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In the eastern half of the city was Enlil's great temple Ekur, with its temple-tower Imkharsag rising in successive stages beside it. The huge temple-enclosure contained not only the sacrificial shrines, but also the priests' apartments, store-chambers, and temple-magazines.
Or, as a more probable alternative, it was suggested that we might connect the line with Enki's warning, and assume that Ziusudu interpreted the dream-revelation of Anu and Enlil's purpose by means of the magical incantation which was peculiarly associated with them.
In the latter Enlil's anger is appeased, in the former that of Anu and Enlil; and it is legitimate to suppose that Enki, like Ea, was Ziusudu's principal supporter, in view of the part he had already taken in ensuring his escape. Cf. Ezek. xviii, passim, esp. xviii. 20. The presence of the puzzling lines, with which the Sixth Column of our text opens, was not explained by Dr.
I, pp. lxvi ff.; and cf. Skinner, Genesis, pp. 43 ff. Cf. Sev. Tabl., Vol. I, pp. 157 ff. Cf. Tabl. VII, ll. 116 ff. The number fifty was suggested by an ideogram employed for Enlil's name. For what then were the Semitic Babylonians themselves responsible?
Thereupon Ninib accuses Ea, who by his pleading succeeds in turning Enlil's purpose. He bids Enlil visit the sinner with his sin and lay his transgression on the transgressor; Enlil should not again send a deluge to destroy the whole of mankind, but should be content with less wholesale destruction, such as that wrought by wild beasts, famine, and plague.
If Enlil's name should prove to be the first word of the composition, we should naturally regard him as the speaker here and as the protagonist of the gods throughout the text, a rôle he also plays in the Semitic-Babylonian Version.
Her supreme position as a goddess is attested by the relative insignificance of her husband Dunpae, whom she completely overshadows, in which respect she presents a contrast to the goddess Ninlil, Enlil's female counterpart.
Anu and Ea had both to be mentioned because of the parts they play in the Epic, but Enlil's only recorded appearance is in the final assembly of the gods, where he bestows his own name "the Lord of the World" upon Marduk. The evidence of Damascius suggests that Enlil's name was here retained, between those of Anu and Ea, in other versions of the poem.
But the traces are not in favour of the restoration; and the omission of Enlil's name from this part of the poem may be readily explained as a further tribute to Marduk, who definitely usurps his place throughout the subsequent narrative.
As the first of the series of five cities of Eridu, the seat of Nudimmud or Enki, who was the third of the creating deities, it has been urged that the upper part of the Second Column must have included an account of the founding of Erech, the city of Anu, and of Nippur, Enlil's city.
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