In this world where medicine, magic, and religion were woven together, the god Enki stood at the center. Keeper of wisdom and lord of the deep waters, he was also the master of spells. Through him, reeds, incense, and fire became weapons against sickness, and words themselves carried the power to heal, protect, and restore.
Enki’s Role in Mesopotamian Magic
If Enki's qualities as the god of water fertilization and as ruler of the universe received less emphasis as the Sumerian city-states declined, his close association with magic made it certain that he would maintain a strong place in Mesopotamian religion.
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| Enki Magical Spells to Banish Demons |
Nowhere is Enki's craft more important than in magic. The one who knows the secrets of the gods and the ways of the afterworld is, not surprisingly, the god who knows the words and rituals to control the spirits. A large number of preserved texts are spells, and Enki is prominent in the tradition
For more about supplications to the god Enki, read this article.
Enki and His Word: A Chant to the Rider of the Waves
Enki and His Word: A Chant to the Rider of the Waves
| Topic | Purpose | Key Agents | Core Ritual Actions | Tools & Materials | Primary Text(s) |
|---|---|---|---|---|---|
| Marduk–Ea Incantation | Exorcistic healing; transfer of sacred know-how from Ea to Marduk/priest | Ea (Enki), Marduk/Asalluhi, āšipu (exorcist) | Narrative + dialogue → spoken commands; sprinkling/purification rites | Consecrated water; ritual implements (e.g., plant elements) | Studies on Marduk–Ea spells; early incantation corpora (YOS 11) |
| Plants & Water Purification | Cleansing, apotropaic protection | āšipu / temple personnel | Mixing “holy water” with botanicals; washing/sprinkling during incantation | Tamarisk, date-palm, censer & torch, consecrated water | Mouth-washing & protective-spirits ritual texts |
| Kettledrum in Exorcism | Driving out malevolent forces; empowering commands | Temple musicians & priests | Beating the lilis kettledrum during prayers/incantations | Kettledrum with bull-hide head; cult setting | JANE 18 (2018) study on kettledrum theology |
| Šurpu (“Burning”) Series | Lifting curses/oaths through staged rites | āšipu & patient | Recitations + burning designated items; stepwise purification | Fire, ritual vessels, prescribed objects to burn | Šurpu tablets (ritual & incantations) |
| Anti-Witchcraft (Maqlû) | Countering sorcery; returning harm to sender | āšipu | Night-long rite; burning figurines; sequences of incantations | Figurines, fire, water, ritual paraphernalia | Maqlû (8 tablets + ritual tablet) |
| asû vs. āšipu Roles | Therapy blends remedies with ritual practice | asû (physician), āšipu (exorcist) | Balms, dressings, prognosis + incantations, diagnostics | Herbal preparations; prayers/incantations | Medical/ritual overviews (peer-reviewed) |
The Marduk–Ea Incantation
One type of incantation is particularly interesting because it contains a narration and turns into the words spoken by Enki/Ea himself. Among the four basic types of Sumerian spells is the Marduk/Ea spell, which Adam Falkenstein called “Marduk/Ea.” The Marduk/Iya spell shows a close relationship between religion and magic. The following poem illustrates the form of the Marduk/Ea spell. A man suffering from a “fever” goes before Marduk, the son of Ea, usually known as Asarlohi.
Marduk is unable to help the man, so he goes before his father Ea. The spell includes an introductory theme, naming the diseases and demons that afflict the person, describing the person's suffering, and Ea's three-part response:
Water from the reed plant “Son, you know everything. What you don't know - how can I add to it? Everything I know is for you to know. “Cut the blade of the reed plant in half and let the water of life drip on his hand. Let it drip on his right hand and let it drip on his left hand. “The dragon with his net of reeds ... will shut its mouth!”
Rituals Associated with the Incantation
The Marduk/Ea spell involves Marduk asking Ea for help and Ea responding: “My son! What you don't know! How can I add to your knowledge? What don't you know? How can I add to it? What I know, you know too.
Go, my son!” This is the central part of the spell, a formal transfer of magical power/knowledge from father to son. The second part is the ritual, where Marduk/Priest tells Ea (Marduk/Priest) what to do. The third part is the concluding theme, in which the effect of the spell on man and the disease/demon is shown.
In the case of Enki's words at the end of the spell, the powerful verbal commands do not so much describe what will happen as they make it happen. In other words, the word and the execution are one and the same, which is the essence of magic.
Using Plants and Healing Magic in Rituals
The advice given to the son revolves around the reed plant. The son should take the “reed plant” and cut it in half. Its liquid is then poured as “living water” or “water of life” or dripped on the hands of a patient who has been possessed by a demon.
The reeds are mentioned again in the complex of signs for the “net” mentioned in the last two lines of the “reed” sign, which refers to the construction of the net, the first sign of the complex. With this “net” as his weapon, the “dragon” will “bind the mouth” of the demonic power that has taken possession of the person.
As before, “dragon,” or dragon-gal, can refer to demons, but it is also a divine adjective, as taken here. Demons are listed in another well-designed spell for Marduk/Ea.
In the introductory version the demons seized the person, caused him pain, rushed upon him, covered him, burned him, tore his soul apart, and tossed him about like waves. In his agony, the man turns to Marduk, who in turn enters the house of Enki to plead for the sick man. The incantation (enim-enim-ma) against the odug is also called the en-e-no-ro incantation at the top of the piece:
The drum god Enki answered his son Asarluhi, “Son, what do you not know? What can I add to it?” Asarluhi, what do you not know? What can I add to it? All that I know you know, you know too!
“Go, my son, Asarluhi. “Take water from the great anzam-bowl; pour it out. The tamarisk and the mashtakal-plant toss into its heart. Sprinkle it over this man.
The censer and the torch: have them brought to him. “The nam-tar in the body of the man like something fluid will flow out of him! “The kettledrum of the hero of heaven, whose terrifying roar sweeps away everything evil where its voice is cast: trust it.
Let it defend you! The kettledrum of the hero of heaven, with its terrifying sheen: let it boost you up! “Vicious demon and vicious seizer: break away! Evil ghost and evil binder: leave! Vicious god and the evil one lurking: bolt go! The malicious mouth and spit that forms malice: pass by! Dimme and Dima, who spattered the man: “Heartache and sorrow, sickness, migraine that cover the man: scatter! “All the great gods have cursed you: steal away!” It is a spell against the udug.
Mesopotamian Magic & Healing — Quick Facts
Enki & Asalluhi
Father–son pair central to incantations; Asalluhi later syncretized with Marduk in exorcistic roles.
Marduk–Ea Incantation
Narrative + dialogue + command; ritual instructions flow from Ea to Marduk/priest.
Plants & Water
Reed, tamarisk, and other botanicals mixed with ritual water as “water of life”.
Kettledrum Power
Temple drums (“Hero of Heaven”) sonically drive out demons in exorcisms.
Šurpu Series
Incantations focused on lifting curses/oaths with extensive ritual actions.
© historyandmyths.com — Educational use
The Sacred Power of Ritual Drums
The power of the lines comes from the constant use of the imperative form and images of flow and penetration.
Ea advises his son Asarlohi (Marduk) to use water, incense, fire, and drum beats to break the power of demons, as well as plants placed in the “heart” of the great metal bowl of Anzem, such as water.
(Note that one Cassite text identifies the medicinal plant i-in-nu-us as a symbol of Enki.
The nam-tar (a word that sometimes means “fate” but here means disease/demon) that has penetrated and dwelled in the body of the sufferer will flow out of the person “like something liquid,” and then dissipate and disappear with the “sound” of the drum. The Hero of Heaven drum is praised for its “terrifying shine” and frightening power.
Enki's powerful words do not annihilate the demons but rather expel them in an appropriate manner.
The demons are barely distinguishable from the diseases they embody. Diseases seem to be essentially generalized varieties of illnesses and conditions that are likely to be psychosomatic.
Demons manifest in physical symptoms, but they are also indicative of psychological states.
Healing Rituals in the Surpu Texts
J. Kinnear Wilson's collection of ritual texts known as Sorbo, which are intended to heal the sick, as an early treatment for neurological and psychiatric conditions.” Three of the spells are Marduk/Ea texts.
One of them is particularly important because it is related to the actual performance of the ritual.”!
In the introductory formula, “An evil curse like a ghoul”, “A demon attacked”, “An evil curse like a ghoul”, “A demon” attacked one of the children: “unwanted dumbness” and ‘stupor’ afflicted the man.
His God had left him. His mother - his mother - Inanna, Mother Inanna, Ishtar or Goddess has left him - has left him. His condition covers the man “like a cloak” and envelops him:
Oathmaster Enki said to his son Asarlohi: “My son, what you don't know - what can I add to it? Asarluhi, what you don't know - what can I add to it? All that I know, you also know.
“Go, my son, Asarluhi: “Take him to the house of pure bathing. The right-hand man - release him. The oath-let it go, for the evil of his body-if it be the curse of his father, if it be the curse of his mother, if it be the curse of his elder brother, or the curse of a bloodthief whom he knows not-with the words of the incantation of Enki, the oath is like an onion that is peeled, like a date that is removed, like a rag that is loosened, like a rag that is loosened.” The oath: Heaven is cursed! The earth is cursed!
Oath-Breaking Rituals and Healing
The spell begins with “An evil curse like a ghoul, a demon”, and ends with “Oath.” The poet is careful to include all the important sources of trouble, mentioning the father's curse, the mother's curse, the older brother's curse, and even the “unknown curse” of the victim of the curse.Peel the onions and throw them into the fire.Dates are removed and thrown into the fire. The mats are loosened and the thread, like the flock of wool, goat hair, red wool, flour, and thread from later spells, is loosened and consumed by fire.
Tablet V-VI ends with two incantations.
One is a spell spoken directly by the purification priest, the “Priest of Pure Enki,” a messenger of Marduk; the other is a spell addressed to the “fierce Jiro,” the purifying fire itself.
The purification ritual accompanied by peeling onions, removing dates, and unrolling mats is found elsewhere in the case of a king who is warding off the danger of the month of Tammuz.
But the danger here is clearly the “oath”. What's more, the “ritual tablet” of Sorbo, the first tablet, connects our poem to the procedures outlined in that tablet.
To perform the Sorbo ritual, the priest must prepare a copper, place a reed trimmed crosswise over the copper, and surround the whole with a magical circle of flour.
He then recites the incantation. When the priest recites “an evil curse like a jal-demon,” the priest anoints the affected person and places the objects (onions, dates and mats - purification of the oath) in the person's hand.
The patient then peels the onions and throws them into the fire, strips the dates and unrolls the mat. All are thrown into the flame.
Surpu contains another Marduk/Ea incantation that is of interest because the long text contains a full mythological introduction, and an impressive catalogue of gods evoked in the spell.”
In the mythological introduction, trouble breaks out from three planes of existence. From the Abzu comes the dimitu-disease. The “oath” (nam-erim/mam- itu) descends from above. From earth itself, breaking through the ground “like weed” is the du-du-demon (ahhazu). They spread toward the four corners of the world, “scorching everything like fire.” Suffering is widespread extending indeed through the world. Cities, town, and country are devastated.
Young and old wail in misery. The young man and the young girl are alike filled with despair. Disease, plague, epilepsy, scab, and gall overwhelm the population. “They have encountered the man from whom his god had withdrawn and covered him like a cloak, they have pounced straight upon him and filled him with venom.” Fluids afflict him: cough, phlegm, spittle, slaver, and “invocation” and “oath.” Dumbness and daze settle upon him.
He roams around “day and night,” wailing bitterly. It is this terrible condition that catches the sight and compassion of Marduk, who is unable to help the man:
Enki replied to his son, Asarluhi: “Son, what you don’t know—what could I add to it? Asarluhi, what you don’t know—what could I add to it? Whatever I know, you know as well. “Go, my son, Asarluhi. “Take seven loaves of pure coarse meal. String them on a bronze skewer. Cap them with a bead of carnelian.
Wipe the man with it the son of his god, seized by the ‘oath.’ Have him spit on the dirt wiped off him. Cast the Spell of Eridu on it. Take it out to the plain—a pure place. Put it down at the base of the thorn-bush.
Drive out of his body the disease that has overwhelmed him. “Give over his ‘oath’ to the Woman of the Plain and the Field.
Ninkilim, en of the Animals, will shift the grave sickness to the vermin of the earth! “Damu, the great conjuror, will speak words of good omen for him! Nindinugga, divine mother whose hands are cool, Woman who Revives the Dead, cools him with the stroking of her pure hands.
And you, Asarluhi, the en of Mercy, who loves to revive the dead, with your pure, life-giving spell—loosen his bonds.
This man, the son of his god, is pure, clean, shining! Wash him clean like a stone bow!! Scour him clean like a butter jar! Give him over to Utu, leader of the gods! And Utu leader of the gods, will turn him over in turn into the timely hands of the gods!”
Countering Sorcery and Witchcraft
Like the others, the incantation is prefaced by a narrative that describes the suffering of the victim and names the power responsible. A “terrible tempest,” and “evil eye” and a destroyer of children has afflicted the victim.It has besmeared the young ones with venom and slavers. It soon becomes clear that an act of sorcery is behind it. Someone has taken clay, “fetched from the Abzu,” and a ball of hair. With the clay and hair an image (alam) of the victim was made. The image hidden underground, the sorceress then mixes spittle with the man’s food and spikes his drink with venom. The result is a painful sickness:
Enki replied to his son, Asarluhi: “Son, what you don’t know—what could I add to it? Whatever I know, you know as well. And you—what you know, I know. Enki replied to his son, Asarluhi: “Son, what you don’t know—what could I add to it? Whatever I know, you know as well.
And you—what you know, I know. Go, my son, Asarluhi: Fill a sahar-jug with pure water from the dike. Tamarisk, the innus-plant, the young date plants, the sulhi-reed, cypress, white cedar, the dusia-stone, the agate and the “eye’’-agate, and the musgir-stone, toss them all into the holy water basin. Her knot will be loosened!
Her venom and slaver will be like small young animals! Let the large net overwhelm the body of that sorceress! Let her weaken in her heart like the serpent-god! Let her own witchcraft bring down that sorceress the way a young scorpion does! Let this sorceress dig into her own tendons the way a pointed stake can!
Let the witchcraft that she inflicted rage against her! “She will hack her breast with her own hand, eat her own finger as if it were cheese. “Let her mouth dry up. “Nergal, be the great lord of the world below for this man! Ninurta, be the fierce warrior, the leader, for this man! Utu, be the great judge of the gods, the port, for this man! Ningishzida, be the throne bearer of the land for this man the son of his god, is pure, clean, shining! Wash him clean like a stone bowl! Scour him clean like a butter jar! Give him over to Utu, leader of the gods! And Utu, leader of the gods, will turn him over in turn into the timely hands of the gods.
Her magical “knot” will be loosened, the hold she has upon the victim. More gruesome is what happens to her. Her venom and slaver, full of magical force, will be weakened.
A great weapon, a net, will overwhelm her; she will weaken and collapse. The sorcery turns inward: she will dig into her own tendons and lacerate her breast. She will eat her fingers. Her mouth will dry up, a sign that illness has taken hold in her.
Key Takeaways
- Mesopotamian healing blended medicine, magic, and religion into one practical system.
- Enki and Asalluhi/Marduk anchor the incantation tradition, especially the Marduk–Ea type.
- Ritual water, reeds, tamarisk, incense, and drums are core tools to expel afflictions/demons.
- The Šurpu series targets curses/oaths with detailed, performative rites.
- Commands in incantations are performative speech-acts—“the word makes it happen”.
Frequently Asked Questions
Who was Asalluhi (Asarluhi), and how is he related to Marduk?
Asalluhi, son of Enki, was a god of incantations and exorcism; in the Old Babylonian period he became closely identified with Marduk.
What defines a “Marduk–Ea” incantation?
A narrative–dialogue spell where Marduk consults Ea; Ea grants knowledge and gives ritual instructions to heal or lift affliction.
Why are water and reeds central in these rites?
They symbolize purification and life; “water of life” is poured while reed/tamarisk elements are used as ritual implements.
What role does the temple kettledrum play?
Beating the drum accompanies exorcistic commands; its sound is believed to drive out malevolent forces.
What is the Šurpu series?
A canonical set of incantations aimed at removing curses/oaths through stepwise rituals and offerings.
Were Mesopotamian healers “doctors” or “exorcists”?
Both: the asû handled remedies/procedures; the āšipu handled incantations/rituals. Practice overlapped in treatment.
Did Babylonians view illness as demon-caused?
Many texts interpret illness as demon or divine agency; diagnosis identifies the source and prescribes ritual and/or remedy.
Are commands in spells descriptive or performative?
Performative: the spoken word enacts the effect (“let it depart!”), a hallmark of Mesopotamian ritual language.
How did witchcraft accusations appear in healing texts?
Some incantations target a sorceress/witch whose “knot” is loosened; the harm is ritually reversed back on the caster.
Which plants recur in healing spells?
Reed, tamarisk, date-palm parts, and named herbs are tossed into consecrated water and applied or sprinkled.
What sources preserve these spells?
Clay tablets from temple/scholarly archives—series like Šurpu and later commentaries and ritual handbooks.
Did magic replace medicine?
No. Texts show intertwined practice: remedies, prognosis, and ritual often appear together in the same therapeutic program.
References
- Reiner, Erica. Šurpu: A Collection of Sumerian and Akkadian Incantations. Archiv für Orientforschung Beiheft 11. Graz, 1958.
- Scurlock, JoAnn; Andersen, Burton R. Diagnoses in Assyrian and Babylonian Medicine: Ancient Sources, Translations, and Modern Medical Analyses. University of Illinois Press, 2005.
- Scurlock, JoAnn. Sourcebook for Ancient Mesopotamian Medicine. SBL Press, 2014.
- Bottéro, Jean. Mesopotamia: Writing, Reasoning, and the Gods. University of Chicago Press, 1995.
- Gabbay, Uri. “The Theology of the Ancient Mesopotamian Kettledrum.” (Article on temple kettledrum ritual).
- Konstantopoulos, Gina. They Are Seven: Demons and Monsters in the Mesopotamian Textual and Visual Tradition. PhD diss., University of Michigan, 2015.
Written by H. Moses — All rights reserved © Mythology and History
