Enki and His Word: A Chant to the Rider of the Waves

Enki in Sumerian Mythology and His Divine Powers

In many of the major Sumerian myths, Enki is the main character or the center of attention. There are legends, hymns, and even a letter sent to him by one of his scribes, from creation stories to stories in which Enki adopts the unusual role of a fighting hero.

The Sacred Concept of 'Me' and Enki’s Creative Word

These poems deal with Sumerian concepts, including the concept of (me), which is believed to govern the universe. The (me) is not the exclusive property of Enki, yet it is close to the essence of a god whose creative (and destructive) word can bring order where there was only chaos. Perhaps these pieces are closer to the worship of Enki than the longer myths.
The hymns and prayers certainly involve humans in a more direct way than the stories, and they raise questions about Enki's more sinister powers. If Enki is a benevolent creator, the human voices that rise up in distress and anxiety find other disturbing qualities in Enki.

A Chant to the Rider of the Waves: An Ancient Hymn to Enki

Among these short pieces is his hymn: Enki and His Word: A Chant to the Rider of the Waves is an invocation or prayer full of tantalizing and intriguing references to Enki's power over (me) and the consequences, both good and bad, for humanity from Enki. The psalm or hymn edited here is part of a long musical composition consisting of more than sixty kerugo or short paragraphs dedicated to various gods. It was excavated in Nippur and has parts dedicated to different gods and, of course, the part we are talking about dedicated to Enki.
The chant says:

Enki, patron god over Eridu

Kirugu	Main Theme	Key Elements
1	Enki’s Command Over Waters	“Raise up the arm”; Abzu & Eridu; abundance
2	Divine Fisherman	Casting nets; spoken spell; fish gathered
3	Fearsome Word	Word likened to venom and flood-wave
4	Flood Wave Carries Humanity	Tidal force; awe and dread
5	Prayer for Favor	“Turn your face” to the mulu’s house
6	Communication with Humanity	Face speaks for birds, fish, temples, cities
7	Offering of Grain	Damgalnunna brings grain; ambiguous phrasing
8	Prayer in House of Valuables	“Abzu where the upright word stands”
9	Sailing in the Magur-Boat	Joyful voyage; “setting out the master’s word”
10	Royal House Exclamation	“The king’s house!” refrain

The Ten Kirugu of Enki: Themes & Symbols

The First Kirugu: Enki’s Command Over the Waters

Raise up the arm! Raise up the arm Song of Enki: raise up the arm!
Song of that holy master: raise up the arm!
Song of the master of the Abzu: raise up the arm!
Song of Damgalnunna: raise up the arm!
Song of Asarluhi: raise up the arm!
Song of Nammu: raise up the arm!
Song of Arae: raise up the arm!
Raise up the arm! Where is it sung?
Song of Enki: where is it sung?
Song of that master of the Abzu: where is it sung?
Song of the holy master: where is it sung?
Song of Damgalnunna: where is it sung?
Song of Asarluhi: where is it sung?
Song of Nammu: where is it sung?
Song of Arae: where is it sung?
It is sung! It is sung!
It is sung in the Abzu,
power of the Prince; .
It is sung in Eridu,
the sweet.
It is sung in the é-engur-ra;
It is sung in the Abzu,
where the upright word stands.
Master, when you ride the floodwaves,
Enki, when you ride the floodwaves,
little waves attack for you
like oxen,
big waves array themselves for you
like a headdress.
The river, the river teems with hegal.
The river, the princely river, teems with hegal.
Twin of the Euphrates it teems with hegal.
The river has teemed with teeming oxen,
The river has teemed with teeming sheep,
The river has teemed with teeming humankind.
He made them come out to them in the house,
the Master to his me.
He made them come out to them,
Master of the Abzu to his me,
he made them come out to them in the house.
He took away the me of life from the house.
He hunted out,
he hunted out the me,
he fastened them about his chest.
Master he is of the plenteous me:
for his me the mulu must not long.
Enki of the plenteous me:
for his me the mulu must not long.
He must not long the mulu must not long for his me.
His command: “The mulu must not long for them.”
His order: “The mulu must not long for them.”

Enki in the marshy reeds of the Abzu

The Second Kirugu: Enki the Divine Fisherman

Hail the Abzu! Hail the Abzu!
Hail the Abzu,
power of the Prince,
Hail Eridu,
the sweet,
Hail the é-engur-ra,
Hail the Abzu
where the upright word stands!
Ah! The Master cast the nets,
Enki cast the nets,
He cast the first spell [?]:
it made the fish come with it.
Spoken out by the Master:
it made the fish come with it.
He reached the vermin rising from the earth out to the fish.
The Master reached the long net out to the fish.
The Master of the Abzu reached the long net out to the fish.

The Third Kirugu: The Fearsome Word of Enki

His word is a flood wave,
a flood wave that breeds fear.
The word of Enki is a flood wave,
a floodwave
The word of Damgalnunna is a floodwave,
a floodwave.
The word of the Master of the Abzu is a floodwave,
a flood-wave.
You are true with those who are true.
you are not true with those who are not true.
You are the venom of a viper set against humankind.
His word is. the venom of a lion that does not come out
for the sake of humans.
His word is a flood wave,
a flood wave that breeds fear.

The Fourth Kirugu: The Flood Wave That Carries Humanity

His word that engendered a flood wave carries humankind away.
The word of Enki that engendered a flood wave,
The word of Damgalnunna that engendered a flood wave,
The word of the Master of the Abzu that engendered a flood wave:
“Fear of you in my body,
fear [of you in my body],
the mulu fear [of you in my body].”
The lord....

The Fifth Kirugu: A Prayer for Enki’s Favor

Master, turn your face to the house of the mulu.
River Tigris,
master of the Abzu to the house of the mulu,
fisher [?] of the sea to the house of the mulu,
fowler of the mountain’s base to the house of the mulu:
to the door of the mulu,
to the bolt of the mulu,
to the millstone of the mulu,
to the stone pounder [?] of the mulu,
to the reed-sieve of the mulu,
to the Sasur of the mulu,
to the gate of the mulu,
turn your face.

The Sixth Kirugu: Enki’s Communication with Humanity

Master, your face LI-bi-dm-ma,
speaks with the mulu.
River Tigris,
Master of the Abzu, your face LI-bi-a4m-ma,
for the sake of your fish and birds
as many as have been called a name
for the sake of your well-built houses
as many as have been called by name
for the sake of your well-built cities
as many as have been called by name
it speaks with the mulu.

The Seventh Kirugu: Damgalnunna Brings Grain

Eh! ellu! come, come! come, come!
ellu! come, come!
Eh! The Queen brought the mulw’s grain,
Damgalnunna brought the mulu’s grain.
The master of the house
in the house na-dm ga mu-un-di,
al-di dm-ma-an-da al-di.
The mulu filled the hand of the nursemaid é-
the mulu, the hand of the nursemaid en-ga me bi-zu,
en-ga me bi-zu en-ga me bi-zu.
What is in the corner en-ga me bi-zu,
What is at the side en-ga me bi-zu?

The Eighth Kirugu: Prayer to Enki in the House of Valuables

Eh! ellu! Master, sen-BU-na
al-lu-ru-da. .
River Tigris,
master of the Abzu, sen-BU-na,
my master, to the house of valuables,
River Tigris,
master of the Abzu, to the [treasure-house],
the house where the wife lives,
the house where the son lives,
to the Abzu where the upright word stands,
al-lu-ru-da.

The Ninth Kirugu: Enki Sails in His Magur-Boat

The master did not come near,
the master did not come near.
The master sailed in his magur-boat,
setting out the master’s word.
The River Tigris,
master of the Abzu, did not come near,
The fisher [?] of the sea,
the master did not come near,
the fowler of the mountain’s base,
the master did not come near.
As if in his new magur-boat he brought joy.
As if in his new chariot he carried cheer.
The master sailed in his magur-boat,
setting out the master’s word

The Tenth Kirugu: The Royal House Exclamation

with the master,
with the master
AG with the master[?],
speaks with him.
Eh! Ah! the king’s house! Eh! Ah! The king’s house!
River Tigris,
master of the Abzu! The king’s house!
Fisher[?] of the sea! The king’s house!
Fowler of the mountain’s base! The king’s house!
Eh! Ah! The king’s house!

Notes on the previous hymn (A Chant to the Rider of the Waves)

The ten stanzas that make up Enki's psalm appear to be separate and unrelated entities, at least on the surface; perhaps the link between them is Enki's relationship with humanity, which turns out to be by no means as favorable as expected.

Below is a very tentative summary of each passage:

The first passage begins with the poet's exclamatory song, including “Raising the Arm,” which is sung in Abzu, also known as E-Injur-ra, not only to Enki but also to the many gods who were members of his family.

The poet then addresses Enki directly as the god who rides the waves and as the “twin” of the Euphrates River, which causes oxen, sheep, and humans to multiply. After mentioning humanity, he continues with a narrative passage that may turn out to be of great importance to Sumerian theology and mythology, emphasizing that after humans multiplied, Enki brought them to his “house” where they were.

In the second passage, however, mankind is not mentioned. It begins with an exclamation, presumably addressed to the worshipper, saluting Abzu and I-ngur-ra, and continues with a narrative passage depicting Enki as a successful fisherman: He casts his nets and casts a spell, and these bring fish with them.

In the third passage humanity is mentioned. This passage introduces Enki's terrifying word, which he depicts as snake venom that attacks humans, and lion (or scorpion) venom that paralyzes humans.

The fourth passage continues to depict Enki's terrifying word; it is a tidal wave that carries humanity and inspires fear in the human body (Mulu).

In the fifth passage, the poet, perhaps annoyed by Enki's hostile attitude, prays to turn his face toward the Mulu house: His door, his latch, the millstones, the reed sieves, and the gate.It is clear that Enki responded positively to the prayer.

According to the sixth passage, the poet, addressing Enki, emphasizes that his face, which he supposedly placed on the house of the Mulu, is actually communicating with the Mulu for the sake of the god's birds and fish, as they are named, for his temples and well-built cities, as they are named.

Perhaps in thanks for Enki's positive response, the Mulu, according to the beginning of the seventh passage, has Dam Jalnuna, Enki's wife, bring grain to her husband. However, the rest of the passage is quite vague as some of the key phrases are ambiguous. But the mulu is mentioned again as filling the hand of the nanny, Umeda (perhaps a designation for Damjalnuna), although it is not clear what he filled it with.

The molo is also mentioned in passage eight but in an ambiguous context; it seems to consist of a prayer from the poet to Enki to come to the Mulu's house, rich in possessions, the house where his wife and son, the Abzu, live and where the true word dwells.

But according to the ninth passage, Enki, sailing happily and joyfully in his majoor boat as if it were his new majoor boat, continues to “prove” his word, and does not come near his house.

As for the tenth and final passage, all that can be gleaned from its brief contents is that someone is talking to Enki and repeating the exclamation, “Here is the royal house!”

Frequently Asked Questions

Who is Enki in Sumerian mythology?

Enki is the Sumerian god of water, wisdom, and creation, closely linked to the Abzu and to creative speech acts in hymns and prayers.

What does the Sumerian term “me” mean?

“Me” refers to divine decrees/powers that structure civilization and cosmic order; many texts associate Enki with guarding or distributing them.

What is a “Kirugu” in this hymn?

Kirugu is a stanza/section within Sumerian liturgical compositions; this hymn presents ten kirugu with distinct themes.

Why is Enki called “Rider of the Waves”?

The epithet reflects Enki’s mastery over waters and flood-waves, a recurring motif in hymns describing his power over rivers and the Abzu.

Where was the hymn found?

The composition is described as excavated at Nippur in scholarly summaries of the text tradition.

References

Kramer, Samuel Noah. Sumerian Mythology: A Study of Spiritual and Literary Achievement in the Third Millennium B.C. Revised ed. Philadelphia: University of Pennsylvania Press, 1972.
Kramer, Samuel Noah, and John Maier. Myths of Enki, the Crafty God. New York and Oxford: Oxford University Press, 1989.
Jacobsen, Thorkild. The Harps That Once...: Sumerian Poetry in Translation. New Haven: Yale University Press, 1987.
Black, Jeremy, and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia: An Illustrated Dictionary. London: British Museum Press, 1992.
Hallo, William W., and J. J. A. van Dijk. The Exaltation of Inanna. New Haven: Yale University Press, 1968.
Langdon, Stephen. Sumerian Liturgies and Psalms. Paris: Paul Geuthner, 1919.
Electronic Text Corpus of Sumerian Literature (ETCSL). “A Hymn to Enki (Enki B).” Faculty of Oriental Studies, University of Oxford. Accessed August 13, 2025.