(PDF) Fleming, Daniel E. “Emar’s entu Installation: Revising Ritual and Text Together,” in Texts and Contexts: The Circulation a

NOTICE WARNING CONCERNING COPYRIGHT RESTRICTIONS The c o p y r ig h t la w o f th e U n ite d S ta te s ( T itle 1 7 , U n ite d S ta te s Code) g o v e rn s th e m a k in g o f p h o to c o p ie s o r o th e r r e p r o d u c tio n s o f c o p y r ig h te d m a te r ia l. Under c e r ta in c o n d itio n s s p e c ifie d in th e la w , lib r a r ie s and a r c h iv e s a r e a u th o r iz e d to fu r n is h a p h o to c o p y o r o th e r r e p r o d u c tio n . O ne o f th e s e s p e c ifie d c o n d itio n s is th a t th e p h o to c o p y o r r e p r o d u c tio n is n o t to b e " u s e d fo r a n y p u rp o s e o th e r th a n p r iv a te s tu d y , s c h o la r s h ip , o r re s e a rc h ." If a u s e r m a k e s a r e q u e s t fo r , o r la te r u s e s , a p h o to c o p y or r e p r o d u c tio n fo r p u rp o s e s in e x c e s s o f " fa ir u s e ," th a t u s e r m a y b e lia b le fo r c o p y r ig h t in fr in g e m e n t. T h is in s titu tio n re s e rv e s th e r ig h t to r e fu s e to a c c e p t a c o p y in g o rd e r if, in its ju d g e m e n t, fu lfillm e n t o f th e o r d e r w o u ld in v o lv e v io la tio n o f c o p y r ig h t la w . Texts and Contexts The Circulation and Transmission of Cuneiform Texts in Social Space Edited by Paul Delnero and Jacob Lauinger DE GRUYTER S"fJ\A1 IJ S A w P} )"0\ J"11 2 0 I~ IS B N 9 7 B -1 -6 1 4 5 1 -7 1 7 _ 7 .-IS B N (P D F ) 9 7 B -1 -6 1 4 5 1 -5 3 7 -1 .-IS B N (E P U B ) 9 7 8 -1 -6 1 4 5 1 -9 6 3 -B IS S N 2 1 6 1 -4 4 1 5 L ib ra ry o f C o n g re ss C a ta lo g in g -in -P u b lic a tio n D a ta A C 'P c a ta lo g re c o rd fo r th is b o o k h a s b e e n a p p lie d fo r a t th e L ib ra ry o f C o n g re s s . B ib lio g ra p h ic in fo rm a tio n p u b lis h e d by th e D e u ts c h e N a tio n a lb ib llo th e k T h e D e u ts c h e N a tio n a lb ib lio th e k lis ts th is p u b lic a tio n in th e D e u ts c h e N a tlc n a lb lb tio g ra fie : d e ta ile d b ib lio g ra p h ic d a ta a re a v a ila b le o n th e In te rn e t a t h ttp ://d n b .d n b .d e . © 2 0 1 5 W a lte r d e G ru y te r tn c ., B o s to n /B e rlin T y p e s e ttin g : M e ta S y s te m s P u b lis h in g & P rin ts e rv ic e s G m b H , W u s te rm a rk P rin tin g a n d b in d in g : (P I b o o k s G m b H , L e e k e P rin te d o n a c id · fre e paper P rin te d in G e rm a n y .r.:;s FSC M IX P u p _ a .. " ..." lW a t_ tu n g 8 \lo ll .... Q u e ll"" w w w .d e g r u y te r .c o m _ ...... '11 FSe- C083411 Daniel E. Fleming, New York University 2 Emar's entu Installation Revising Ritual and Text Together W h e n I w a s fin is h in g m y d o c to ra l c o u rs e w o rk , b e g in n in g to b e n e rv o u s a b o u t n o t h a v in g a d is s e rta tio n to p ic , W illia m M o ra n a s k e d m e w h e th e r I w o u ld lik e to s p e n d a te rm re a d in g fro m th e n e w ly p u b lis h e d ta b le ts fro m E m a r. T h is L a te B ro n z e A g e S y ria n c ity p re s e rv e d A k k a d ia n te x ts th a t re fle c te d a lo c a l s c e n e q u ite u n lik e th o s e o f e a s te rn M e s o p o ta m ia a n d fu ll o f a llu rin g n e w c o n te n t. M o ra n s ta rte d m e w ith th e ritu a ls , w h ic h w e re im m e d ia te ly u n lik e a n y th in g a lre a d y k n o w n fro m B a b y lo n ia , A s s y ria , th e H ittite s , o r e v e n c o n te m p o ra ry U g a rit. I in te n d e d to w rite o n th e ritu a ls a s a c o lle c tio n , b u t th e y n e e d e d m o re d e ta ile d a tte n tio n , and I never got beyond th e firs t o n e . In te rm s o f le n g th , w e a lth o f d e ta il, a n d c a p a c ity fo r re c o n s tru c tio n b a s e d o n m u ltip le c o p ie s , th e i n s t a l l a t i o n o f E m a r 's p r i e s t e s s f o r t h e s t o r m g o d r e p r e s e n t e d t h e b e s t p o i n t o f e n t r y i n t o t h i s t r o v e o f r e l i g i o u s p r a c t i c e .' 1 T h e c o m b in a t io n o f A k k a d ia n la n g u a g e t o d e s c r ib e t h e r e lig io u s lif e o f W e s t S e m it ic sp eak - e r s in a w e s t e r n M e s o p o t a m ia n S y r ia n s e t t in g r e s u lt s in a n e e d f o r c o n s t a n t c a u t io n r e g a r d in g th e id e n titie s o f r itu a l p la y e r s . I n th is c a s e , b o th th e p r ie s te s s a n d th e d e ity s h e s e r v e s o ffe r in t e r p r e t iv e o b s t a c le s . T h e r e is n o q u e s t io n t h a t w e a r e d e a lin g w it h t h e s t o r m g o d . w r it t e n d I M , w h ic h Schw em er ( 2 0 0 1 : 2 9 - 3 1 g e n e r a lly a n d fo r E m a r , 5 4 8 -5 2 ) h as sh ow n w a s m o s t lik e ly r e a d a s t h e S u m e r ia n dISkur, r e g a r d le s s o f th e lo c a l m a n if e s t a t io n b e n e a th t h a t r e p r e s e n t a t io n . I n t h e o p h o r ic p erson al n am es, d ls k u r c a n r e n d e r b o t h t h e h o n o r if ic t it le " L o r d " ( B a 'lu ) , a s a t U g a rit, a n d t h e S e m it ic d iv in e nam e in w e s t e r n fo r m , A d d u j A d d a (S c h w e m e r 2 0 0 1 : 5 5 2 ). W e have no w ay t o d is t in g u is h b e tw e e n th e se o p t io n s in t h is r it u a l c o n t e x t , s o I w ill a v o id c h o o s - in g a n a m e . I n t h e t it le o f m y b o o k o n t h e r it u a l, I c a lle d t h e g o d " B a a l" in o r d e r t o h ig h lig h t t h e c o n t in u it y with U g a r t t 's d o u b le id e n t it y o f B a 'I u / H a d d u . T h e t it le o f t h e p r ie s t e s s is lik e w is e n o t s t r a ig h t f o r w a r d . It is w r it t e n N I N .D I N G I R , as I rendered it in t h e 1 9 9 2 b o o k , th o u g h one le x ic a l te x t sh ow s t h a t t h is c o u ld be read by t h e S u m e r ia n e r e s - d in g ir a n d in t u r n b y t h e A k k a d ia n entu, w r it t e n a s if it w e r e p r o n o u n c e d ittu, w it h a s s im ila t io n of -nt- t o -tt- (E m a r 5 5 6 : 4 3 ,4 7 , t e x t D , M s k 7 4 1 4 9 ; s e e F le m in g 1 9 9 2 : 8 0 -8 2 ). E v e n t h is id e n t if ic a t io n m a y b e m is le a d - in g , h o w e v e r , in t h a t t h e e a s t e r n M e s o p o t a m ia n t e m p le o r g a n iz a t io n s m ap o n to n e it h e r th e p h y s ic a l fo r m s o f t h e S y r ia n t e m p le s o f E m a r n o r t h e ir p e r s o n n e l. E m a r 's entu w a s s im p ly t h e " p r ie s t e s s " o f th e sto r m g o d ; t h e r e is n o in d ic a t io n t h a t t h e t e m p le h a d a n y o t h e r p r ie s t e s s , a n d p r o b a b ly n o t e v e n a n y o t h e r f u ll- t im e p e r s o n n e l. O n ly s h e a n d t h e mas'artu o f th e g o d d e ss A S t a r t u d e m o n s t r a b ly u s e d t h e ir t e m p le s a s r e s id e n c e s ( F le m in g 2004: 7 9 ) . It is lik e w is e p os- s ib le t h a t t h e s t o r m g o d 's p r ie s t e s s h a d a W e s t S e m it ic t it le t h a t w a s e q u a t e d in r it u a l w r it in g w it h t h e p r e s t ig io u s e a ste r n M e s o p o t a m ia n entu. In m y t it le , I h a v e e n j o y e d t h e a llit e r a t io n p o s s ib le w it h t h e A k k a d ia n te r m , b u t th r o u g h o u t, I w ill s im p ly c a ll h e r t h e " p r ie s t e s s " o f th e sto r m g o d . f 30 - Daniel E. Fleming I a m still p le a se d w ith w h a t I le a rn e d fro m th is e a rly stu d y , w h ic h re su lte d in a n e w e d itio n w ith c o m m e n ta ry a n d in itia l o rie n ta tio n to th e c o lle c tio n a s a w h o le . At th e sa m e tim e , th e d e g re e o f m y ig n o ra n c e a b o u t E In a r a n d its fin d s ta k e s m y b re a th a w a y . A lth o u g h th is ritu a l m a te ria l h a s re m a in e d re la tiv e ly u n to u c h e d th ro u g h th e y e a rs sin c e m y tw o b o o k -le n g tb stu d ie s, it is in c re a s- in g ly e v id e n t w h a t c o u ld b e a c c o m p lish e d sim p ly b y p o sin g n e w q u e stio n s in lig h t o f a g e n e ra tio n o f in v e stig a tio n in to th e site a s a w h o le .' F o r th is o c c a sio n , I h a v e d e c id e d to re tu rn to m y A ssy rio lo g ic a l p o in t o f d e p a rtu re a s a n id e a l c a se stu d y fo r th e in te rp la y o f te x tu a l p ro d u c tio n a n d th e c o n te x ts o f u se a n d life . W ith th e p e rsp e c tiv e o f y e a rs g o n e b y , I se e m u c h th a t n e v e r c ro sse d m y m in d tw e n ty -fiv e y e a rs a g o . T h e in sta lla tio n (E m a r 3 6 9 ) is k n o w n in m o re th a n o n e c o p y , b u t w h a t w a s th e re la tio n sh ip b e tw e e n th e v a ria n t te x ts? In d e e d th e in sta lla tio n te x t w a s c o p ie d , a n d y e t o n ly o n e o th e r ritu a l e v e n t w a s re p ro - d u c e d in th is w a y : th e se rie s o f kissu fe stiv a ls (E m a r 3 8 5 -3 8 8 ),3 It n e v e r o c - c u rre d to m e to c o n sid e r w h y th e te x t c h a n g e d a n d h o w th is re la te d to sc rib a l a n d ritu a l c o n c e rn s a s d istin c t y e t in te rse c tin g a c tiv itie s. L ittle w o rk h a d b e e n d o n e to illu m in a te th e situ a tio n o f th e d iv in e rs w h o g e n e ra te d th e se ritu a l d o c - u m e n ts. W ith th is re tu rn to a te x t lo n g fa m ilia r to m e , I m e e t a n o ld frie n d in a ra d ic a lly n e w c o n te x t, a n d I fin d m y se lf re g a rd in g it q u ite d iffe re n tly . 1 The Installation Text T h e first c o n c e rn o f m y re e x a m in a tio n o f th is ritu a l te x t is th e fa c t o f its e x is- te n c e in m o re th a n o n e c o p y , w ith sig n ific a n t v a ria tio n . W h ile I d o c u m e n te d 2 Since the tim e of m y ow n w ork in the 19905, there has been no extended w ork on E m ar ritual life or in-depth reconsideration of the texts I took on in m y Installation of Baal's High Priestess at Emar (Flem ing 1992) or Time at Emar: The Cultic Calendar and the Rituals from the Diviner's Archive (F lem ing 2000). Soon after m y dissertation w as published, K lingbeil (1998) included a general review of the sam e text in a study w ith self-conscious attention to ritual studies as a discipline, w ithout extending or changing substantially the interpretations of m y edition. M ore recently M ichel (2012) has com pleted a dissertation at the U niversity of G eneva entitled, Le culte des pienes en Syrie du Nord et en Anatolie aux we et Ile millenaire. Approche philologique et orcneoiogique. T his w ork treats a single feature of E m ar ritual in the context of larger regional practice, including w hat can be know n from H ittite A natolian texts. 3 T here is still no consistent form of reference for the Emar texts. W hen r began m y w ork on the rituals, the new ly published m aterial from the excavated site represented the overw helm - ing m ajority of the texts, with only a few tablets from the antiquities m arket presented in a couple of articles. In this context it seem ed easiest sim ply to identify the texts from A rnaud by his num bered entries as "E m ar 369," etc. A lthough other references have intervened. C ohen (2009) and R utz (2013) have chosen the sam e form at, and I w ill m aintain it. N evertheless, there E m a r 's entu I n s ta lla tio n - 31 th e v a r ia n ts b e tw e e n te x ts , [ p a id little a tte n tio n to w h a t th e s e r e p r e s e n te d , a n d th e d e ta ils o f th is r itu a i r e p r o d u c tio n a r e th e f o c u s o f m y p r e s e n t e f f o r t. I d is tin g u is h e d th e r e m a in s o f f iv e c o p ie s f o r th e in s ta lla tio n te x t, w h ic h I la - b e le d A th r o u g h E . T h e la s t o f th e s e w a s a s m a ll f r a g m e n t th a t h a d b e e n p u b - lis h e d a s a s e p a r a te te x t ( E m a r 4 0 2 ) . T e x t A w a s n e a r ly c o m p le te a n d p r o v id e d a n a tu r a l f r a m e f o r r e a d in g th e d o c u m e n t a s a w h o le . T h a t le f t th r e e s u b s ta n tia l p o r tio n s o f ta b le ts to s u p p ly p a r a lle l a n d s o m e tim e s a lte r n a tiv e r e a d in g s . T e x t D c o v e r s le s s th a n 3 0 lin e s , b r o k e n th r o u g h o u t a n d g e n e r a lly c lo s e r to th e A r e a d in g s th a n to B a n d C , th o u g h it is u n f o r tu n a te ly u n a v a ila b le f o r th e m o s t im p o r ta n t p o in ts o f d iv e r g e n c e b e tw e e n A a n d th e o th e r s .' T h e r e a r e o n ly tw o m a in a lte r n a tiv e s to th e A te x t, in th e e n d , a n d R u tz ( 2 0 1 3 : 1 4 6 ) n o w a r g u e s th a t te x ts B a n d C b e lo n g e d to th e s a m e ta b le t.s W h ile it is g a llin g to th in k th a t w ith th e ta b le ts in m y h a n d s f o r c o lla tio n , it d id n o t o c c u r to m e to c o n s id e r a jo in , R u tz 's c o n c lu s io n is h ig h ly p la u s ib le . T h e f o l- lo w in g d e ta ils f a v o r th is in te r p r e ta tio n : T e x ts B a n d C e n d a n d b e g in a t e x a c tly th e s a m e p o in t, w ith a n o v e r la p o f lin e s b u t n o t a s in g le s ig n o f o v e r la p in th e te x t its e lf : lin e s 2 0 - 2 2 o n th e o b v e r s e a n d lin e s 6 9 - 7 0 o n th e r e v e r s e ." T h e f o r m o f e a c h ta b le t w o u ld c u r v e n e a tly in to th e o th e r a t th e le f t s id e . A c c o r d in g to A r n a u d 's c o p y , th e s e a r e th e o n ly tw o r itu a l ta b le ts f r o m th e e x c a v a tio n s th a t a r e p ie r c e d w ith s m a ll h o le s in v a r io u s u n in s c r ib e d s p a - c e s , a p r a c tic e th a t o th e r w is e a p p e a r s o n ly w ith th e la r g e s c h o la r ly te x ts , is m u c h m ore E m a r m a te r ia l th a t r e fle c ts th e a p p e a r a n c e o f o th e r te x ts fr o m th e a n tiq u itie s m a r k e t, m u c h o f w h ic h c a n b e d e m o n str a te d d e c is iv e ly to c o m e fr o m th e s ite . T h e " E m a r " d e s ig n a tio n o f te x ts th e r e fo r e d r a w s a tte n tio n to th e se c u r e a r c h a e o lo g ic a l provenance. 4 F o r e x a m p le . A and D read zi ( S E ) i n l i n e 5 3 , w h e r e B o m i t s z I ; A a n d D s h a r e t h e f u l l e r g1A PA s p e llin g of d.f}u-le-e-li in lin e 71, w h e r e B l a c k s t h e e x t r a -e -; A a n d D h a v e re-si-sa g a r-n « i n 72, lin e in c o n tr a s t to re-si-Si i-Sak-ktin·nu in B; both A and D h a v e t h e c -s te m fo r th e v e r b masu i n lin e 7 4 . v s . t h e D e s te m i n B ; n o t e a l s o t h a t l i n e s 5 8 - 5 9 in D m a y b e c o n fu s e d in a w a y th a t r e c a lls th e c le a r tr u n c a tio n o f c la u s e s in te x t A . th o u g h D fo llo w s its own p a th in a b r o k e n s e c tio n th a t r e s is ts d e c ip h e r m e n t. In c o n tr a st to th e se e x a m p le s , D jo in s B w ith ba-~i-in-nu sa d in g ir m t5 in lin e 6 3 , v s . !ll\u k u l d in g ir m eA in A ; and B and D s h a r e s p e llin g v a r ia n ts in lin e s 6 4 and 67, t h o u g h th e se are com m on a n d d iffic u lt to a s s ig n a c le a r p a tte r n th r o u g h o u t th e fe s tiv a l te x t. S F o r th e o r ig in a l s u g g e s tio n . R u tz c i t e s S a l l a b e r g e r 1 9 9 6 : 1 4 2 -4 3 . 6 If t h e l i n e s w e r e c o m b i n e d , th e y w o u ld read r o u g h ly a s fo llo w s , w ith te x t B u n d e r lin e d : (20-22) a-na pa-[ni nu-ba}-at-t[i i .d u t o .g a sa e " N tln .k u r u e .g a l - l i i-le-qu-nim-ma a·na ka d I S k u r I U O a i [i-na s a g - d u sa eres.d~giri-tab-buj-uk [iljlu m e S : sa qi·da-si [is-t]u e d I S k w u~-~u-m[aJ i- n a ~j qa"ad-du<-si> sa m[a-al-lu-ki d i n g i r mel uruE-mar gtib-ba-iS·tu n i n d a mel k a s m e ~ u]-qa-du-su "Nm.kur ... ( 6 9 7 0 ) [ejn e [u·te-ejr-ru-su-nlu"ti ki-i-me-e lft.melsi-bu-ut uru'" k u n a g 1 t u g s i g s Q - n]a tu-bu-ki-sa [i-na-da-nu 1 g i J o a 1 g 1 A g u .z a 1 ~ g i r .g u b i-na-di-nu-nJi-is-si li- n ] a s a & 5 n a.. 32 - D a n ie l E . F le m in g a l m o s t e n t i r e l y f r o m t h e l e x i c a l c o l l e c t i o n ," I n b o t h t e x t s B a n d C , t h e h o l e s a re p la c e d e s p e c ia lly a lo n g th e h o riz o n ta l s e p a ra tio n lin e s . W h e n e x a m in e d lin e -b y -lin e in re la tio n to th e lin e a tio n o f te x t A , th e w id th o f te x ts B a n d C is c o m p a ra b le , s lig h tly le s s th a n A , w ith a ll th re e w ritte n a s a s in g le b ro a d c o lu m n in n e a t s c rip t. T e x t A is d is tin g u is h e d fro m a ll th e o th e rs b y th e a d d itio n o f a fifth d ig n ita - ry w h e n p o rtio n s a re a s s ig n e d to th e m a t k e y m o m e n ts in th e p ro g re s s o f th e in s ta lla tio n fe s tiv a l. A ll v e rs io n s in c lu d e th e p re v io u s entu, th e entu of th e to w n o f S u m i, th e mas'artu p rie s te s s , a n d th e k in g o f E m a r, w ith a s e c o n d " k i n g o f t h e t o w n o f S a t a p p i " f i l l i n g o u t t h e s e t i n v e r s i o n A .a S e v e ra l o rth o g ra p h ic p re fe re n c e s a re s h a re d b y B a n d C . A lth o u g h th e d e - g re e o f s m a ll-s c a le te x tu a l v a ria tio n b e tw e e n th e d iffe re n t c o p ie s d e m a n d s c a u tio n in p la c in g to o m u c h w e ig h t o n th e s e p a tte rn s , th e c o n tin u itie s b e - tw e e n B a n d C a p p e a r m o re m a rk e d th a n b e tw e e n th e s e a n d A , a n d th e y a t l e a s t a l l o w t h e h y p o t h e s i s o f a s i n g l e t a b l e t , w i t h o u t p r o v i n g i t .? A s id e fro m th e s e tra its th a t in d ic a te firs t th e id e n tity a n d th e n a fu rth e r g ra p h ic c o n tin u ity b e tw e e n te x ts B a n d C , te x t A s ta n d s o u t a s a re m a rk a b le a n d d is - t i n c t s c r i b a l p r o d u c t . A r n a u d 's c o p y p r e s e n t s t h e t a b l e t i n l e f t a n d r i g h t h a l v e s , b u t I c o n firm e d th e jo in b e tw e e n th e m in 1 9 9 1 ,a n d th e w h o le p ro v id e s a n e a rly c o m p le te re n d itio n o f th e in s ta lla tio n fe s tiv a l. T h e s c rip t is h a n d s o m e , e n tire ly c le a r a n d n o t a t a ll c ra m p e d , w ith e x tra s p a c e le ft a t th e e n d o f th e re v e rs e , y e t 7 F o r t e x t s w it h s u b s t a n t ia l p ie r c in g o f t h is t y p e , s e e M s k 7 3 1 0 3 0 (E m a r 5 4 3 -S 4 S A , sa V ocab u - la ry ); 731064+ (E m a r 537C , S' V o c a b u la ry ): 74105a (E m a r 548B , u rc -ra ~ bubullu); 74158.+ (E m a r 537E, S' V o c a b u la ry ); 74198b (E m a r 5580, 5 5 9 1 , u re -ra ~ bubullu); 74230. (E m a r 553A , u rg -ra '= bubullu). S e e A p p e n d ix B in R u tz 2 0 U fo r p r o p o se d jo in s a n d te x ts lis te d by genre. S T e x t C d is p la y s th e se t o f four in lin e s 1 6 - 1 7 ; in lin e 5 8 , t e x t B h a s o n ly " th e k in g o f th e la n d " w h e re A nam es b o th " t h e k in g o f t h e la n d o f E m a r" and " th e k in g o f S a ta p p i" a s r e c ip ie n t s of th e sa m e k id n e y p o r tio n - an aw kw ard a s s ig n m e n t in a t e x t th a t o th e r w is e a llo ts a d iffe r e n t m e a t s e r v in g to e a c h d ig n ita r y . I t is n o ta b le t h a t in t h e c o n c l u d i n g s e c tio n o f th e fe s tiv a l te x t, w h ic h tr e a ts o n ly th e a llo tm e n t of goods a fte r th e r itu a l a c tio n is c o m p le te , b o th th e A a n d C te x ts s in g le o u t o n ly " th e k in g o f th e la n d " a s r e c ip ie n t o f th e k id n e y (lin e 7 7 ). 9 T h e p o in ts o f c o n tin u ity in c lu d e th e fo llo w in g : u s e o f §a i n g e n i t i v e c h a in s w here not re- q u ir e d (lin e s lC . 6 3 8 . 8 0 C ); in s y lla b ic w r itin g of Sm p verbal fo r m s, o c c a s io n a l c h o ic e of -u, w here te x t A a lw a y s s e le c ts -u ( l i n e s l1 C . 2 7 8 , 7 4 C ); th e p r o life r a tio n of added M E ~ -s ig n s , w here th e y a r e la c k in g in A (lin e s 1 8 C , 4 7 B , 5 6 B , 7 2 C , a n d 8 3 C ; n o te 2 6 A a s a n e x c e p tio n ); th e s p e c ific c h o ic e o f w r itin g th e D -in fin itiv e fo r " c o n s e c r a tio n " w ith qa-aa-au-ss r a th e r th a n qa-du-ii (lin e s 6 C , 2 2 B ); m o r e fr e q u e n t p r e fe r e n c e fo r th e 3 fs p r o n o m in a l suffix -§ j on nouns in s te a d of -sa; w h ile te x t A a ls o s h a r e s th is u s a g e in s o m e c a s e s , it d o e s n o t d iv e r g e w here B/C sh ow -sa ( 4 2 B , 44B , 45B , 64B , 7 2 C ). Emar's entu Installation - 33 the text has decidedly m ore errors than the B/C com bination, as I already ob- served in m y 1992 edition.'? G iven this prim ary division of the textual evidence for the installation festi- val E m ar 369, the other im portant consideration becom es the character of the divergences betw een tw o representatives. A bove all, it is crucial to keep in m ind that through m ost of their extent, the texts m atch w ord for w ord and often sign for sign. T hey are scribal variants, im possible to com prehend except as the result of a copying process, though this m ay have depended on m em ori- zation rather than direct copying from another tablet. D elnero (2012) has w orked recently to develop a fram ew ork for understanding copying variation in the early second-m illennium S um erian literary texts from southern M esopo- tam ia. It is difficult to m ake a direct application of his analysis to the reproduc- tion of ritual texts from E m ar w ithout establishing the purpose for copying ritual and the m indset that drove this. D elnero contrasts the careful copying of texts by expert scribes w ith the goal of producing a perfect replica, as in m edie- val w riting of biblical m anuscripts for the H ebrew B ible, and the copying of these S um erian literary texts by students as part of their scribai education. T he educational practice appears to have been based on m em orization and tolerat- ed a certain fluidity in the text. A t E m ar, the copies of the installation text are draw n up w ith im pressive clarity and form , as com plete renditions, and w e cannot sim ply treat them as student w ork, even if the student w as heir to the diviner's title. A t the sam e tim e, the degree of m inor variation in versions A and B/C, w ithout the character of w hat w e m ay identify as "errors," w ould suit D elnero's vision of reproduction from m em ory." B eyond this general fluidity of form , the tw o texts present larger divergen- ces that are m y particular interest here, because they color the ritual procedure itself. D ifferent texts m ean different ritual action. T extual variation is entangled w ith ritual variation. F our points of substantial divergence appear m ost im por- tant for evaluation of the ritual im plications of textual variation:" 10 M y lis t o f a ll w r it in g e r r o r s ( F le m in g 1 9 9 2 : 3 1 ) in c lu d e s o m it t e d s ig n s ( 5 f o r A , 2 o r 3 f o r B / C ) ; o m it t e d w o r d s (4 o r 5 fo r A , n o n e f o r B /C ) ; a d d e d in c o r r e c t s ig n s (2 fo r A , n o n e f o r B /C ) ; s u b s t it u t e d in c o r r e c t s ig n s ( 2 t o 4 f o r A , n o n e f o r B /C ) ; a n d f in a lly t h e t e x t u a l c o n f u s io n in 5 9 - 6 0 A , w h ic h in v o lv e s a t le a s t t h r e e t r u n c a t e d se n te n c e s, r e s u lt in g in s ig n if ic a n t u n c e r t a in t y a b o u t t h e r it u a l p r o c e d u r e . 11 F o r d is c u s s io n o f m e m o r iz a t io n as it r e la t e s t o e d u c a t io n a n d o t h e r p r a c t ic e s o f te x tu a l r e p r o d u c t io n , s e e D e ln e r o 2 0 1 2 : 1 7 - 2 5 a n d h is c it a t io n s . 12 J s e t a s id e t h e f o llo w in g a s h a v in g secon d ary s ig n if ic a n c e , all hom th e se c o n d h a lf o f t h e te x t. C o m p a r e d to th e tr u n c a te d r e fe r e n c e s t o f illin g g o b le t s , f e a s t in g w it h t h e s t a n n god, and r a is in g t h e g o d d e s s d N in .k w in t e x t A , t e x t B b e g in s , " O n t h e la s t d a y ," a n d a p p e a r s to m o v e d ir e c t ly t o t h e r a is in g a n d r e m o v a l o f "Nin.kur f r o m t h e p r ie s t e s s 's f a m ily h o m e a n d r e s t o r a t io n t o h e r t e m p le , t h o u g h it is t o o b r o k e n f o r c o n f id e n c e . A t t h e e n d o f a s e c t io n d e v o te d t o s p e c if y - 34 -- Daniel E. Fleming I. In tex t C , th e in tro d u cto ry h ead in g lead s d irectly to "th e co n secratio n o f th e sh av in g ," th e rite th at lau n ch es th e n ew p riestess to w ard h er n ew h o m e in th e sto rm g o d 's tem p le, so th at th e first su b stan tial sectio n o f th e C v ersio n in v o lv es th e S h av in g D ay itself (lin e 7 C , o r C 3 , th e th ird lin e o f th at tab let). In th e B/C ren d itio n o f th e in stallatio n , th e rite b eg in s w ith th e S h av in g D ay , w h en th e p riestess is b ro u g h t fo r th e first tim e to th e tem p le an d sh av ed in an ap p aren t act o f p u rificatio n th at also m ay m ark h er v isib ly as b elo n g in g to th is sacred d o m ain . T h is ev en t is g ran ted su ch resp ect th at it m erits its o w n "co n secratio n " iqadduiu), a p rep arato ry o ffer- in g th at acco m p an ies sev eral o th er E m ar rttes (F lem in g 1 9 9 2 : 1 5 8 -6 2 ). V et fo r th e w riter o f th e A tex t, th is o p en in g o f th e festiv ities w as n o t en o u g h . H e in tro d u ced th ree fu rth er d etails as n ecessary ev en to reach th is p o in t o f d ep artu re. F irst, w e are to ld th at th e p riestess w as to b e selected b y an act o f d iv in atio n , th e o n ly su ch ex p ressio n o f p ro fessio n al d iv in atio n in th e en tire festiv al th at w o u ld su it th e cen trality o f th e "d iv in er" (lU lIal) to th e en tire scrib al o p eratio n o f th e b u ild in g M -l,1 3T h is d iv in atio n d o es n o t, h o w ev er, b elo n g to an y o f th e sch o larly g en res th at are attested in th e tex ts fo u n d in th e arch iv e.!" O n e o r m o re purii are o b tain ed fro m th e tem p le o f d N in .u rta, th e city g o d w h o se seal em b o d ies th e relig io u s au th o rity u n - d erg ird in g th e co m m u n ity in its co llectiv e cap acity to act, esp ecially to h o ld an d sell co m m o n p ro p erty .» A lth o u g h sh e is to serv e th e sto rm g o d , tng th e n atu re an d d estin ation s of variou s offerin g p ortion s to d ifferen t p articip an ts (Jin es 76- 8 3 ), tex t C a d d s a fu rth er a cco u n t o f m ea t fo r th e d iv in er a n d fo r th e sin g ers. F in a lly , tex t A p rovid es th e on ly referen ce to an offerin g for th e god Sagru (lin es 92-93), w b o oth erw ise ap- p ears on ly d u rin g th e seven -d ay feast. w h ere h e lik ew ise receives a sacrifice (lin e 52). 1 3 In m y Time at Emar, I d ev o ted a sectio n to w h a t I ca lled " T h e D iv in er W h o D o es N o t D iv in e" (F lem in g 2000: 2 6 -3 5 ) in o rd er to d em o n stra te th e p rio rity o f cu lt su p erv isio n in th e w ork of th e b u ild in g M -l d ivin ers. C itin g m y treatm en t, R u tz (2 0 1 3 : 3 1 9 -2 1 ) argu es carefu lly th at th e d ivin ation texts sh ow actu al p ractice of d ivin ation b y th ese figu res an d cites th e proce- d u re w ith lots in th is text as on e in stan ce. H is p oin t is w ell tak en , an d h e is su rely correct to con sid er d ivin ation as on e p art of th e su p ervisory role th at is reflected in th e ritu al collection fou n d in h is w ork p lace at E m ar. W e are left to figu re ou t w h eth er th e d ivin ation texts fou n d in th e arch ive m atch in an y case th e p roced u res of local ritu al life, w h ere d ivin atory p ractice d oes n ot ob viou sly follow th e trad ition s of M esop otam ian or cu n eiform w ritten collection s. 14 F or d etailed treatm en t of th e sp ecific d ivin atory texts fou n d in th e M · l arch ive, see R u tz 2 0 1 3 : 2 1 9 -6 3 : extisp icy an d liver m od els; celestial om en s; calen d rical om en s (in clu d in g h em e- ro lo g tes): b eh avioral om en s (in clu d in g sh eep for sacrifice an d b irth d efects); m ed ical d iagn os- tics or p rogn ostics; an d oracle rep orts. 15 F or early an d in sigh tfu l treatm en t of tb is god in legal exch an ge, see Y am ad a 1 9 9 4 . T h e S u m erian w ritin g "N in .u rta covered a local d ivin e n am e th at m ay h ave b een 11 Im ari, th e " G od of lm ar/E m ar" (W esten h olz 1 9 9 9 ). r Emar's entu Installation - 35 th e p r ie s te s s is c h o s e n u n d e r th e a u s p ic e s o f th e to w n in its lo n g s ta n d in g c o lle c tiv e a s p e c t. T h e n a m e o f th e d iv in a to r y o b je c t c lo s e ly r e s e m b le s th e puru " lo t" f r o m A k k a d ia n a n d m a y p e r b a p s r e p r e s e n t th e s a m e w o r d w ith a v a r ia n t v o c a liz a tio n ( F ie m in g 1 9 9 2 : 1 7 5 - 7 6 ) . W e a r e to ld th a t th e d iv in a to r y ($abtitu) w ith th e r e s u lt th a t th e r ig h t p e r s o n is " in d ic a t- o b je c t is g r a s p e d ed" (tara$u, a s " to p o in t" ? ) , b o th o f w h ic h s e e m to b e te c h n ic a l d e s c r ip - tio n s , o th e r w is e u n a tte s te d in th e s e p a r tic u la r u s e s . O n e f u r th e r b u r d e n o f th is a c c o u n t is to e m p h a s iz e th a t " th e d a u g h te r o f a n y E m a r c itiz e n " m a y b e d e s ig n a te d . E v e n if th is w a s n o t in f a c t tr u e , a n d a s u ita b le y o u n g w o m - a n h a d b e e n id e n tif ie d in a d v a n c e , th e te x t in tr o d u c e s a d e g r e e o f s e lf - c o n s c io u s c o n c e r n f o r th e in c lu s iv e n a tu r e o f th e s e le c tio n th a t h a s n o p re c e d e n t in a n y o f th e o th e r E m a r r itu a l te x ts , in s p ite o f th e ir r e p e a te d a s s u m p tio n th a t a ll r ite s a r e c e le b r a te d b y th e to w n a s a b o d y . T h is o n e lin e g iv e s te x t A a p o litic a l h u e th a t s ta n d s o u t f r o m b o th H/C a n d th e r e s t o f th e d iv in e r 's a r c h iv e o f r itu a l- a d m in is tr a tiv e w r itin g . T h e o th e r m a in c o m p o n e n t o f th e o p e n in g s e c tio n u n iq u e to v e r s io n A is th e a n o in tin g o f th e p r ie s te s s im m e d ia te ly a f te r h e r s e le c tio n . O d d ly , w h ile th e o il is c a r e f u lly a c c o u n te d f o r , w ith b o th d N in .k u r 's te m p le a n d th e p a la c e a s s o u r c e s , th e a c t its e lf is a s s ig n e d n o lo c a tio n . W e c o u ld a s - s u m e th a t th e r ite ta k e s p la c e a t th e s to r m g o d 's te m p le , w h e r e th e purU w a s ( o r w e r e ) h e ld in th e g o d 's p r e s e n c e ( lin e 2 A ) a n d w h e r e a n o f f e r in g is m a d e a f te r th e a n o in tin g is d e s c r ib e d ( lin e S A ) , b u t it n e v e r s a y s s o e x p lic it- ly . L a te r in th e r itu a l te x t, th e p r ie s te s s 's m o v e m e n ts a r e r e c o u n te d in d e - ta il, s o th a t s h e n e v e r c h a n g e s lo c a tio n w ith o u t s o m e k in d o f p r o c e s s io n , w h ic h is th u s r e n d e r e d a p u b lic and s a c r e d e v e n t. T h e r itu a l lo g ic o f a n o in tin g , w h ic h m a y o f f e r s y m b o lic c le a n s in g a n d a m a r k o f tr a n s f o r m e d id e n tity , r e q u ir e s o n ly a s in g le p e r f o r m a n c e , s o th a t o n e o f th e a n o in tin g s is s u p e r f lu o u s . T h e m a te r ia l u n iq u e to te x t A c o n c lu d e s w ith th e p a y m e n t o f o n e s ilv e r s h e k e l to th e d iv in e r , a n o th e r r e a s o n f o r th e d iv in e r - s c r ib e to in c lu d e th e s e c tio n , f o llo w e d b y r e tu r n o f th e purU to d N in .u r ta , a lo n g w ith a g if t o f a p p r e c ia tio n . I n th is c a s e , it is th e a n o in tin g th a t r e p r e s e n ts th e k e y te x tu a l a n d r itu a l c o n tr a s t in v e r s io n A , a n d w e m u s t a c c o u n t f o r h o w a n d w h y th is te x t d u p lic a te s th e r ite . 2. T h e in s ta lla tio n r itu a l is s tr u c tu r e d a c c o r d in g to e ig h t p r in c ip a l d a y s , a s id e f r o m th e in tr o d u c to r y " c o n s e c r a tio n " b e f o r e th e s h a v in g d a y b e g in s . T w o m a in r itu a l d im e n s io n s a r e jo in e d to p r o d u c e th e e v e n t's f u ll e f f e c t: th e m o v e m e n t o f th e p r ie s te s s f r o m h e r f a m ily h o m e to a n e w r e s id e n c e in th e s to r m g o d 's te m p le , w h ic h e v o k e s v a n G e n n e p 's ( 1 9 6 0 ) n o tio n o f " r ite s o f passage"; a n d a s e v e n - d a y b lo c k o f p u b lic f e a s tin g d u r in g w h ic h n o th in g c h a n g e s in th e c o n d itio n o f th e p r ie s te s s . T h e s e v e n - d a y f e a s t b e g in s o n ly 36 - Daniel E. Fleming a fte r th e first tw o tra n sfo rm a tio n s o f th e y o u n g w o m a n . F irst sh e is in tro - d u c e d to th e sto rm g o d 's te m p le b y p ro c e ssio n fro m h e r fa th e r's h o u se fo r a sh a v in g rite "a t th e o p e n in g o f th e c o u rty a rd g a te " (lin e s 8 -9 ), fo llo w e d b y re tu rn to h e r fa th e r's h o u se . T h e n e x t d a y is th e "in sta lla tio n " itse lf (malluku), w h ic h ta k e s p la c e in th e te m p le p ro p e r a t th e e n d o f a se c o n d p ro c e ssio n (lin e 2 9 ). T h is tim e , th e p rie ste ss ta k e s h e r se a t o f o ffic e a n d is d e c k e d w ith its in sig n ia (lin e s 4 0 -4 2 ), e v e n a s sh e m u st still re tu rn h o m e fo r th e se v e n -d a y fe a st a t th e te m p le , w h ic h ta k e s p la c e w ith o u t h e r. F in a l- ly o n th e se v e n th d a y o f th e fe a st, a th ird p ro c e ssio n b rin g s h e r b a c k to th e te m p le fo r a p e rm a n e n t m o v e in to h e r n e w h o m e in th e sto rm g o d 's p e rso n a l d o m a in (lin e s 5 9 -7 5 ). W ith in th e fra m e w o rk o f th e se e ig h t d a y s, v e rsio n s A a n d B/C m a in ta in th e sa m e p ro c e d u re e x c e p t a t o n e p o in t, d u rin g th e p ro c e ssio n to th e sto rm g o d 's te m p le o n th e d a y o f in sta lla tio n . B o th th e A a n d B te x ts in tro d u c e th e se c o n d d a y b y th e "in sta lla tio n " (lin e 2 9 ) a n d th e n lin e u p th e p a rtic i- p a n ts in a p ro c e ssio n o rd e re d a ro u n d se v e n sa c rific ia l a n im a ls, w ith sin g - e rs in fro n t a n d th e p rie ste ss b rin g in g u p th e re a r. H e re , h o w e v e r, th e tw o te x ts e n v isio n d istin c t p a th s to th e sto rm g o d 's te m p le . In te x t B , th e p ro - c e ssio n m o v e s d ire c tly th ro u g h tw o in te rm e d ia te sto p s th a t b rin g th e p rie ste ss to w a rd h e r d e stin a tio n b y a tte n d in g to sa c re d site s th a t so m e h o w p re p a re h e r w a y : th e bit tukli (H o u se o f A ssista n c e ? ), w ith th e g o d d e ss A d a m m a te ra ; a n d th e bit Gadda (H o u se o f D e stin y ? ), w ith th e sto rm g o d jo in e d to h is A le p p o c o n so rt H e b a t. 16 F ro m th e bit Gadda sh e a p p ro a c h e s th e sto rm g o d 's te m p le (1\ d IS k u r), w h e re sh e le a d s a n h o n o rific c e re m o n y o f g re e tin g (th e kubadu), a fte r w h ic h sh e is b ro u g h t in to th e te m p le . H e re , th e sa c rific ia l a n im a ls fro m th e p ro c e ssio n a re sla u g h te re d , th e o ffe rin g s p la c e d b e fo re h im , a n d fe a stin g fills th e d a y , w h ile th e in sta lla tio n itse lf is re se rv e d fo r th e e v e n in g (nubattu). T h e m o v e m e n t in te x t A is m o re d iffic u lt to u n d e rsta n d in th a t it b re a k s th e sp a tia l lo g ic o f th is p ro c e ssio n , g re e tin g , a n d sa c rific ia l fe a st. A fte r th e p ro c e ssio n is lin e d u p to b e g in th e d a y , w e a re in fo rm e d im m e d ia te ly th a t th e kubadu rite ta k e s p la c e , a c c o rd in g to th e sa m e in stru c tio n s fo u n d in B , w ith th e n e w p rie ste ss n o w p e rm itte d to flo u risb th e sa c re d w e a p o n (O l'tu k u l d in g ir m.') in th e sto rm g o d 's p re se n c e , a ro le th a t h e r fa th e r h a d to p e rfo rm o n h e r b e h a lf o n th e p re v io u s d a y . S h e is b ro u g h t in to th e sto rm 16 F or these locations, see F lem ing 1992: 113-16. In F lem ing 2000: 40-42, I propose to trans- late bit tukli as "house of assistance" and discuss its possible relationship to the city god "N tn .u rta . N aturally, the entire procedure review ed in m y description of these rites is evaluated in detail in the book devoted to the installation text. r Emar's entu Installation - 37 g o d 's tem p le, an d th ey sacrifice th e an im als. T h en , aw k w ard ly , tex t A tu rn s b ack to th e p ro cessio n al ro u te, w ith its sto p s at th e bIt tukli an d th e bIt Gadda, carried o u t b y th e sam e p ro ced u re set fo rth in tex t B . In th is case, th e v ariatio n b etw een v ersio n s A an d B /C in v o lv es n o d ifferen ce o f ritu al elem en ts b u t o n ly th is co n trast o f seq u en ce. 3. Im m ed iately after th e in stallatio n o f th e p riestess w ith h er en th ro n em en t an d in v estitu re, w e are rem in d ed o f an o th er p ay m en t to th e d iv in er, w h at ap p ears to b e th e larg est an d m o st im p o rtan t o f th e w h o le ev en t (lin e 4 3 ). In tex t A , "th ey p lace o n th e d iv in er's h an d (w rist?) ten sh ek els o f silv er as a silv er co il. "1 7 T ex t B p ro p o ses a sim ilarly su b stan tial p ay m en t, eq u ally d etailed in its d escrip tio n , y et co m p letely d ifferen t in n atu re: "tw o g o ld {amassu-figurines o f o n e g o ld sh ek el."'· H ere, th e tex ts ad d ress th e p ay - m en t to th e d iv in er at ex actly th e sam e m o m en t, im m ed iately fo llo w in g in v estitu re o f th e p riestess, an d th ere is n o v ariatio n o f ritu al p ro ced u re. O n ly th e p ay m en ts d iv erg e, an d th ey d o so in strik in g ly sp ecific term s th at su g g est real tran sactio n s. 4. A fo u rth sig n ifican t d ifferen ce w as m en tio n ed alread y w ith m y acco u n t o f co n tin u ity b etw een tex ts B an d C : th e atten tio n to fo u r d ig n itaries in B /C , w h ere o n ly tex t A ad d s a fifth , th e k in g o f S atap p i. T h is v ariatio n d o es n o th in g to ch an g e th e sh ap e o f eith er th e tex t o f th e p ro ced u re b u t sim p ly ex p an d s a list fro m fo u r to fiv e. U n lik e th e o th ers, h o w ev er, b y ad d in g th e n eig h b o rin g to w n , tex t A in tro d u ces an in terest in to th e o ccasio n th at is o th erw ise en tirely fo reig n to it. 2 Textual Variation and Textual Revision A t th e m o st b asic lev el, th e d ifferen ces b etw een v ersio n s A an d B /C rep resen t tex tu al v ariatio n in co p ies o f a sin g le ritu al d o cu m en t. E ith er o n e tab let w as p ro d u ced fro m a read in g o f th e o th er, o r at least th e tw o rep resen t ren d itio n s o f th e sam e tex t k n o w n in o th er v ersio n s as w ell w ith in th e sam e sm all in stitu - tio n al circle, th e o ffice o f "th e d iv in er o f th e g o d s" in th e b u ild in g M -l. T h e p rev io u sly n o ted d iv erg en ces sh o w th at th e co p y in g p ro cess allo w ed co n sid er- ab le ro o m fo r sh ifts in co n ten t as w ell as o rth o g rap h y an d w o rd in g . W h en I w ro te o n th e in stallatio n tw en ty -p lu s y ears ag o , I left th e ch aracter o f th e tex tu - al v ariatio n u n ex am in ed . O n fu rth er reflectio n , h o w ev er, tw o q u estio n s p resen t 17 10 gin k u .b ab b ar a-na bar k u .b ab b ar Q-na su-ti JUgal i-sak·kan-nu. 18 2 "lam a K O .G I sa 1 gin K O .G I. 38 - Daniel E. Fleming th e m s e lv e s . Is it p o s s ib le to d e te rm in e a s e q u e n c e b e tw e e n v e rs io n s A a n d B / C , in th a t o n e re p re s e n ts a la te r s ta g e o f te x tu a l re p ro d u c tio n th a n th e o th e r? If s o , w e w o u ld b e d e a lin g w ith te x tu a l re v is io n a n d n o t ju s t v a ria tio n . A n d d o a n y e le m e n ts o f th e tw o v e rs io n s s u g g e s t d is tin c t ritu a l p e rfo rm a n c e s , ra th e r th a n m e re ly th e v a ria tio n o f a c o p ie d te x t? T h e s e tw o q u e s tio n s m ayor m ay n o t b e re la te d , In th a t o n e c o u ld im a g in e a re v is io n th a t Is p u re ly te x tu a l, n o t b a s e d o n n e w p e rfo rm a n c e o f th e rite . C o n s id e ra tio n o f th e s e q u e s tio n s m u s t b e g in w ith th e c e rta in ty o f a te x tu a l re la tio n s h ip b e tw e e n th e tw o m a in v e rs io n s o f th e in s ta lla tio n rite , a s c o p ie s o f o n e d o c u m e n t. F o r e x a m p le , th e firs t p ro c e s s io n a l d a y b e g in s in te x ts A a n d C m a tc h in g s ig n fo r s ig n u n til " h o u s e " (e) is le ft o u t o f te x t C (lin e 7 ): A i-na ta-ni-i us-mi gal-lu-bu sa e r e s .d ln g ir 1 g[ud 6 UdUbLa]siskur [sa] e r e s .d in g ir C i-rna sa-nJH us-mi gal-lu-bu sa e r e s .d in g ir 1 gud 6 udubl.l'I s ls k u r sa e r e s .d in g ir A a-na e " ls k u r du-ku-ma C a-na dr J T h e s e tw o d o c u m e n ts w e re n o t g e n e ra te d a s s e p a ra te re c o rd s o f o r re s p o n s e s to ritu a l p e rfo rm a n c e s fo r tw o d iffe re n t p rie s te s s e s o f th e s to rm g o d . A t a p u re ly te x tu a l le v e l, tw o o f th e m a jo r d iv e rg e n c e s b e tw e e n A and B / C suggest a sequence of change ra th e r th a n v a ria tio n w ith in d is tin g u is b a b le d ire c tio n . F irs t, th e e x p a n s io n o f th e in tro d u c tio n in lA -6 A b rin g s to m in d th e te x tu a l c ritic a l c h e s tn u t, "lectio breviar," b y w h ic h a lo n g e r te x t m u s t a lw a y s b e c o n s id e re d a p o s s ib le e la b o ra tio n o f s o m e o rig in a lly s im p le r s e q u e n c e . E ven if th e a c c o u n t o f d iv in a tio n b y punJ re fle c ts c o n s is te n t p ra c tic e , th e a d d itio n is in s o m e s e n s e a g lo s s o n th e s trip p e d -d o w n in tro d u c tio n o f te x t C . T h e a n o in t- in g in lin e 4 A th e n a d d s a c o n c e p tu a l d iffic u lty th a t g o e s b e y o n d m e re e x p la n a - to ry e x p a n s io n . D o u b le a n o in tin g is b o th u n p re c e d e n te d a n d ritu a lly n o n s e n s i- c a l. F a c e d w ith tw o v e rs io n s , o n e o f w h ic h o ffe rs u s a s in g le u n c tio n o n th e e v e n in g o f th e s h a v in g d a y (2 0 -2 1 8 /C ), b o th p re fe re n c e fo r th e s h o rte r te x t a n d ritu a l lo g ic in d ic a te th a t th is re p re s e n te d th e o rig in a l te x t a n d p ro c e d u re . The re d u n d a n t a n o in tin g is th e firs t o n e in te x t A , w h ic h is b o th o u t o f p la c e a n d h a s n o e x p lic it p la c e , a n d it a p p e a rs th a t te x t A h a s m a d e a d ju s tm e n ts to a s h o rte r d o c u m e n t th a t is m a n ife s te d in te x t C . T h e s e c o n d m a jo r d iv e rg e n c e , w ith p ro c e s s io n to th e s to rm g o d te m p le on th e in s ta lla tio n d a y , h a s n o th in g to d o w ith le n g th b u t n e v e rth e le s s s u g g e s ts th e s a m e d ire c tio n o f c h a n g e . H e re , te x t A in tro d u c e s c o n fu s io n in to th e p ro c e - d u re th a t is e a s ie r to u n d e rs ta n d a s s e c o n d a ry to th e s tra ig h tfo rw a rd sequence o f te x t B. F o r s o m e re a s o n , te x t A ru s h e s a h e a d to th e rite s fo r th e n e w p rie s te s s a t t h e s t o r m g o d 's t e m p l e ( l i n e s 3 1 - 3 2 A ) , s k i p p i n g o v e r t h e p r o c e s s i o n a l s to p s th a t b rin g h e r th e re , s o th a t th e w rite r m u s t th e n d o u b le b a c k a n d in s e rt th e m Emar's entu Installation - 39 after the kubadu rite and sacrifice of livestock (lines 33-36A ). W e are thus forced to w ait for the distribution of m eat portions in 37A , w hich follow s natu- raily the sacrifice of the anim ais in text B . It appears that text A has introduced a change into the cleaner version reflected in B/C. Finaily, text N s inclusion of a "king of liatappi" in the recurrent list of dignitaries is evidently an addition, piggybacked onto the position of the local king as the fourth figure in the B/C version, as w ell as in the fragm entary text D (lines 55-56). In every case of significant discrepancy of content, it is text A that has m ade the change. W e are therefore deaiing w ith w hat should be cailed "revision" rather than sim ply w ith textual variation. T his distinction m ust then inform our investigation of the real-life rituai setting behind the production and reproduction of the instal- lation text. 3 Revision, Writing, and Ritual O nce w e have determ ined that there is a logical and chronological direction to the divergences betw een the A and the B/C versions of the instailation ritual text, and that som e kind of "revision" has taken place, it rem ains to decide w hat w e m ean by such revision. T his is w here the relationship betw een text and context com es to the fore, because the com position and reproduction of the ritual text cannot be disentangled from the perform ance of the ritual event. N o single explanation for this relationship is intrinsic to the w ritten genre of "ritual," w hich in itself dem ands interrogation. A t E m ar, the preoccupation of the ritual-based texts w ith accounting for precise quantities and recipients of offerings and distributions leaves a m urky boundary betw een w hat is "ritual" and w hat is "adm inistrative."19 C ertainly the introduction of open-ended dura- tive verbs into the descriptions im m ediately generalizes one set of ritual ac- counts, though docum ents such as lists of gods foilow ing a bird or sheep (E m ar 380 and 381) m ust in som e sense reflect "ritual" distributions. T he sm ailer set of texts w ith generalized action expressed in durative verbs includes several that are designated "festivals" (ezen) and m ore than tw enty others that are identified individually if at all. 2O M any of these are little m ore than elaborate 19 O n th e in v o lv e m e n t o f th e b u ild in g M -l d iv in e r s in c u lt a d m in is tr a tio n , see Demars-Lafont and F le m in g , fo r th c o m in g . 20 T h e " fe s tiv a ls " in c lu d e th e in s ta lla tio n s fo r th e p r ie s te s s o f th e sto r m god (Emar 369) and th e mai'artu (370), th e s e v e n th -y e a r v e r s io n o f th e zukru (3 7 3 ), a n d th e se t o f kissu r ite s a t Satappl (385-388). T his still leaves the annual zukru (375), the imiitu of the king (392); a list o f o ffe r in g s fo c u se d e s p e c ia lly o n th e m y s te r io u s Ar'uru (3 9 3 ); a d o u b le r ite w ith th e se c o n d a 40 - Daniel E. Fleming offering lists, with as much interest in the quantities of materials as in the gods who receive them, and little or no interest in the occasions. M ost important for our purposes is one fact: in general, such texts are generated in a single copy, apparently ad hoc, without intent to reproduce them. I n general, the ritual- administrative texts from Emar cannot be considered school texts or part of some scheme of scribal or professional education. Only two limited blocks of ritual writing were copied: the installation festival for the priestess of the storm god: and the kissu festival set. This textual reproduction must be considered secondary to the first use of the larger genre, a development in itself, and a conceptual revision of the type that was never applied broadly. I n considering the two principal copies of the storm god priestess installa- tion, we confront therefore a transformation of textual practice joined to a transformation of content. From the purely textual side, the decision to copy selected festival texts did not carry with it a determination to safeguard a single version of text and ritual together. The question, then, is what informed the written changes, when both text and ritual were in play. W e cannot entertain the possibility that the texts represent two separate performances of the instal- lation event, recorded from scratch, because of the close alignment of wording and spelling. At the other extreme, we could imagine the possibility that the differences are purely scribal, with no reference whatsoever to change in ritual procedure. Any revision of the text would be an exercise in scribal imagination. Between these extremes, text and ritual could be somehow intertwined, so that a new written rendition was infiuenced by changes in procedure even as the very process of reproducing the text, if this was carried out by the person who coordinated the execution of the installation, could have occurred in conjunc- tion with ritual adjustments conceived by this person. Evaluation of the inter- pretive options depends on return to the raw material of the textual variants. The answer to this question may best begin with the third major contrast between versions A and Ble in earlier discussion: the payments to the diviner lJenpa o f o x e n fo r D a g a n (3 9 4 ); c o lle c te d " r ite s o f th e c ity " fo r s e v e r a l m o n th s (4 4 6 ): r ite s fo r th e m o n th s o f A b i (4 5 2 ) a n d th e n e x t m o n th (4 6 3 ); r ite s fo r Astartu o f B a ttle (4 6 0 ); c a le n d a r o ffe r in g s fo c u s e d o n th e s to r m g o d (4 6 1 ); lis te d o ffe r in g s m o s tly la c k in g d iv in e r e c ip ie n ts (4 6 2 ); lis te d o ffe r in g s b e g in n in g w ith ISbara (4 6 4 ): " r ite s of the g o d s o f Hatti" (4 7 1 ); o ffe r in g lis ts fo r s im ila r H ittite g o d s (4 7 2 a n d 4 7 3 ). A ls o . s e v e r a l s ig n ific a n t fr a g m e n ts c a n n o t b e r e a d d ir e c tly in to th e m a jo r te x ts , in s p ite o f s o m e tim e s ta n ta liz in g ly s im ila r te r m in o lo g y : 3 7 1 a n d 3 7 2 with th e s to r m g o d in s ta lla tio n ; 3 7 4 a n d 3 7 6 with th e zukrn fe s tiv a l (R u tz [2 0 1 3 : 1 4 8 J p r o p o s e s th a t 3 7 4 c o u ld jo in to th e fe s tiv a l te x t 3 7 3 ); r ite s th a t a ls o in v o lv e th e m o n th o f Z e r a ti (4 4 7 ); r ite s fo r th e m o n th o f Sag.mu a n d s o m e " F ifth " m o n th (4 5 4 ); r ite s th a t in c lu d e A s ta r tu a n d th e m o n th o f S a g .m u (4 5 9 ); fr a g m e n ts o f v a r io u s s iz e fo r s e ts o f o ffe r in g s with p a r tia lly u n k n o w n r e c ip ie n ts (4 6 5 , 4 6 6 , 4 7 0 , etc.), fr a g m e n ts o f v a r io u s s iz e with o ffe r in g s lis te d fo r Hittite-type gods (476, 477, etc.). Emar's entu Installation - 41 o f te n s ilv e r s h e k e ls in th e fo rm o f a " c o il" (4 3 A ) v e rs u s tw o g o ld lamassu fig u rin e s (4 3 B ). T h e s e s u b s ta n tia l g ifts a re re c o rd e d w ith a p re c is io n th a t p e r- ta in s m o s t n a tu ra lly to th e k e e p in g o f a c c o u n ts . T h e m a te ria ls , th e q u a n titie s , a n d th e fo rm s a re a ll d iffe re n t, e v e n a s n e ith e r h a s th e fla v o r o f fa n ta s y . If tw o g ifts a re in v o lv e d , it w o u ld s e e m th a t th e s e w o u ld h a v e a c c o m p a n ie d tw o d iffe re n t p e rfo rm a n c e s o f th e in s ta lla tio n . W h e re te x t A a d d s to th e s c h e m a p re s e n te d in v e rs io n B /C , th e s e in v o lv e ritu a l p ro c e d u re a n d c o u ld b e c o n - c e iv e d a s re fle c tin g a s e p a ra te p e rfo rm a n c e a s w e ll, th o u g h e a c h in s ta n c e m u s t b e e v a lu a te d in d iv id u a lly . T h e lo n g e x p a n s io n in lin e s 2 -6 A c o u ld b e u n d e r- s to o d a s a d d in g d e ta il fro m p ra c tic e th a t h a d s im p ly b e e n o m itte d fro m v e rs io n B /C , a n e x p la n a tio n th a t w o u ld b e fe a s ib le if w e ta k e th e re fe re n c e to a n e x tra a n o in tin g in lin e 4 A a s a n tic ip a tin g th e e v e n t c o m in g u p in lin e s 2 0 -2 1 . A lte r- n a tiv e ly , w e c o u ld b e d e a lin g w ith a s e p a ra te rite th a t w a s o n ly in c lu d e d in th e in s ta lla tio n o f v e rs io n A . It is lik e w is e d iffic u lt to b e s u re in 9 2 -9 3 A w h e th e r th e s a c rific e to S a b ru in th e s e lin e s , a fte r th e p rie s te s s h a s d ie d , re p re s e n ts a ritu a l in n o v a tio n o r th e e x p a n s io n o f te x t A to m e n tio n a rite th a t h a d b e e n ta k e n fo r g ra n te d in th e o ld e r v e rs io n o f th e in s ta lla tio n p re s e rv e d in te x t C . A s w ith th e a n o in tin g , th e re is c o n c e rn to re c o rd w h a t th e d iv in e r ta k e s fro m th e o c c a s io n . T h e c h a n g e in p ro c e s s io n a l s e q u e n c e o n th e d a y o f th e in s ta lla tio n in 3 1 -3 6 A c o u ld b e a te x tu a l c o n fu s io n th a t d id n o t fo llo w p ro c e d u re fo r a fre s h p e rfo rm a n c e o f th e in s ta lla tio n . F in a lly , th e a d d itio n o f a n e x tra ta b le fo r th e k in g o f S a ta p p i in v e rs io n A p re s e n ts a c o n u n d ru m : w a s a fifth ta b le in fa c t a d d e d fo r a n e w p e rfo rm a n c e o f th e in s ta lla tio n , th e s a m e o n e fo r w h ic h th e d iv in e r re c e iv e d th e te n -s h e k e l s ilv e r c o il? T h is w o u ld in d e e d b e th e s o rt o f c o n c re te c o n tra s t th a t m u s t b e m o re th a n ju s t th e fillin g in o f d e ta il, th o u g h th e c a s e is a s tra n g e o n e . Is S a ta p p i re a lly la rg e e n o u g h to h a v e a " k in g ," e s p e c ia lly w h e n it s e e m s s itu a te d v e ry c lo s e to E m a r a n d d e p e n d e n t o n it? A ll th e re fe re n c e s to p la c e m e n t o f ta b le s fo r d ig n ita rie s in th e p ro c e d u ra l s e c tio n o f te x t A in c lu d e th e k in g o f S a ta p p i, b u t th e p u re ly a d m in is tra tiv e s e c tio n a t th e e n d re c a lls ro y a l re c e ip t o f tb e k id n e y a s ritu a l p o rtio n w ith o u t a c k n o w l- e d g in g th a t th e re m a y b e tw o o f th e m (lin e 7 7A ). H o w e v e r w e re a d th e re la tio n s h ip b e tw e e n te x tu a l re p ro d u c tio n a n d ritu a l re p e titio n , w e m u s t a c c o u n t fo r th e c o n n e c tio n b e tw e e n w ritin g a n d ritu a l. In th is re g a rd , th e in s ta lla tio n p re s e n ts a n e v e n t w ith v e ry lim ite d u s e . If a n e w p rie s te s s w a s p u t in to o ffic e o n ly a t th e d e a th o f th e p re v io u s o n e , th e n in s ta lla - tio n s m a y h a v e o c c u rre d o n ly ra re ly a t E m a r, m o re th a n a g e n e ra tio n a p a rt, if g irls w e re c h o s e n a t a re la tiv e ly y o u n g a g e a n d g o o d h e a lth a llo w e d th e m to re a c h s o m e th in g lik e o ld a g e . T h e s to rm g o d p rie s te s s d o e s n o t a p p e a r to h a v e b e e n p e rm itte d to b e a r c h ild re n , s o fa r a s e x ta n t e v id e n c e p e rm its ju d g m e n t, s o th a t s h e w o u ld e s c a p e o n e m a jo r ris k o f d e a th . W e c a n n o t k n o w a c tu a l 42 - Daniel E. Fleming c ir c u m s ta n c e s , b u t w e m u s t k e e p in m in d tb a t n o s in g le d iv in e r n e e d h a v e o v e r s e e n th is e v e n t m o r e th a n o n c e in h is lif e tim e . T h e d e c is io n to c o p y th is in s ta lla tio n te x t a p p e a r s to h a v e s e r v e d tb e tr a in in g o f th e d iv in e r s w h o tr a c k th e ir f in a n c ia l ta k e f r o m tb e f e s tiv a ls in v ie w . B y r e m e m b e r in g a n d r e p r o d u c in g th e te x t, th e h e ir to th e d iv in e r 's o f f ic e w o u ld b e p r e p a r e d to r e p lic a te th e e v e n t. C h a n g e s in tb e te x t c o u ld b o tb r e f le c t d is tin c t p e r f o r m a n c e s o f th e in - s ta lla tio n a n d s h a p e th e m . A s th e d iv in e r m a d e a d ju s tm e n ts to te x t a n d c o n - c e p tio n to g e th e r , r itu a l p r a c tic e m a y h a v e f o llo w e d . W ith f o r m a l o v e r s ig h t b e - s to w e d o n a s c h o la r w h o te x tu a liz e d th e c o n d u c t o f r itu a l, s u c h in te r p la y w a s p e r h a p s in e v ita b le . 4 Revision, Ritual, and the Diviner T h e d iv in e r h im s e lf m u s t b e th e f in a l o b je c t in o u r r e v a lu a tio n o f tb e in s ta lla - tio n f e s tiv a l in its te x tu a l v a r ie ty a t E m a r . B e c a u s e tb e r itu a ls o f tb e d iv in e r 's a r c h iv e h a v e a n e x c a v a te d c o n te x t tb a t a llo w s c o n s id e r a tio n o f a f ix e d s e t o f te x ts a s a c o lle c te d w h o le , w e c a n k n o w s o m e th in g o f th e s c r ib e s w h o g a v e u s tb e in s ta lla tio n te x ts . D a n ie l A r n a u d c o n c lu d e d w itb h is in itia l p u b lic a tio n w h a t f u r th e r s tu d y h a s c o n f ir m e d , th a t tb e b u ild in g M - 1 w a s th e w o r k p la c e o f a p e r s o n w h o c a lle d h im s e lf " th e d iv in e r o f tb e g o d s o f E m a r ." > T h is w a s e v i- d e n t f r o m tb e r e f e r e n c e s to tb e d iv in e r , h is c o lle a g u e s , a n d h is s tu d e n ts in th e c o lo p h o n s to M e s o p o ta m ia n s c h o la r ly te x ts ( a s s e m b le d a s E m a r 6 0 4 ) , f r o m th e c o n c e n tr a tio n o f le g a l d o c u m e n ts th a t p e r ta in to f o u r g e n e r a tio n s o f o n e f a m ily s h a r in g th e " d iv in e r " title , f r o m th e s m a ll s e t o f le tte r s th a t f r e q u e n tly in v o lv e m e m b e r s o f th is f a m ily , a n d f r o m th e a tte n tio n to p a y m e n ts r e c e iv e d b y " th e d iv in e r " in r itu a l te x ts , a m o n g o th e r d e ta ils . I n h is s tu d y o f Scribes and Scholars of the City of Emar, C o h e n ( 2 0 0 9 : 1 4 7 - 2 3 8 ) e x a m in e d e x h a u s tiv e ly th e n a m e s p r e s e r v e d in th e c o lo p h o n s s o a s to p r o d u c e a f u ll p o r tr a it o f th e p a r tic i- p a n ts in tb is s c r ib a l o p e r a tio n , w h o in c lu d e d m a n y m o r e th a n tb e d iv in e r a lo n e . T h e d iv in e r 's a u th o r ity , if n o t n e c e s s a r ily h is s c r ib a l h a n d , is a ls o v is ib le o n v a r io u s a c c o u n tin g te x ts r e g a r d in g th e a f f a ir s o f d if f e r e n t s a c r e d s ite s , s o m e f o u n d a t th e d iv in e r 's o w n b u ild in g M - 1a n d o th e r s a t th e te m p le o f th e s to r m g o d in A r e a E .2 2 2 1 A r n a u d (1 9 8 0 : 2 4 7 n . 7 ) o ffe r s th is e x p lic it r e fe r e n c e . 2 2 S e e th e d is c u s s io n o f th e d iv in e r 's fa m ily in B e y e r 2 0 0 1 : 4 4 7 -4 8 , a n d th e in d iv id u a l p r e se n - ta tio n s o f A .6 2 (Ba'lu-qarrad so n o f Z u -B a 'la ) a n d A .6 9 (B a 'lu -m a lik so n o f Ba'lu-qarrad). The se a l o f B a 'lu -q a r r a d a p p e a r s o n th r e e a d m in istr a tiv e te x ts fr o m th e b u ild in g M 'l, E m a r 3 6 3 , 3 6 4 . a n d 3 6 6 , a s w e ll a s o n h is will, p u b lish e d w ith te x ts fr o m o u tsid e th e e x c a v a tio n s as Emar's entu Installation - 43 N one of the ritual texts bears either a colophon or a seal im pression to offer explicit identification of the scribe. N evertheless, w e m ust w onder w here w e m ay find the hand of the diviners them selves. It is clear from their seals on the adm inistrative texts that they w ere directly involved in tablet production related to local tem ple business, and the repeated reference to incom e received by the diviners in som e of the ritual texts suggests a direct financial interest. H ere, w e m ust w eigh the significance of the festival copies in relation to the diviners them selves. O nly the installation for the storm god's priestess and the kissu festival set w ere reproduced in this w ay, and it is difficult to understand such need to copy rituals except for som e kind of education in the w ritten aspect of the craft. T his form ation w ould have nothing to do w ith divination but rather served the diviner's ritual oversight of m ajor public events that served the com m unity as a w hole and included acknow ledgem ent of the local king. Perhaps the one figure w ho required such training w as the diviner him - self, or the young m an w ho w ould inherit the office. W hether or not the sam e can be said of the festival collection m ore generally, the festivals in m ultiple copies m ay m ost directly be the scribal w ork of the diviners. B ased on the use of the diviners' seals on adm inistrative texts, the tw o generations m ost visible in the archive are B a'lu-qarrad and his son B a'lu-m alik, w ith the older brother Saggar-abu also a possibility.P O ne detail in the storm god installation festival m ay help locate the genera- tion of version A , w hich presents a revision of the text know n from version B / C , though not necessarily of this particular tablet. In its rendition of the tables set w ith honorary m eat portions for local dignitaries, text A adds the king of Satappi. T his tow n has a notable interest for the diviners of Z u-B a'Ia's fam ily and the building M -l. O utside the rituals, Satappi appears in six texts from E m ar, all found in the diviner's archtve.> If the tow n did indeed have a leader w ho could claim the lugal title, this m ay be reflected in E m ar 257,a legal judg- m ent from a court case involving the theft of a slave. T he case is said to be SMEA 3 0 no. 7 (se e C o h e n 2 0 0 9 : 1 5 5 ); B a'lu-m alik's se a l a p p e a r s o n th r e e te x ts fr o m th e sto r m g o d te m p le (E r n a r 43, 5 6 , a n d 6 1 ), a n d o n th r e e a d m in istr a tiv e te x ts fo u n d in th e b u ild in g M -l (E m a r 285, 287, a n d 305), a s w e ll a s o n th r e e te x ts fr o m o u tsid e th e e x c a v a tio n s, A u O r S 1 70; BLM 28 a n d 29 (C o h e n 2009: 170). T h e se a b b r e v ia tio n s a r e th o se fr o m F le m in g 2000. 23 For any e v a lu a tio n o f th e fa m ily 's in v o lv e m e n t in d r a w in g u p o r w itn e ssin g d o c u m e n ts fr o m E m ar, C o h e n 's (2009: 147-83) a c c o u n t o f a ll its m e m b e r s is the e sse n tia l p o in t o f d e p a r - tu r e . 2 4 F o r th e b a sic list o f r e fe r e n c e s, g a th e r e d fr o m A r n a u d 's E m a r V I.3 . se e m y b r ie f tr e a tm e n t o f " th e k in g o f Satappi" in F le m in g 1992: 102. T o m y k n o w le d g e , th e to w n o f S a ta p p i is n o t m e n tio n e d in a n y o f th e te x ts fo u n d o u tsid e th e e x c a v a tio n s, a d d in g to th e im p r e ssio n of a p a r tic u la r in te r e st o n th e p a r t o f th e d iv in e r 's fa m ily . 44 - Daniel E. Fleming decided in the presence of the king and "the leading m en (lum .' gaJm e< o) f S atappi" (lines 3 -4 ), though the seals do not indicate any titled ruler." K api- D agan and S aggar-abu, both from the diviner's fam ily, send a letter that m en- tions in passing a scribe-on-w ood w ho lives in S atappi (E m ar 261: 21-23). O ne adm inistrative text lists nine servants and a substantial collection of livestock and dry goods for a w om an called the m unus Jugal, "w om an of the king," w ho is m oving from K izzu (= K inza, Q adesh?) to S atappi. T his docum ent appears to confirm the substance of the tow n, for all that it is know n to us only as part of E m ar's political sphere. 26 W hile the concentration of all the S atappi references in the M · I archive in itself indicates the interest of the tow n for the diviner's fam ily, a m ore personaJ and intense connection is displayed in the last three references to S atappi, all of w hich relate to a single transaction. In a rem arkable exchange that has al- ready garnered considerable attention, B a'lu-rnalik, the diviner w ho dom inates the last generation of the archive's activity, purchased three very young chil- dren for his household from a fam ily in S atappi. F our texts reflect the ex- change: three inscribed footprints in clay for each of the children acquired (E m ar 218-220), and a sum m ary docum ent for the arrangem ent (E m ar 217), all of w hich identify the father as Z adam m a of S atappi,27 W hatever the form of w ork taken on by these children, they w ould have been raised in a household shared by the diviner B a'lu-m alik's tw o boys, Ipqi-D agan and Z uzu (Z u- B a'la).28 T he tow n of S atappi w ould therefore have loom ed large in B a'lu- m alik's hom e. 25 T h is la c k o f title r e c a lls th e p a tte r n in th e C o n v e n tio n a l F o r m a t le g a l d o c u m e n ts fo r E m a r its e lf, w h ic h a r e c o n s is te n tly w itn e s s e d b y fig u r e s le d b y th e k in g , w ith o u t title . F o r d is tin c tio n o f tw o s c r ib a l s tr e a m s fo r w r it in g E m a r 's le g a l te x ts a s C o n v e n tio n a l (fo r m e r ly " S y r ia n " ) a n d Free Format (formerly "S yro-H ittite"), see Fleming and D em are-L atonr 2009. Although these a r e in w h a t D em are-L afont a n d I w o u ld c a ll t h e F r e e F o r m a t s c r ib a l m o d e . t h e la c k o f t it le w o u ld s u it s u c h in c o r p o r a tio n o f local leaders in to a c o lle c tiv e p o litic a l fr a m e w o r k . 26 It is n o te w o r th y th a t th e n a m e ~ atap p i is fo u n d o n ly in te x ts fo u n d in th e d iv in e r 's a r c h iv e a n d n o t k n o w n fr o m th e a r c h iv e s o f o th e r s ite s . T h is fa c t r e c a lls th e o d d ity o f r e fe r e n c e to th e E m a r d o m a in in te x ts fr o m H attusa b y th e n a m e A stata, w h ic h d o e s n o t a p p e a r in te x ts fo u n d a t Emar. I s it p o s s ib le th a t th e n a m e S ateppt a ls o c o m e s fr o m fo r e ig n H ittite u s a g e ? I h a v e n o t p u r s u e d th e q u e s tio n in th e H ittite e v id e n c e . 27 T h e a g e o f th e c h ild r e n is in d ic a te d b y th e s iz e o f th e ir fe e t, w h ic h sh ow s th e m to h a v e b e e n o n ly to d d le r s ; s e e Z a c c a g n in i 1994 and C ohen 2005. I n h is s tu d y o f E m a r s c r ib e s . C o h e n (2 0 0 9 : 1 3 2 -3 3 ) a b a n d o n e d h is in te r p r e ta tio n o f th e p u r c h a s e d c h ild r e n a s s c r ib a l a p p r e n tic e s , b ecau se th e n a m e s in s c r ib a l c o lo p h o n s accom pany th e w r o n g s c r ip t to m a tc h th e d iv in e r 's fa m ily . 28 W e k n o w th a t Ipqi-D agan a n d Z u z u w e r e o ld e n o u g h b e fo r e th e d e s tr u c tio n o f th e c it y to b e in v o lv e d in r e a l e s ta te tr a n s a c tio n s (E r n a r 2 2 5 , 2 2 6 ) a n d to s h a r e s o m e r itu a l r o le in c o n n e c - tio n w ith a d e d ic a tio n b y th e ir fa th e r B a'lu-m alik to th e g o d "N in.urta (B L M 2 4 : 9 - 1 1 ; s e e th e Emar's entu Installation - 45 In th is lig h t, th e a d d itio n o f S a ta p p i to th e list o f d ig n ita rie s th a t p a rtic ip a te in th e in sta lla tio n fe stiv a l fo r th e sto rm g o d 's p rie ste ss w o u ld re p re se n t a n a tu - ra l a c c o m p a n im e n t to th e in tro d u c tio n o f a S a ta p p i c o m p o n e n t in to th e d iv in - e r's fa m ily . S o fa r a s te x t A is la te r th a n B/C, it is m o st e a sily d a te d to th e la st g e n e ra tio n o f th e d iv in e r's a rc h iv e , w h e n th e h o y s lp q i-D a g a n a n d Z u z u w e re g ro w in g u p w ith th re e k id s fro m S a ta p p i. T h e sa m e fa m ily in te re st c o u ld a c - c o u n t fo r th e o n e o th e r c o p ie d ritu a l te x t, th e se t o f kissu fe stiv a ls th a t a re lik e w ise id e n tifie d w ith S a ta p p i. W h ile th e d iv in e r's c o n n e c tio n w ith S a ta p p i p ro b a h ly p re d a te d th is tra n sa c tio n , g iv e n th a t B a 'lu -m a lik 's o ld e r b ro th e r S a g g a r-a b u w ro te a le tte r m e n tio n in g th e to w n , te x t Ns sta tu s a s la te st a m o n g th e in sta lla tio n 's c o p ie s su p p o rts its lo c a tio n in a la te r g e n e ra tio n . A re w e to c o n c lu d e th a t a n e w e re s.d in g ir (entu) p rie ste ss w a s p u t in o ffic e d u rin g th e la st p e rio d o f th e E m a r a rc h iv e s, w h e n th e S a ta p p i c h ild re n h a d b e c o m e p a rt o f th e d iv in e r's h o u se h o ld ? T h e stro n g e st e v id e n c e fo r su c h a c o n - c lu sio n w o u ld h e th e te n -sh e k e l silv e r c o il p a id to th e d iv in e r in ste a d o f th e tw o g o ld lamassu fig u rin e s o f te x t 4 3 B . If so , th e n th e A v e rsio n th a t w a s c o m - p o se d in a sso c ia tio n w ith th e e v e n t m a y h a v e re fle c te d b o th th e o c c a sio n itse lf a n d th e su p e rv iso ry m in d se t th a t in fo rm e d its c e le b ra tio n . At le a st in w ritin g , th e d iv in e r m a y h a v e w a n te d to h ig h lig h t th e p o ssib ility th a t " th e d a u g h te r o f a n y so n o f E m a r" c o u ld b e se le c te d (3 A ), a n d h e w a s d e te rm in e d to c la im a silv e r sh e k e l w ith th e g irl's a n o in tin g (S A ) a n d a n o x -h id e fro m rite s fo r th e p re v io u s p rie ste ss's d e a th (9 3 A ), w h e th e r o r n o t th e se w e re c u sto m a ry . W h ile th e A te x t o f E m a r 3 6 9 d isp la y s a n in te re st in th e to w n o f S a ta p p i th a t o ffe rs a p la u sib le c o n n e c tio n to th e g e n e ra tio n o f B a 'lu -m a lik a s d iv in e r, w e c a n sa y n o th in g su b sta n tia l a b o u t th e se ttin g fo r th e o ld e r siC te x t. T h e re is n o o b sta c le , h o w e v e r, to th is ta b le t g o in g b a c k to th e le a d e rsh ip o f h is fa th e r B a 'Iu -q a rra d , w h o in itia te d th e a d m in istra tiv e a c tiv ity o f th e sc rib a l c e n te r. C o - h e n (2 0 0 9 : IS 6 ) o b se rv e d th a t B a 'lu -q a rra d is lin k e d so lid ly to th e a d m in istra - tiv e d o c u m e n ts fo u n d in th e b u ild in g M -I, e v e n a s th e sc h o la rly in te re st o f th e d iv in e rs o n ly b e g in s w ith h is so n s S a g g a r-a b u a n d B a 'lu -m a lik .s? It a p p e a rs in terp retation in m y review of th is volu m e (F lem in g 2002). T h e su m m ary d ocu m en t for th e p u rch ase of th e th ree you n g ch ild ren , E m ar 217, is w itn essed b y L ah eya son of M u tri-T e ssu b , from th e lin e of O verseers of th e L an d (u gu la.k alam .m a) associated w ith H ittite an d C arch em - ish sovereign ty. T h e last u g u la.k alam .m a is Ahl-malik, w h ose role m ay h ave ou tlasted th e local m on arch y as an active force at E m ar (C oh en 2012), an d L ah eya ap p ears to b elon g to a stage ju st b efore th is. A lso, B a'lu -m alik 's tw o son s p lay n o role in th e tran saction . It is lik ely th at th ey h ad n ot yet reach ed legal ad u lth ood , if th ey h ad even b een b orn at th is m om en t. 29 F or th e cru cial in itiative of B a 'lu -q a rra d in lau n ch in g th is ad m in istrative d im en sion of th e d ivin er's w ork , w h ich is n ot attested for h is fath er Zu-Ba'la, see Demare-Lafcnt an d F lem in g, forth com in g. 46 - Daniel E. Fleming therefore that the practice of com posing ritual texts likew ise begins w ith B a'lu- qarrad, and text B !C of E m ar 369 could represent an early exam ple. If so, the idea of identifying certain local events by the "festival" category ezen, w ell know n in H ittite ritual texts found at H attusa, w ould have originated before the fam ily's invoivem ent in the reproduction of scholarly literature. T he installation festival for the storm god's priestess at E m ar leaves as m any questions open as it offers answ ers to issues of context, yet the detail available for probing the diviner's archive in the building M -l allow s us to ex- am ine w ith rare tools the interaction of textual production w ith practical use. B eyond the im m ediate application of the text to living ritual at E m ar, it is pos- sible to consider the diviners them selves as revisers of both text and ritual together. R egardless of the precise interpretation preferred by any m odern reader, it is clear that the choice to copy festivai texts at E m ar w as undertaken as m ore than a scribal exercise, and w e m ust evaluate the revision of ritual and of text as a single process, w ith both elem ents interw oven according to the needs of the diviner charged w ith oversight of E m ar's collective ritual life. Bibliography Arnaud, Daniel. 1980. Traditions urbaines et influences semi-nomadss a Emar, a l'Age du Bronze Recent," Pp. 245-64 in L e M o yen E u p h rate: Zone d e co n tacts et d'ecbances. A ctes d u C o JJo q u e d e S trasb o u rg 10-12 m ars 1977, ed. Jean-Claude Margueron. Strasbourg: Universlte des Sciences Humaines de Strasbourg. Beyer, Dominique. 2001. R ech erch es au p ays d 'A fto ta: E m o r 1\1. L es sceaux. Fribourg/ Gdttingen: Editions universitaires/Vandenhoeck & Ruprecht. Cohen, Yoram. 2005. F eet of Clay at Emar: A Happy End? O rN S 74: 165-70. Cohen, Yoram. 2009. T h e S crib es an d S ch o lars of the C ity of E m ar in th e L ate B ro n ze A g e. W inona lake, IN: Eisenbrauns. Cohen, Yoram. 2012. Abi-malik: The last "Overseer of the land" in the City of Emar. Pp. 13- 23 in L o o kin g at th e B ib le an d th e A n cien t N ear E ast th ro u g h th e S o m e E yes: M in h a L eA h ro n . A T rib u te to A aro n S kaist, eds. Kathleen Abraham and Joseph Fleishman. Bethesda: COL Press. Delnero, Paul. 2012. T h e T extu al C riticism o f S u m erian L iteratu re. JCSSS 3. Boston: American Schools of Oriental Research. Demars-Lafont, Sophie and Daniel Fleming. Forthcoming. Ad Hoc Administration at Emar: Free Format W riting in the Diviner's Archive. Fleming, Daniel. 1992. T h e In stallatio n o f B aal's H ig h P riestess at E rn ar: A W in d o w o n A n cien t S yrian R elig io n . HSS 42. Atlanta: Scholars Press. Fleming, Daniel. 2000. T im e at E m ar: T h e Cuttk: C alen d ar an d th e R itu als fro m th e D ivin er's A rch ive. MC 11. 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Ph.D. dissertation. University of Geneva. Rutz, M atthew. 2013. Bodies of Knowledge in Ancient M esopotam ia: The Diviners of Late Bronze Age Em ar and Their Tablet Collection. AM D 9. leiden/Boston: Brill. Sallaberger, W alther. 1996. Review of D. Flem ing, The Installation of Baal's High Priestess at Em ar: A W indow on Ancient Syrian Religion. ZA 86: 140-47. Schwem er, Daniel. 2001, Die W ettergottgesta/ten M esopotam iens und Nordsyriens im Zeitalter der Keilschriftku/turen: M ateriafien und Studien nach den schriftlichen Q uellen. W iesbaden: Harrassowltz. westenhotz, Joan Goodnlck. 1999. Em ar: The City and Its God. Pp. 145-67 in Languages and Cultures in Contact: At the Crossroads of Civilizations in the Syro-M esopotam ian Realm . Proceedings of the 42nd RAI, ed. Karel van Lerberghe and Gabriella Voet. leuven: Peeters. Yam ada. M asam lchl. 1994. The Dynastic Seal and Ninurta's Seal: Prelim inary Rem arks on Sealing by the Local Authorities of Em ar. 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