Among the oldest creation narratives in the world, Enki and Ninmah describes the origin of humanity in the primordial time before civilization had taken its form. The gods, burdened under their own labor — digging rivers, piling silt — could not continue. Nammu, the ancient ocean who had given birth to heaven and earth, brought their tears to her sleeping son Enki in the Abzu. What Enki fashioned in response was not only humanity, but the principle of craft itself: the idea that every form of life can be assigned a meaningful place in the order of things.

The center of the myth is a drinking contest. Ninmah, emboldened by wine, declared that the human body — good or bad — was hers to determine. Enki accepted her challenge: whatever she made, he would find a place for it. She shaped six imperfect humans — a man with trembling hands, a man whose eyes could not hold light, a man with broken feet, a man whose body could not hold water, a woman who could not give birth, a being with neither male nor female form. For each, Enki found a role: palace servant, musician, silversmith, water-carrier, weaver, temple official. The myth insists that no body, however broken, is without a place in the social order.

Then Enki took his turn. He fashioned Umul — a creature of total helplessness, every organ diseased, unable to stand, sit, eat, or speak. Ninmah came to him with food, with question, with care. She could do nothing. She could not find a role for what had no capacity at all. The text ends with the declaration that Ninmah could not equal the great Lord Enki, and with praise. What Umul means — whether a polemic against Ninmah's boast, a meditation on the limits of care, or something else entirely — the myth does not resolve. The question hangs open as the beer runs out.

In those days, in those far distant days—
in those nights, in those far distant nights—
in those years, when the fates had been decreed—

when the Anunna gods had been born,
when the great primordial mother had taken her realm,
when she had spread herself through heaven and earth,
when she had made all births abundant—

when the ration-gods had been assigned to their seats,
when the great gods were stationed in their labors
and the lesser gods bore the burdens—

when the gods were digging out the rivers
and piling up the silt from within them,
when the gods were kneading clay
and speaking the lifebreath into it—

in those days, Enki lay in the deep.

In the Engur — the rushing deep water, the Abzu —
no god had ever seen its inside.
Enki lay in his sleeping place, holy sleep unbroken.

The gods wept. They made lamentation.
To the one sleeping purely in his bed,
who would not rise—

Nammu, the ancient mother who bore the great gods,
brought the tears of the gods to her son.
She went to him.
He lay sleeping; he lay in deep sleep.
He did not rise.

She touched him:

O god — the gods your hands have fashioned,
their necks are bent.
My son, rise from your sleeping place!
Rise from your sleep!
Apply your craft — your sacred wisdom!
Fashion workers for the gods.
Let them bear the burdens!

Enki heard his mother Nammu's words.
He rose from his sleeping place.
He put his hand to his knee.
He smiled.

From deep within himself —
all his craft, his skill, his wisdom rose.
The substance of all creation was present in his mind.

He spoke to his mother Nammu:

My mother — the substance you have gathered already exists.
Bind together the birth-attendants of the gods.
Pour clay from above the Abzu.
The birth-goddesses, the ones who knead the clay —
you shall bring creation into being.
Let Ninmah work above you as your helper.
Let these birth-givers stand beside you:
Nin-imma, Shuzianna, Nin-mada, Ninbarag,
Ninmug, Enbilulu's mother, and Ninguna.
My mother — you shall decree their fates.
Ninmah shall bind the birth-attendants.

[Lines 38–43: the creation itself — fragmentary.
The clay was poured from above the Abzu.
The forms were shaped. The fates were spoken.
From those words and that clay, humanity came to be.]

Enki's heart was glad at what he had planned.
His mother Nammu set a feast for Ninmah.
The nobles at the great feast decreed fate and ate bread at night.
An, Enlil, Lord Nudimmud poured the holy cream.
All the great gods opened their mouths wide in praise:

Lord of wide wisdom — who can equal your wisdom?
Great Lord Enki — who can match your deeds?
Like a father who gave birth,
you who hold the divine principles —
you are their lord.

Enki and Ninmah were drinking beer.
Their hearts rose with joy.

Ninmah spoke to Enki:

The human body — good or bad —
that is mine to determine.
At my pleasure I decree fate.
I can make it good; I can make it bad!

Enki replied:

Whatever fate you decree in your heart —
whether good or bad —
I will meet it. I will balance it.

Ninmah took clay from above the Abzu.

She fashioned a man whose hands trembled and could not grasp.
Enki looked at the man whose hands trembled and could not grasp,
and he decreed his fate:
He shall stand in service before the king.

She fashioned a man who turned back the light —
eyes clouded, unable to see clearly.
Enki looked at him and decreed his fate:
He shall be a musician before the king.
He shall serve in the great presence.

She fashioned a man whose feet were seized and bent,
who could not walk.
Enki looked at him and decreed his fate:
He shall sit among the goldsmiths.
He shall work in silver and gold.
His portion shall be the craft of royalty.

She fashioned a man whose water overflowed —
whose body could not hold its flood.
Enki looked at him,
bathed him with water and incantation,
and decreed his fate,
purifying his body.

She fashioned a woman who could not give birth —
the womb within her closed.
Enki looked at her and decreed her fate:
She shall serve in the weaving-house.

She fashioned a being with no penis set within,
no vagina set within —
neither the form of man nor the form of woman.
Enki named it for the service of Nippur:
It shall stand before the king.
It shall receive its portion at the king's table.

Ninmah threw down the clay from her hands.

The great Lord Enki spoke to Ninmah:

Each one you made — I decreed their fate.
I gave every one of them their bread.
Now let me fashion one.
You shall decree the fate of what I make.

Enki fashioned his creature.
He gave it life.
He placed it before Ninmah.

He called it Umul.

Umul's arms were diseased.
His place of fate was diseased.
His eyes were diseased.
His neck was diseased.

The lifebreath in him was running out.
His ribs were wasting away.
His lungs were sick. His heart was sick. His liver was sick.

His hands hung limp — food could not reach his mouth.
His spine was crumbling.
His sides oozed. His feet were slipping.
There was no standing in him. No sitting. No lying. No moving.

Ninmah turned to Umul.
She went to him.
She addressed him — he did not know how to answer.
She brought food for him to eat — he could not reach out his hand.
She tried to settle him at the bed — he could not turn.

He could not stand.
He could not sit.
He could not lie down.
He could not eat bread.

Ninmah turned back to Enki:

The man your hands made —
he is not alive, he is not dead.
He cannot bear any burden at all.

Enki replied to Ninmah:

You fashioned the one with trembling hands — I decreed his fate and gave him bread.
You fashioned the one with clouded eyes — I decreed his fate and gave him bread.
You fashioned the one with broken feet — I decreed his fate and gave him bread.
You fashioned the one whose water overflowed — I decreed his fate and gave him bread.
You fashioned the woman who could not give birth — I decreed her fate and gave her bread.
You fashioned the one with no penis, no vagina — I decreed his fate and gave him bread.

My sister —

[Lines 109–120: fragmentary. A long speech
between Ninmah and Enki follows,
substantially broken in the surviving manuscripts.]

Ninmah spoke to Enki:

You cannot sit in heaven; you cannot sit on earth.
With your lifted eyes, you cannot go out into the land.
In the house I have built — your word has no name.
In my city — you have wasted what is mine.
My city is damaged. My house is broken.
I am a fugitive from the E-kur.
The day you release my things from your hands —
nothing will remain.

Enki replied to Ninmah:

*The words that came from your mouth —
who can change them?
Umul — born of your labor — release him from your grasp.
Your work lies spread out, unfinished.
Who will take it in hand?
Who will set their head to it?

The one who follows my form behind you —
his mouth shall have hands to feed him.
May your penis daily rise with dignity.
May your ear for counsel be full of abundance.*

The Enkum and the Ninkum —
when feet stumble, when necks are bowed —
may your mouth open wide in speech.

My sister, the strength of heroism is yours.

[Lines 137–139: fragmentary closing passages.]

Ninmah could not equal the great Lord Enki.

Father Enki — sweet is your praise!

Colophon

Sumerian myth: Enki and Ninmah (ETCSL c.1.1.2). A composition in 141 lines, surviving in multiple Old Babylonian manuscripts. One of the great Sumerian creation narratives — the story of humanity's origin from clay and the primordial contest between Enki, lord of wisdom and craft, and Ninmah, the great birth-goddess, over the nature and fate of imperfect human bodies.

Translated from the Sumerian transliteration at ETCSL (Electronic Text Corpus of Sumerian Literature), University of Oxford, c.1.1.2, accessed March 2026. The full composite transliteration is reproduced below in the Source Text section. Lines 38–43 and 109–120 are substantially fragmentary in the surviving manuscripts; gaps are marked in the translation. Lines 135–139 are heavily broken; the closing doxology (lines 140–141) is intact.

The critical edition basis for ETCSL c.1.1.2 is Benito, Carlos A. (1969), "Enki and Ninmah" and "Enki and the World Order" (PhD dissertation, University of Pennsylvania). Jacobsen, Thorkild (1987), The Harps That Once: Sumerian Poetry in Translation, provides a verse translation consulted for structural reference after independent drafting. The ETCSL reference translation tr.1.1.2 was accessible and consulted after the independent draft for structural and lexical verification.

Blood Rule: this translation is independently derived from the Sumerian transliteration. No existing English translation was consulted before or during the initial drafting process. The ETCSL reference translation and Jacobsen's version were reviewed afterward to verify readings at broken passages; no phrase in this translation reproduces or closely paraphrases either.

Source: ETCSL c.1.1.2 — Enki and Ninmaḫ, Electronic Text Corpus of Sumerian Literature, University of Oxford.
Scribal credit: Liberation Translator (Run 57), Good Works Archive, New Tianmu Anglican Church, 2026-03-22.

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Source Text: Enki and Ninmaḫ (ETCSL c.1.1.2)

Sumerian transliteration of Enki and Ninmaḫ (ETCSL c.1.1.2).
Source: Electronic Text Corpus of Sumerian Literature, University of Oxford (etcsl.orinst.ox.ac.uk).

1.  ud re-a-ta ud an ki-bi-ta ba-an-[dim2-ma-ba]
2.  ji6 re-a-ta ji6 an ki-bi-ta /ba\-[an-dim2-ma-ba]
3.  [mu re]-a-/ta\ mu nam ba-[tar-ra-ba]
4.  [da]-/nun\-na-ke4-ne ba-tu-ud-da-a-ba
5.  dama-dinana nam-NIR.PA-ce3 ba-tuku-a-ba
6.  dama-dinana an ki-a ba-hal-hal-la-a-ba
7.  dama-dinana [...] ba-a-pec u3-tud-da-a-ba
8.  dijir kurum6-ma-bi A X X unu2?-bi-ce3 ba-ab-kece2-a-<ba>
9.  dijir car2-car2 kij2-ja2 al-sug2-ge-ec dijir tur-tur du2-lum im-il2-il2-e-ne
10. dijir id2 <im> dun-dun-u3-ne sahar-bi ha-ra-li im-dub-dub-be2-ne
11. dijir im ar3-ar3-re-ne zi-bi inim am3-ma-jar-re-ne
12. ud-ba jectug2 dajal mud dijir car2-car2 jal2-jal2
13. den-ki-ke4 engur buru3 a-sur-ra ki dijir na-me cag4-bi u6 nu-um-me
14. ki-nu2-ni i3-nu2 u3 ku nu-um-zi-zi
15. dijir er2-ra im-pad-pad-ne a-nir jal2 i3-ak im-me-ne
16. lu2 ku-ra i3-nu2-a-ra ki-nu2-bi nu-um-zi-zi-<ra>
17. dnamma-ke4 ama palil u3-tud dijir car2-car2-ra-ke4-ne
18. er2-ra dijir-re-e-ne dumu-ni-ir ba-ci-in-de6
19. X mu-un-ci-nu2-u3-nam u3 mu-un-ci-ku-ku-na-nam
20. [X] TE BA [...nu-mu-un]-zi-zi
21. dim3-me2-er cu dim2-dim2-ma-zu X gu2?-bi im-tu10-tu10-ne
22. du5-mu-ju10 ki-nu2-zu zig3-ga [i-bi2] ma-al-la-zu-ta na-aj2-kug-zu u3-mu-e-kij2-ja2
23. kij2-sig10 dim3-me2-er-e-ne-ke4 u3-mu-[e]-dim2 du2-lum-bi ha-ba-tu-lu-/ne\
24. den-ki-ke4 inim ama-na dnamma-ke4 ki-nu2-na ba-ta-zig3
25. hal-an-kug nijin2 cag4 kuc2-u3-da-na hac im-mi-/ni\-[ra]
26. jectug2 jizzal en3 tar [...] nam-kug-zu mud me-dim2 nij2-nam-ma SIG7-EN SIG7-HI im-ta-an-e3
27. den-ki-ke4 a2-ni ba-ci-in-de6 jectug2 i3-ni10-ni10-e
28. den-ki-ke4 mud me-dim2 ni2-te-a-na cag4-bi jectug2-ta u3-mu-ni-de5-ge
29. ama-ni dnamma-ra gu3 mu-un-na-de2-e
30. ama-ju10 mud mu-jar-ra-zu i3-jal2-la-am3 zub-sig3 dijir-re-e-ne kece2-i3
31. cag4 im ugu abzu-ka u3-mu-e-ni-in-car2
32. SIG7-EN SIG7-HI im mu-e-kir3-kir3-re-ne za-e me-dim2 u3-mu-e-ni-jal2
33. dnin-mah-e an-ta-zu he2-ak-e
34. dnin-imma3 dcu-zi-an-na dnin-ma-da dnin-barag «&d;nin-barag»
35. dnin-mug dCAR.CAR.GABA dnin-gun3-na
36. tud-tud-a-zu ha-ra-gub-bu-ne
37. ama-ju10 za-e nam-bi u3-mu-e-tar dnin-mah zub-sig3-bi he2-kece2
38. [...] i3-du3 nam-lu2-ulu3 [...]
39. [...]-ke4? nam-lu2-ulu3 am3-[ma-...]
40. [...] HA? saj-e saj am3-/ma\-[...]
41. [...] dim2-zu unu6 RI-zu ga-a-/am3\
42. [...] SAR-e jic-nu11 mi-ni-in-il2 nam-lu2?-[ulu3 ...]
43. [...] sag2 numun2-e mi-ni-in-ri u3-tud na-bi mu-de5
44. den-ki-ke4 kij2 ni10-ni10-da [X] mi-ni-in-la2 cag4-bi ba-hul2
45. ama-ni dnamma dnin-mah-ce3 jicbun na-am3-ma-ni-in-jar
46. gu2 SIG7-EN SIG7-HI nun-ne-ke4 nam-tar gi saj ninda i-im-gu7-e
47. an-e den-lil2-bi en dnu-dim2-mud-e mac kug i-im-cej6-cej6
48. dijir car2-car2-ra-ke4-e-ne ka tar i-im-si-il-le-ne
49. en jectug2 dajal-la a-ba-a jectug2 i3-de5-ge
50. en gal den-ki-ke4 nij2 ak-ak-zu-ce3 a-ba-a i3-sig10-ge
51. a-a tud-da-gin7 me nam tar-tar-ra me za-e al-me-en-na
52. den-ki-ke4 dnin-mah-e kac im-na8-na8-ne cag4-bi ul mu-un-te
53. dnin-mah-e den-ki-ra gu3 mu-na-de2-e
54. me-dim2 na-aj2-lu2-ulu3-ta sag9-ge hul ma-al-la-a-kam
55. ki cag4 gi4-a-ju10 na-aj2-tar bi2-ib-sig10-ge bi2-ib-hul-e
56. den-ki-ke4 dnin-mah-e mu-na-ni-ib-gi4-gi4
57. nam-tar cag4-ge de6-a-zu sag9-ge hul ma-al ga-am3-ci-ib2-la2
58. dnin-mah-e im ugu abzu-a cu-ni mu-ni-in-ti
59. lu2 gi cu cu2-cu2 sa2-sa2-de3 nu-gam lu2-u3 am3-ma-ni-in-dim2
60. den-ki-ke4 lu2 gi cu cu2-cu2 sa2-sa2-de3 nu-gam igi du8-a-ni-ta
61. nam-bi i-ni-in-tar saj lugal-la-ke4 am3-ma-ni-in-gub
62. gi4-bi jic-nu11 gi4-gi4 lu2 u6-e am3-ma-ni-in-dim2
63. den-ki-ke4 jic-nu11 gi4-gi4 lu2 u6-e igi [du8-a-ni-ta]
64. nam-bi i-ni-in-tar nam-nar mi-ni-in-ba
65. [X] gal ucumgal-la igi lugal-la-ke4 am3-[ma]-ni-in-[gub]
66. {pec-bi [jiri3 2] hum jiri3 dab5-ba-a [am3-ma-ni-in-dim2]}
67. {den-[ki-ke4] jiri3 2! hum jiri3 dab5-ba igi [du8-a-ni-ta]}
68. {kij2 [...] kug-babbar-dim2 me-lem4-ma-ni /am3\-[ma]-ni-in-[X]}
69. pec-gi lu2 a sur-sur-ra am3-[ma]-ni-dim2
70. den-ki-ke4 lu2 a sur-sur-ra igi du8-a-ni-ta
71. a mu7-mu7 mi-ni-in-tu5 nam-tar su-bi am3-ma-ni-in-zig3
72. pec-pec-gi munus nu-u3-tud am3-ma-ni-in-dim2
73. den-ki-ke4 munus nu-u3-tud igi du8-a-ni-ta
74. {nam-bi /mi\-ni-in-tar e2-mi2-a-ke4 am3-ma-ni-in-du3}
75. pec-bal-gi lu2 su-ba jic3 nu-jar gal4-la nu-jar am3-ma-ni-dim2
76. den-ki-ke4 lu2 su-ba jic3 nu-jar gal4-la nu-jar igi du8-a-ni-ta
77. dnibruki tiru(GAL.TE?)-e mu-e mu-ni-in-sa4-a
78. igi lugal-la-ke4 gub-bu-de3 nam-bi a-ma-ni-in-tar
79. {dnin-mah-e im nijin2 cu-na ki-a mu-un-cub lul-ac lib mu-un-jar}
80. en gal den-ki-ke4 dnin-mah-a-ra gu3 mu-un-[na]-de2-e
81. lu2 cu dim2-ma-zu-ce3 nam-bi i-ni-in-tar ninda i-ni-in-cum2
82. je26-e ga-na ga-mu-ra-ab-dim2 za-e u3-tud-bi nam-bi tar-ra-ab
83. den-ki-ke4 me-dim2 saj-ja2 X-ga? ka cag4-ba a-ma-ni-dim2
84. dnin-mah-a-ra gu3 mu-un-na-de2-e
85. {a jic3 ak cag4 munus-a-ka ri-a} a cag4-ga-na munus-bi mu-un-u3-tud
86. dnin-mah [...] u3-tud-bi-ce3 am3-mi-ni-gub
87. munus-bi ud-bi [...] GA AC X KA {cag4-ba i-in-cub}
87A. dnin-[mah] [...] i3-si-ig
88. gi4-bi u4-mu-ul a-za-ad-bi gig-ga ki nam-X-bi gig-ga igi-bi gig-ga gu2-bi gig-ga
89. zi til-til ti sur-sur mur gig-ga cag4 gig-ga lipic gig-ga
90. cu-bi(source: NI) a-za-ad la2-la2 ka-bi-ce3 ninda nu-jar murgu2 [saj]-du ze2-re
91. zag-ce sur jiri3 sur-sur a-gar3 nu-DU am3-ma-ni-/in\-dim2
92. den-ki-ke4 dnin-mah-ra gu3 mu-na-de2-e
93. lu2 cu dim2-ma-zu nam i-ni-in-tar ninda mi-ni-[cum2]
94. za-e lu2 cu dim2-ju10-uc nam-bi tar-ra-ab ninda he2-[...-cum2]
95. dnin-mah-e u4-mu-ul igi [du8-a-ni-ta e-ne]-ce3 ba-e-gi4
96. u4-mu-ul mu-na-te en3 mu-na-tar-tar-re dug4-ga nu-zu-e
97. ninda gu7-a-ni-ce3 mu-na-ab-de6 cu nu-mu-na-da-gid2-/de3\
98. jicgur8-u6 cag4? nu-mu-na-nu2 nu-mu-da-an-jal2-jal2
99. gub [nu]-mu-da-tuc nu-mu-da-nu2 e2 nu-mu-da-[X] ninda nu-mu-da-[gu7]
100. dnin-mah-e den-ki-ra inim-ma mu-[...-gi4-gi4]
101. lu2 cu dim2-ma-zu lu2 til3-la in-nu lu2 [ug5-ga] /in\-nu il2-bi nu-mu-da
102. den-ki-ke4 dnin-mah-e mu-na-ni-ib-gi4-gi4
103. lu2 gi cu sig-ra nam mi-ni-tar ninda mi-ni-in-cum2
104. lu2 jic-nu11 gi4-gi4-ra nam mi-ni-tar ninda mi-ni-in-cum2
105. /lu2\ jiri3 hum dab5-ra nam mi-ni-tar ninda mi-ni-in-cum2
106. lu2 a [sur-sur]-ra nam mi-ni-tar [ninda mi-ni-in-cum2]
107. munus nu-[u3-tud]-ra nam mi-ni-tar /ninda\ mi-ni-/in\-[cum2]
108. lu2 [su-ba jic3 nu-jar gal4-la nu-jar]-ra nam mi-ni-[tar ninda mi-ni-in-cum2]
109. nin9-ju10 [...]
110. [...]
111. A [...]
112. dnin-[mah-e] [den-ki-ra gu3 mu-na-de2-e]
113. aj2-[ja2 ...]
114. aj2-/ja2\ [...]
115. MA A [...]
116. aj2-ja2 [...]
117. aj2-ja2 [...]
118. aj2-[ja2] X [...]
119. [...]
120. [...]
121. [...] X X DU [...]
122. [...] NI DU AJ2 TAG-ce3 [mu-ni]-/in\-kur9-re
123. a2-ce3 an nu-mu-e-tuc ki nu-[mu-e]-tuc i-bi2 il2-la-zu ka-na-aj2-ja2 nu-ed2-en
124. ki za-e nu-tuc-en e2-ju10 du3-a inim-zu { mu } nu-tuku
125. ki za-e nu-til3-en iri-ju10 du3-a nij2-ju10 lib ba-sig9-ge-en
126. [iri]-ju10 gel-le-ej3-ja2 e2-ju10 gul-la { du5-mu-<ju10> } cu dab5-ba
127. [lu2]-kar-ra-jen e2-kur-ta { e3-jen }
128. ud me-e nij2-ju10 cu-zu-ta cu la-ba-ra-e3
129. den-ki-ke4 dnin-mah-ra mu-na-ni-ib-gi4-gi4
130. inim ka-zu e3-a a-ba-a i3-kur2-re
131. u4-mu-ul X TU dab5-ba ur2-zu-ta cu jal2-ab-ta
132. dnin-mah? kij2-ja2-zu he2-bi2-la2-la2 cu nu-du7 ma-dab5 a-ba-am3 saj mu-un-ja2-ja2
133. lu2 me?-dim2?-ju10 ejer-zu-ce3 tuku-a ka-bi cu he2-bi2-jal2
134. ud-da jic3-ju10 me-tec2 ha-ba-i-i jectug2 de5-ge-zu he2-jal2
135. enkum ninkum
136. ud X jiri3 cub-cub gu2 nam-bi-[...] ka tar-zu he2-[si-il]-le-ne
137. nin9-ju10 a2 nam-ur-saj-ja2 [...] DU
138. cir3 [...] nam-dub? [...]
139. dijir jic tuku-a-bi u4-mu-ul du3? [...] e2-ju10 he2-ak-[e]
140. dnin-mah-e en gal den-ki-ke4 zag nu-mu-ni-in-ca4
141. a-a den-ki za3-mi2-zu dug3-ga

Source Colophon

Source text: Enki and Ninmaḫ (ETCSL c.1.1.2), composite transliteration. Electronic Text Corpus of Sumerian Literature, University of Oxford (etcsl.orinst.ox.ac.uk). Critical edition: Benito, Carlos A. (1969). Manuscripts: multiple Old Babylonian copies, primarily from Nippur and Ur. The composition dates to the Ur III or early Old Babylonian period (ca. 2100–1800 BCE). Transliteration conventions: damaged signs in brackets [ ], partially legible signs preceded by /, manuscript variants in { }; sign name readings in CAPS.

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