The 12th Planet

by Zacharia Sitchin

  leave me without guidance?

  Then follows a happy ending. "The righteous words, the pure words uttered by him, his god accepted; ... his god withdrew his hand from the evil pronouncement."

  Preceding the biblical Book of Ecclesiastes by some two millennia, Sumerian proverbs conveyed many of the same concepts and witticisms.

  If we are doomed to die - let us spend; If we shall live long - let us save. When a poor man dies, do not try to revive him.

  He who possesses much silver, may be happy; He who possesses much barley, may be happy; But who has nothing at all, can sleep!

  Man: For his pleasure: Marriage; On his thinking it over: Divorce.

  It is not the heart which leads to enmity; it is the tongue which leads to enmity.

  In a city without watchdogs, the fox is the overseer.

  The material and spiritual achievements of the Sumerian civilization were also accompanied by an extensive development of the performing arts. A team of scholars from the University of California at Berkeley made news in March 1974 when they announced that they had deciphered the world's oldest song. What professors Richard L. Crocker, Anne D. Kilmer, and Robert R. Brown achieved was to read and actually play the musical notes written on a cuneiform tablet from circa 1800 B.C., found at Ugarit on the Mediterranean coast (now in Syria).

  "We always knew," the Berkeley team explained, "that (here was music in the earlier Assyrio-Babylonian civilization, but until this deciphering we did not know that it had the same heptatonic-diatonic scale that is characteristic of contemporary Western music, and of Greek music of the first millennium B.C." Until now it was thought that Western music originated in Greece; now it has been established that our music - as so much else of Western civilization - originated in Mesopotamia. This should not be surprising, for the Greek scholar Philo had already stilted that the Mesopotamians were known to "seek worldwide harmony and unison through the musical tones."

  There can be no doubt that music and song must also be claimed as a Sumerian "first." Indeed, Professor Crocker could play the ancient tune only by constructing a lyre like those which had been found in the ruins of Ur. Texts from the second millennium B.C. indicate the existence of musical "key numbers" and a coherent musical theory; and Professor Kilmer herself wrote earlier (The Strings of Musical Instruments: Their Names, Numbers and Significance) that many Sumerian hymnal texts had "what appear to be musical notations in the margins." "The Sumerians and their successors had a full musical life," she concluded. No wonder, then, that we find a great variety of musical instruments - as well as of singers and dancers performing - depicted on cylinder seals and clay tablets.

  Like so many other Sumerian achievements, music and song also originated in the temples. But, beginning in the service of the gods, these performing arts soon were also prevalent outside the temples. Employing the favorite

  Sumerian play on words, a popular saying commented on the fees charged by singers: "A singer whose voice is not sweet is a 'poor' singer indeed."

  Many Sumerian love songs have been found; they were undoubtedly sung to musical accompaniment. Most touching, however,

  is a lullaby that a mother composed and sang to her sick child:

  Come sleep, come sleep, come to my son.

  Hurry sleep to my son;

  Put to sleep his restless eyes. ...

  You are in pain, my son;

  I am troubled, I am struck dumb,

  I gaze up to the stars.

  The new moon shines down on your face;

  Your shadow will shed tears for you.

  Lie, lie in your sleep. . . .

  May the goddess of growth be your ally; May you have an eloquent guardian in heaven; May you achieve a reign of happy days. . . . May a wife be your support; May a son be your future lot.

  What is striking about such music and songs is not only the conclusion that Sumer was the source of Western music in structure and harmonic composition. No less significant is the fact that as we hear the music and read the poems, they do not sound strange or alien at all, even in their depth of feeling and their sentiments. Indeed, as we contemplate the great Sumerian civilization, we find that not only are our morals and our sense of justice, our laws and architecture and arts and technology rooted in Sumer, but the Sumerian institutions are so familiar, so close. At heart, it would seem, we are all Sumerians. After excavating at Lagash, the archaeologist's spade uncovered Nipper, the onetime religious center of Sumer and Akkad. Of the 30,000 texts found there, many remain unstudied to this day. At Shuruppak, schoolhouses dating to the third millennium B.C. were found. At Ur, scholars found magnificent vases, jewelry, weapons, chariots, helmets made of gold, silver, copper, and bronze, the remains of a weaving factory, court records - and a towering ziggurat whose ruins still dominate the landscape. At Eshnunna and Adab the archaeologists found temples and artful statues from pre-Sargonic times. Umma produced inscriptions speaking of early empires. At Kish monumental buildings and a ziggurat from at least 3000 B.C. were unearthed. Uruk (Erech) took the archaeologists back into the fourth millennium B.C. There they found the first colored pottery baked in a kiln, and evidence of the first use of a potter's wheel. A pavement of limestone blocks is the oldest stone construction found to date. At Uruk the archaeologists also found the first ziggurat - a vast man-made mound, on top of which stood a white temple and a red temple. The world's first inscribed texts were also found there, as well as the first cylinder seals. Of the latter, Jack Finegan (Light from the Ancient Past) said, "The excellence of the seals upon their first appearance in the Uruk period is amazing." Other sites of the Uruk period bear evidence of the emergence of the Metal Age.

  In 1919, H. R. Hall came upon ancient ruins at a village now called El-Ubaid. The site gave its name to what scholars now consider the first phase of the great Sumerian civilization. Sumerian cities of that period - ranging from northern Mesopotamia to

  the southern Zagros foothills - produced the first use of clay bricks, plastered walls, mosaic decorations, cemeteries with brick- lined graves, painted and decorated ceramic wares with geometric designs, copper mirrors, beads of imported turquoise, paint for eyelids, copper-headed "tomahawks," cloth, houses, and, above all, monumental temple buildings.

  Farther south, the archaeologists found Eridu - the first Sumerian city, according to ancient texts. As the excavators dug deeper, they came upon a temple dedicated to Enki, Sumer's God of Knowledge, which appeared to have been built and rebuilt many times over. The strata clearly led the scholars back to the beginnings of Sumerian civilization: 2500 B.C., 2800 B.C., 3000 B.C., 3500 B.C.

  Then the spades came upon the foundations of the first temple dedicated to Enki. Below that, there was virgin soil - nothing had been built before. The time was circa 3800 B.C. That is when civilization began.

  It was not only the first civilization in the true sense of the term. It was a most extensive civilization, all-encompassing, in many ways more advanced than the other ancient cultures that had followed it. It was undoubtedly the civilization on which our own is based.

  Having begun to use stones as tools some 2,000,000 years earlier, Man achieved this unprecedented civilization in Sumer circa 3800 B.C. And the perplexing fact about this is that to this very day the scholars have no inkling who the Sumerians were, where they came from, and how and why their civilization appeared. For its appearance was sudden, unexpected, and out of nowhere.

  H. Frankfort (Tell Uqair) called it "astonishing." Pierre Amiet (Elam) termed it "extraordinary." A. Parrot (Sumer) described it as "a flame which blazed up so suddenly." Leo Oppenheim (Ancient Mesopotamia) stressed "the astonishingly short period" within which this civilization had arisen. Joseph Campbell (The Masks of God) summed it up in this way: "With stunning abruptness . . . there appears in this little Sumerian mud garden . . . the whole cultural syndrome that has since constituted the germinal unit of all the high civilizations of the world." GODS OF HEAVEN AND EARTH

  WHAT WAS IT that after hu
ndreds of thousands and even millions of years of painfully slow human development abruptly changed everything so completely, and in a one - two-three punch - circa 11,000-7400-3800 B.C. - transformed primitive nomadic hunters and food gatherers into farmers and pottery makers, and then into builders of cities, engineers, mathematicians, astronomers, metallurgists, merchants, musicians, judges, doctors, authors, librarians, priests? One can go further and ask an even more basic question, so well stated by Professor Robert J. Braid-wood (Prehistoric Men): "Why did it happen at all? Why are all human beings not still living as the Maglemosians did?"

  The Sumerians, the people through whom this high civilization so suddenly came into being, had a ready answer. It was summed up by one of the tens of thousands of ancient Mesopotamian inscriptions that have been uncovered: "Whatever seems beautiful, we made by the grace of the gods." The gods of Sumer. Who were they?

  Were the gods of the Sumerians like the Greek gods, who were described as living at a great court, feasting in the Great Hall of Zeus in the heavens - Olympus, whose counterpart on earth was Greece's highest peak, Mount Olympus? The Greeks described their gods as anthropomorphic, as physically similar to mortal men and women, and human in character: They could be happy and angry and jealous; they made love, quarreled, fought; and they procreated like humans, bringing forth offspring through sexual intercourse - with each other or with humans.

  They were unreachable, and yet they were constantly mixed up in human affairs. They could travel at immense speeds, appear and disappear; they had weapons of immense and unusual power. Each had specific functions, and, as a result, a specific human activity could suffer or benefit by the attitude of the god in charge of that particular activity; therefore, rituals of worship., and offerings to the gods were supposed to gain their favor.

  The principal deity of the Greeks during their Hellenic civilization was Zeus, "Father of Gods and Men," "Master of the Celestial Fire." His chief weapon and symbol was the thunderbolt. He was a "king" upon earth who had descended from the heavens; a decision maker and the dispenser of good and evil to mortals, yet one whose original domain was in the skies. He was neither the first god upon Earth nor the first deity to have been in the heavens. Mixing theology with cosmology to come up with what scholars treat as mythology, the Greeks believed that first there was Chaos; then Gaea (Earth) and her consort Uranus (the heavens) appeared. Gaea and Uranus brought forth the twelve Titans, six males and six females. Though their legendary deeds look place on Earth, it is assumed that they had astral counterparts.

  Cronus, the youngest male Titan, emerged as the principal figure in Olympian mythology. He rose to supremacy among the Titans through usurpation, after castrating his father Uranus. Fearful of the other Titans, Cronus imprisoned and banished them. For that, he was cursed by his mother: He would suffer the same fate as his father, and be dethroned by one of his own sons. Cronus consorted with his own sister Rhea, who bore him three sons and three daughters; Hades, Poseidon, and Zeus; Hestia, Demeter, and Hera. Once again, it was fated that the youngest son would be the one to depose his hither, and the curse of Gaea came true when Zeus over-threw Cronus, his father.

  The overthrow, it would seem, did not go smoothly. For many years battles between the gods and a host of monstrous beings ensued. The decisive battle was between Zeus and Typhon, a serpent-like deity. The fighting ranged over wide areas, on Earth and in the skies. The final battle took place at Mount Casius, near the boundary between Egypt and Arabia - apparently somewhere in the Sinai Peninsula.

  Having won the struggle, Zeus was recognized as the supreme deity. Nevertheless, he had to share control with his brothers. By choice (or, according to one version, through the throwing of lots), Zeus was given control of the skies, the eldest brother Hades was accorded the Lower World, and the middle brother Poseidon was given mastery of the seas.

  Though in time Hades and his region became a synonym for Hell, his original domain was a territory somewhere "far below," encompassing marshlands, desolate areas, and lands watered by mighty rivers. Hades was depicted as "the unseen" - aloof, forbidding, stern; unmoved by prayer or sacrifice. Poseidon, on the other hand, was frequently seen holding up his symbol (the trident). Though ruler of the seas, he was also master of the arts of metallurgy and sculpting, as well as a crafty magician or conjurer. While Zeus was depicted in Greek tradition and legend as strict with Mankind - even as one who at one point schemed

  to annihilate Mankind - Poseidon was considered a friend of Mankind and a god who went to great lengths to gain the praise of mortals.

  The three brothers and their three sisters, all children of Cronus by his sister Rhea, made up the older part of the Olympian Circle, the group of Twelve Great Gods. The other six were all offspring of Zeus, and the Greek tales dealt mostly with their genealogies and relationships.

  The male and female deities fathered by Zeus were mothered by different goddesses. Consorting at first with a goddess named Metis, Zeus had born to him a daughter, the great goddess Athena. She was in charge of common sense and handiwork, and was thus the Goddess of Wisdom. But as the only major deity to have stayed with Zeus during his combat with Typhon (all the other gods had fled), Athena acquired martial qualities and was also the Goddess of War. She was the "perfect maiden" and became no one's wife; but some tales link her frequently with her uncle Poseidon, and though his official consort was the goddess who was the Lady of the Labyrinth from the island of Crete, his niece Athena was his mistress. Zeus then consorted with other goddesses, but their children did not qualify for the Olympian Circle. When Zeus got around to the serious business of producing a male heir, he turned to one of his own sisters. The eldest was Hestia. She was, by all accounts, a recluse - perhaps too old or too sick to be the object of matrimonial activities - mid Zeus needed little excuse to turn his attentions to Demeter, the middle sister, the Goddess of Fruitfulness. Hut, instead of a son, she bore him a daughter, Persephone, who became wife to her uncle Hades and shared his dominion over the Lower World.

  Disappointed that no son was born, Zeus turned to other goddesses for comfort and love. Of Harmonia he had nine daughters. Then Leto bore him a daughter and a son, Artemis and Apollo, who were at once drawn into the group of major deities. Apollo, as firstborn son of Zeus, was one of the greatest gods of the Hellenic pantheon, feared by men and gods alike. He was the interpreter to mortals of the will of his father Zeus, and thus the authority in matters of religious law and temple worship. Representing moral and divine laws, he stood for purification and perfection, both spiritual and physical. Zeus's second son, born of the goddess Maia, was Hermes, patron of shepherds, guardian of the flocks and herds. Less important and powerful than his brother Apollo, he was closer to human affairs; any stroke of good luck was attributed to him. As Giver of Good Things, he was the deity in charge of commerce, patron of merchants and travelers. But his main role in myth and epic was as herald of Zeus, Messenger of the Gods.

  Impelled by certain dynastic traditions, Zeus still required a son by one of his sisters - and he turned to the youngest, Hera. Marrying her in the rites of a Sacred Marriage, Zeus proclaimed her Queen of the Gods, the Mother Goddess. Their marriage was blessed by a son, Ares, and two daughters, but rocked by constant infidelities on the part of Zeus, as well as a rumored infidelity on the part of Hera, which cast doubt on the true parentage of another son, Hephaestus.

  Ares was at once incorporated into the Olympian Circle of twelve major gods and was made Zeus's chief lieutenant, a God of War. He was depicted as the Spirit of Carnage; yet he was far from being invincible - fighting at the battle of Troy, on the side of the Trojans, he suffered a wound which only Zeus could heal.

  Hephaestus, on the other hand, had to fight his way into the Olympian summit. He was a God of Creativity; to him was attributed the fire of the forge and the art of metallurgy. He was a divine artificer, maker of both practical and magical objects for men and gods. The legends say that he was born lame and was therefore cast away i
n anger by his mother Hera. Another and more believable version has it that it was Zeus who banished Hephaestus - because of the doubt regarding his parentage - but Hephaestus used his magically creative powers to force Zeus to give him a seat among the Great Gods. The legends also relate that Hephaestus once made an invisible net that would close over his wife's bed if it were warmed by an intruding lover. He may have needed such protection, for his wife and consort was Aphrodite, Goddess of Love and Beauty. It was only natural that many tales of love affairs would build up around her; in many of these the seducer was Ares, brother of Hephaestus. (One of the offspring of that illicit love affair was Eros, the God of Love.)

  Aphrodite was included in the Olympian Circle of Twelve, and the circumstances of her inclusion shed light on our subject. She was neither a sister of Zeus nor his daughter, yet she could not be ignored. She had come from the Asian shores of the Mediterranean facing Greece (according to the Greek poet Hesiod, she arrived by way of Cyprus); and, claiming great antiquity, she ascribed her origin to the genitals of Uranus. She was thus genealogically one generation ahead of Zeus, being (so to say) a sister of his father, and the embodiment of the castrated Forefather of the Gods.

  Aphrodite, then, had to be included among the Olympian gods. But their total number, twelve, apparently could not be exceeded. The solution was ingenious: Add one by dropping one. Since Hades was given domain over the Lower World and did not remain among the Great Gods on Mount Olympus, a vacancy was created, admirably handy for seating Aphrodite in the exclusive Circle of Twelve.

  It also appears that the number twelve was a requirement that worked both ways: There could be no more than twelve Olympians, but no fewer than twelve, either. This becomes evident through the circumstances that led to the inclusion of Dionysus in the Olympian Circle. He was a son of Zeus, born when Zeus impregnated his own daughter, Semele. Dionysus, who had to be hidden from Hera's wrath, was sent to far-off lands (reaching even India), introducing vinegrowing and winemaking wherever he went. In the meantime, a vacancy became available on Olympus. Hestia, the oldest sister of Zeus, weaker and older, was dropped entirely from the Circle of Twelve. Dionysus then returned to Greece and was allowed to fill the vacancy. Once again, there were twelve Olympians.