetry can be illustrated by syllable counting in a vocalized text. We should not be prepared to argue that the ancient Canaanite singer counted syllables; only that this device yields a higher index of symmetry than the more usual stress analysis. We are well aware also of the precariousness of attempts at vocalization based on a few transcriptions and comparative philology; however, errors in vocalization only occasionally affect syllabic calculation.

(I) yatabbira h6ranu ya-bini io yatabbira h68rnu ri'2aka io 'attartu Mim ba'li qudqudaka io May

.Joran crush, O my son,

May Iloran crush your head, Attart, Name-of-Ba'l, your skull.

CTA 16.6.54-7 = 2.1.7-8

1See most recently the Harvard dissertations of Richard Whitaker, Douglas Stuart, and Stephen Geller, all dealing with the structure and orality of Ugaritic and early Hebrew poetry. That the Ugaritic texts were dictated by a skilled singer is evident from such a colophon as CTA 66.653ff.:

sdpiru 'ilimilku Gbniyyu lamidu 'atn prln rabbu kahinima, etc. scribe: 'Ilimilku the Sbnite, master singer, 'Atn Prln, chief priest, etc.

On Imd, "master singer," cf. mlmd (Syr), I Chron. 25:7.

2 HARVARD THEOLOGICAL REVIEW

Tricola, in climactic pattern, are always highly symmetrical, and often are frozen, traditional verses which appear more than once in extant texts.

(2) Another familiar example, reflected in Psalm 92:10, is the

following (together with a following bicolon):

hitta 'ibaka ba'lu-mi 8 hitta 'ibaka timhasu 8 hitta tasmitu sarrataka 9 tiqqahu mulka '1lamika 9 darkata data dardarika 9

Behold your enemy, O Ba'l, Behold your enemy, you shall smite; Behold you shall smash your foeman.

You shall take your eternal kingship, Your dominion which is everlasting.

CTA 2.4.7-Io

Note the extraordinary symmetry and euphony created by repetition of words, syllables, and sounds, especially in the bicolon

(ka [7 times], da [4 times], dar [3 times], ta [7 times], etc.).

(3) One more example of the climactic tricolon:

'abduka ba'lu ya-yammu-mi 9 'abduka ba'lu [la-'1la] mi 9 binu dagni 'asiruka-mi 9

Your slave, O Yamm, is Ba'l; Your slave forever is Ba'l, Dagon's son your prisoner.

CTA 2.I.36f.

The rhyme in -mi created by the enclitics is interesting, as is the chiastic relation of "abduka and 'asiruka.

Other types of tricola and bicola exhibit types of repetition and traditional patterning, with equally striking symmetry:

(4) [lahhi] mi lahhimfi ba-lahmi 'ay io wa-Satiyfi ba-hamri y~ni '•y i o

FRANK MOORE CROSS 3

Eat, eat ye bread, ho! And drink winy drink, ho!

CTA 23 (G 52).5f.

One is strongly reminded of the repetitive call to banquet in Isa.

55:1:

h6y kol-s•me' likk la-maym 8 we-en 16' kasp likti ibrfi 8 ('ibrti) wi-ikli [] be-16' kasp 8

b'-16' me.hir

yayn wI-halab 8

Ho, all ye thirsty, come to the water, Without money, come get corn, Get corn and eat without money, Without price, wine and milk.

Chiasm and repetition (causing some corruption in the third colon) echo an archaic, traditional style.

(5) tahmuka 'ilu hakamu 8 hukmuka 'ima '1lami 8 hayyat hiiiata tahmuka 8

Thy decree, O El, is wise, Thy wisdom unto eternity, A life of fortune thy decree.

CTA 3.5-38; 4.4.41

Euphonic repetition of sounds and sequences of sounds is quite dramatic (hmk, hkm, hkmk, h [6 times]), as is the chiastic

pattern talhmuka . . . tahmuka, etc.

(6) tabarrikfi 'ilfima ti'tayfi Io ti'tayif 'ilfima la-'ahli-hum 2 Io daru 'ili la-ma'kanati-hum Io

The gods bless (and) proceed, The gods proceed to their tents, The council of 'El to their camp.

CTA 15.3.17-19

2 For 'ahl (singular) and m'knt as a formulaic pair, see 17.5.32.

4 HARVARD THEOLOGICAL REVIEW

The repetitive chiasm of 'ilfma ti'tayf, ti'tayif 'ilfma is an in-

teresting variant of the climactic style.

(7) ki timhas 16tana batna bariha ii takalliyu batna 'aqalatana II

'ilyata di ab'ati ri'a'ima Ii

When thou smote L6tan, the protean serpent, Destroyed the crooked serpent Silyat of the seven heads.

CTA 5.1.1-3

As generally recognized, the tricolon follows a cosmogonic for- mula: "When . . . then . . ." Cf. Isa. 27:I; Ps. 74:14, echoes of this verse.

(8) samfima vamna tamattirfina Io nahalfima talikfi nubta-mi Io

The heavens rain oil; The valleys flow with mead.

CTA 6.3.6f., 12f.

In addition to the repetition of sounds in 'amuma samna, note the

heaping up of nasals (io times in the bicolon), and the balancing of the bicolon by use of the enclitic.

On occasion, a standard theme will be treated in a series of

symmetrical cola longer than the usual bicolon or tricolon unit, for example, "preparation for war," 3 or "arrival at the abode of 'El":

(9) 'idaka la-tattinu panima io 'im 'ili mabbike naharemi Io qirba 'apiqe tihamatemi io tagliyu dadi 'ili wa-tabu' io qarai malki 'abi anima Io

Then she ('Elat) set her face Toward 'El at the sources of the double-stream

3See CTA 14:94-104 = 182-194 discussed below.

FRANK MOORE CROSS 5

In the midst of the fountains of the double-deep; She opened the domed tent of 'El and entered The tabernacle of King, Father of years.

CTA 4.4.20-24 '

The repetition and regularity of many of the above suggest that we are dealing with frozen formulae which, while originating in oral composition, became set verses by reason of their elegance and symmetry. It is striking, however, that the symmetry and internal structure normally does not extend beyond the single bicolon or single tricolon. Thus we have bicola and tricola (i.e., verse units) in lengths of 8, 9, Io, and i i syllables, all illustrated above. This is not to bring into account short and mixed meter " which makes for even greater variation.

2. Alongside verse units of striking symmetry or metrical regularity are many verses which appear to be irregular or asym- metrical. Even under the presumption that Ugaritic verse was highly regular (as is characteristic of poetry built up of oral formulae), we should expect to come upon many instances of apparent irregularity or cases where we cannot reconstruct the original symmetry of a verse.

One great source of difficulty obviously is our slight knowledge of the vocalization of Ugaritic, especially in the use of inflectional endings. There seems to be evidence that proper names and con- struct (bound) forms did not always use inflectional endings. Similarly, we know very little about the inflection of verbal forms, especially the yqtl patterns, as is clear if one examines the forms of third -y and -w verbs which sometimes preserve a y in writing, sometimes not, without our being able yet to predict which form will appear in all cases. Almost certainly elision and like forms of poetic license were available to the Ugaritic singer. But, unless a Ugaritic treatise on poetry is dug up, we shall never be able to solve all such difficulties.6

'Cf. 3.4-13-16; 2.3.4-5; 17.6.46-49; 1.3.23. ' Long and short units, in stress notation 3 and 2, in my terminology l(ongum) and b(reve), appear both as fundamental building blocks in Ugaritic and Hebrew poetry. ' It is fair to say, I believe, that Homeric verse is less regular on the surface than Ugaritic verse; however, we know the rules of Greek metrics, and hence can perceive its full symmetry.

6 HARVARD THEOLOGICAL REVIEW

There are, however, certain problems of irregularity in Ugaritic poetry which are open to solution. We wish to discuss two types of problematic readings, confused (or expanded) formulae, and prose rubrics.

a. Albert Lord in his studies of orally-composed epic has de- scribed in detail the difficulties that the singer has in dictating formulaic poetry to a scribe. In dictation, apart from the sung performance, an epic song is turned more or less into a mixture of prose and verse. After citing examples, Lord concludes, "such cases are instructive because they indicate that a dictated text even when done under the best of circumstances and by the best of scribes is never entirely, from the point of view of the line structure, the same as a sung text." 7 We may indeed express surprise that so much poetic symmetry is preserved in the dictated texts of Ugarit.8 However, we do detect characteristic features of the dictated text, among them the confused, reversed, or expanded formula.

Illustration of formulaic confusion is best begun, perhaps, by examining instances where we can control the textual con- fusion by parallel passages. In such cases we have adequate proof that the singer has erred in dictation.

(i) After a sequence of perfectly regular bicola describing the preparations for the march to battle, we read the following:

yib'aru la-tine 'attatahu 10 la-md nikari m6dadatahu 10

ka-'irbayi ta'kunfi 'adi 9 ka-ma hasini pi'ati madbari I The (newly-wed) leaves his wife to another, His beloved to a stranger. Like locusts they tent in the steppe, Like hoppers on the edges of the desert.

CTA 14:99-105

The irregularity of the last bicolon (9/11) is evident. Happily the original form of the bicolon is found in the parallel (CTA 14.192-194):

7 ALBERT B. LORD, The Singer of Tales (Cambridge: Harvard University Press, 1964), 127.

8 See above, note I.

FRANK MOORE CROSS 7

ka-ma 'irbayi ta'kunfi gadi 10 ka-hasini pi'ati madbari Io

In dictation the long and short variants ka- and ka-md were re- versed.

(2) Another example from the KRT epic, somewhat more

complex, is the following: 'urub ba-iilli hemati 8 qah 'immara ba-yadeka 8 'immara dabhi ba-ma yamini Io lal'a kilatanemi 7

CTA 14.2.65-68

In CTA 14.3.159-161 the passage is repeated:

'araba ba-iilli hemati 9 laqaha 'immara dabhi bayadehu 12 lal'a kilatanemi 7

Neither can be correct, but the two variants permit us to re- construct the original metrical form from which the two were derived:

'urub ba-iilli hemati 8 qah 'immara ba-yadika 8 dabhi ba-ma yamini 7 lal'a kilatanemi 7 Enter into the shade of the tent: Take a lamb in your hand, A sacrifice in your right hand, A kid in your two hands.

The structure belongs to the category we have called "impression- istic parallelism," consisting of overlapping images, formally con-

tradictory, in fact evoking a complex picture of richness and

depth. Such impressionistic parallelism is frequent in the Ugaritic texts and survives in early Hebrew poetry. An example of the latter is Judges 5:25:

maym sa'al halab natana b6-sipl 'addirim hiqribd hem'a

Water he asked, Milk she gave; In a majestic bowl, She brought ghee.

8 HARVARD THEOLOGICAL REVIEW

We have here three images of the ritual of tent-dweller's hos-

pitality. The images are not to be taken as a sequence: Sisera

asking for water but receiving (instead) (i) milk and (2) melted butter. Rather, the images are "overlapping." A simple Ugaritic example immediately understood (though formally contradictory) is the familiar:

bahatiya baniti dat kaspi i hekaliya data-mi hurasi io

My temple I have built of silver, My palace, indeed, of gold.

CTA 4.6.36-38

The parallel in CTA 4.8.37 is perhaps a more elegant verse form in its use of chiasm:

bahatiya baniti dat kaspi Io d~ta-mi hurdsi hekaliya Io

(3) Another passage in KRT with its parallel again permits us to reconstruct the original text, thanks both to a dittography by the scribe and by slightly variant text forms.

'all la-z6ri magdali 8 wa- all la-z6ri magdali 9 rikab takme-mi hamiti 8 sa'a yadeka samima 8

CTA 14.2-73-76

The parallel text has:

wa-'alaya la-z6ri magdali I0 rakuba takme-mi hdmiti 9 nasa'a yadehu vamima-ha IO

CTA 14.4.165-168

The original forms of the verses can be reconstructed as follows:

'ali la-z6ri magdali 8 rikab takme-mi hamiti 8 sa'a yadeka samima 8

Climb to the top of the temple-tower, Mount the shoulders of the wall, Lift up your hands to heaven.

FRANK MOORE CROSS 9

'alaya la-z6ri magdali 9 rakuba takme-mi hamiti 9 naga'a yadehu samima 9

He climbed to the top of the tower, Mounted the shoulders of the wall, He lifted his hands to heaven.

Both the introductory wa- (a frequent expansion between cola) and the locative -ha are added prosaic elements, introduced in dictation.

(4) Very often we come upon reversed formulae in cases where we do not have parallel material to lend its control. For this reason, we shall not illustrate this category elaborately. How- ever, one example which seems fairly clear is found in CTA 5.2.3f.

ya'rubu ba'lu ba-kabidi-hu o ba-pi-hu yaridu 6

By reversing a formulaic pair we get:

ya'rubu ba'lu ba-pi-hu 8 ba-kabidi-hu yaridu 8

Ba'l entered into his mouth, Into his maw he descended.

(5) Epithets of deity come in various set (formulaic) lengths, long and short, to fit metrical slots. In dictation often long, or expanded, epithets replace the correct short form of the epithet. This tendency to "fill out" or conflate epithets is evident in the following reading from the KRT epic (14.4.197-205):

yamgiyil la-qudsi 'atirati surri-mi 13 wa-la-'ilatu sidyana-mi 9 tamma yadduru kirta ta'i 9

'I 'itatu 'atiratu surri-mi II wa-'ilatu sidyana-mi 8

himma hurriya betiya 'iqqahu ii 'asa'riba galmata haiiraya I

The epithet Qud'u (alone) used of 'Atiratu is not infrequent at Ugarit. Moreover, the epithet Qudhu 'Atiratu is obviously too

10 HARVARD THEOLOGICAL REVIEW

heavy for the line. We suggest therefore that Qud'u Surri(-mi) is the original formula in both the first and fourth lines. It has been conflated with the frequent formulaic pair: 'atiratu/'ilatu.

yamgiyui la-qud'i surri-mi 9 wa-la-'ilatu sidyana-mi 9 tamma yadduru kirta ta'i 9

'I 'itatu qudiu surri 8 wa-'ilatu sidyana-mi 8

himma hurriya betiya 'iqqahu ii 'asa'riba galmata haiiraya II

They came to Qud'u of Tyre And to 'Elat of Sidon. There Kirta of Ta' made a vow:

As Qud'u of Tyre exists, And 'Elat of Sidon,

I will surely take IHurriya to my house, I will bring the lass into my court.

b. Another category of readings in the Ugaritic texts which

appear to be prose may be labeled rubrics. Some of these are

single lines without parallel that break a consistent metrical

sequence (6):

ki hayya 'al'iyanu ba'lu 9 ki 'ito zubfilu ba'l 'arsi 9

gama yasihu 'ilu la-batulti 'anati 14

sam'i la-batulti 'anatu 9 rugmi la-nirti 'ili sapsi 9

Indeed 'Al'iyan Ba'l lives, Indeed Prince, lord of Earth exists.

Aloud El shouted to Virgin 'Anat:

"Hearken, O Virgin 'Anat, Speak to Sun, light of 'El."

CTA 6.3.20-24

Here the expression gama yasihu 'ilu la-batulti "anati cannot

FRANK MOORE CROSS 11

be taken as anything but prose. It breaks into a sequence of reg- ular bicola. In this case the singer seems to have made no attempt to conform the rubric to his metrical context.

(7) Closely related is the strange sequence in CTA 6.3.6-9:

samfima Samna tamattirfina Io nahaltima talikfi nubta-mi Io

wa-'adi'(u) 4

ki hayyu 'al'iyanu ba'lu 9 ki 'ite zubfilu ba'l 'arsi 9

The heavens rain oil, The valley flows with mead.

And I know:

Indeed 'Al'iyan Ba'l lives, Indeed Prince lord of earth exists.

The phrase wa-'adi'u, "and I know," is thrown in between two

highly stylized and traditional verses, both in perfect poetry. It it evidently extrametrical. We may call it a rubric, or perhaps better a prose fragment.

(8) CTA 2.I.36f. has a prosaic rubric, or at least a colon without

parallel followed by a highly regular verse listed above:

wa-ya'ni t6ru 'abfihu 'ilu I

'abduka ba'lu ya-yammu-mi 9 'abduka ba'lu [la-'1la] mi 9 binu dagni 'asiru-ka-mi 9

And Bull, his father 'El replied:

Your slave is Ba'l, O Sea, Your slave is Ba'l forever, The son of Dagon your prisoner.

(9) CTA 4.3.23 as it stands intrudes one prosaic rubric, at least, and may be analyzed as having more.

'ahara magaya 'al'iyanu Ba'lu 12

magayat batultu 'anatu 9

tamagginani rabbata 'atirata yammi 14

tag~iiyani qaniyata 'ilima II

12 HARVARD THEOLOGICAL REVIEW

wa-ta'ni rabbatu 'atiratu yammi 12

'eka tamagginani rabbata 'atirata yammi 16 tag'iya-ni qdniyata 'ilima II

The first two lines may be taken as prose, or 'ahara may be taken as extra-metrical. Certainly the isolated line wa-ta'ni rabbatu 'atiratu yammi is a prose rubric. The third and sixth lines

give two more instances of expanded epithets confusing the meter. We may reconstruct the sequence as follows:

magaya 'al'iyanu ba'lu 9 magayat batultu 'anatu 9

tamaggindni 'atirata yammi II tagiiyani qdniyata 'ilima II

wa-ta'ni rabbatu 'atiratu yammi 12

'eka tamagginani 'atirata Ii tag~iyani qaniyat 'ilima II

'Al'iyan Ba'l arrived; The Virgin 'Anat arrived.

The two did homage to 'Atirat-of-the-Sea, The two placated the Creatress of the gods.

And Lady 'Atirat-of-the-Sea took up speech:

Why do you (two) do homage to 'Atirat? Placate the Creatress of the gods?

(Io) A similar text is CTA 15.2.11-I6. It reads as follows:

['aha] ra magiyufi 'idatu 'ili-mi 12 [wa-] ya'ni 'al'iya [nu] Ba'lu 9 [la-ti] tba' la-lutpanu 'ilu dfi pa'idi 13

la-tabarrika kirta ta'i 9 la-tamurr(a) nu'mana galm 'ili 9 (Io) kasa yi'had ['ilu ba]yadi 9 karpana ba-ma [yamini-hu] 9 barriku-mi yabarriku ['abda] Io yabarriku 'ilu kirta ta'i io yamurru-mi nu'mana galm 'ili Io

FRANK MOORE CROSS 13

Then the Council of 'El arrived. And 'Al'iyan Ba'l took up speech. Come now, O Lutpan, 'El the Merciful:

Verily bless Kirta of Ta'! Verily favor Nu'man, lad of 'El!

'El took a cup in (his) hand, A flagon in his right hand.

He truly blessed (his) servant, 'El blessed Kirta of Ta', He showed favor to Nu'man lad of 'El.

The first three lines as they stand are prose, without metrical

regularity and without parallelism. One could suppress 'ahara to

bring the first two lines to a 9/9 count; but this would not solve the problem of the failure of parallelism. Similarly, one might reduce the length of the epithet in line 3 to 'ilu dif pa'idi, for which we have a parallel. But perhaps we should leave the section as

is, a prose interlude.

(1i) In CTA 6.1.41-48

ki mita 'al'iyvnu ba'lu 9 ki haliq(a) zubtilu ba' 'arsi 9

ga-ma yaslhu 'ili la-rabbati 'atiratu yammi I7 sam'i la-rabbatu 'atiratu yammi 12 tini 'ahada ba-bani-ki 'amallika 13 wa-ta'ni rabbatu 'atiratu yammi 12 bal namallika yadi'a yilhana ii Indeed 'Al'iydn Ba'l is dead, Prince, lord of earth perished.

Aloud 'El cried to Lady 'Atirat-of-the-Sea: Hear O Lady 'Atirat-of-the-Sea, Give one of your sons (and) I shall make him king. And Lady 'Atirat-of-the-Sea replied: Let us make Yadi'a Yilhan king.

After the poetic cliche in the first two lines (see below), we

have prose. Lines 3 and 6 are clearly rubrics without parallel cola. Lines 4/5 and 7 may be garbled remnants of poetry.

14 HARVARD THEOLOGICAL REVIEW

(12) CTA 5.6.9-14 begins, as does the last passage, with climactic bicolon affirming BaTs death and then becomes prose, or rather garbled formulae:

mita 'al'iyanu ba'lu 8 haliq (a) zubfilu ba'l arsi 8

'apinnaka lutpanu 'ilu dfi pa'idi 3 yaridu la-kussi'i 7 yatibu la-hudumi 7 wa-la-hudumi yatibu la-'arsi II

'Al'iyan Ba'l is dead, Perished Prince, lord of earth.

Then Lutpan, 'El the Merciful, Descended from (his) throne (And) sat on (his) footstool And from his footstool (and) sat on the ground.9

One can reconstruct a metrical form into which the latter lines have been cast, but in this case such must remain most speculative. For example:

'ap 'Ilu yaridu la-kussi'i Io la-kussi'i yatibu la-hudumi I I la-hudumi yatibu la-'arsi io

Then 'El descended from (his) throne, From his throne (and) sat on (his) footstool, From (his) footstool (and) sat on the ground.

(13) Sometimes rubrics are in poetry, sometimes in prose. In CTA 6.2.11-17, in the case of adjacent rubrics, one appears to be in poetry, the other in prose:

ti''a'u ga-ha wa-taslhu 9 'atta m6ta tina 'ahlya 9

wa-'ana 10 binu 'ili-mi m6tu 10

mah ta'arri'ina la-batultu 'anatu 13

9The following lines, CTA 6.6.14-17, become regular (a balanced tricolon) once again.

1o We read here the infinitive absolute.

FRANK MOORE CROSS 15

'ana 'ittaliku wa-asfidu o10 kulla gfiri la-kabidi 'arsi I0 kulla gab'i la-kabidi 'adi-mi II

She lifted her voice and cried: "You, O M6t, give up my brother!"

And M6t, son of 'El, replied: "What do you desire, O Virgin 'Anat?"

"I have walked and wandered Over every mount in the heart of the earth, Every hill in the heart of the steppe."

The rubric tissa'u gd-ha wa-tasihu pairs satisfactorily with the

following line. The rubric wa-'and binu 'ili m6tu and its following line are not matched in length. Most probably, however, the

epithet of 'Anat has been expanded, and the lines should read:

wa-'ana binu 'ili-mi m6tu Io mah ta'arri'ina la-'anatu 11 I0

(14) In CTA 23 [Gordon 52], a liturgical text, prose rubrics interspersed with poetic verses are frequent. An example is I. 14:

Rubric: 'aba'ida yargumfi 'al 'adi

wa-'aribfima ta'niyfina

Incipit: wa-'adu 'adf 'ili-mi 8

sadfi 'atirat-wa-rahmay 8

Rubric: 'al 'ilati Saba'ida gazarfima (12) taba(h) [g]adi ba-halabi 8 'ananaha ba-him'ati 8

Rubric: Seven times they shall recite with the lute, And those who proceed shall give the response.

Incipit: As for the field, it is 'El's field, The field of 'Atirat-wa-Rahmay.

Rubric: On the fire seven times the aides: Sacrifice a kid in milk, A lamb in ghee.

Note that in the second rubric a formulaic pair happens to be

preserved. The first rubric is ordinary prose. The incipit, of

course, is in symmetrical verse.

" Cf. CTA 5.6.25f.