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Sugár, Rezső (Rudolph) (Budapest, 9 October 1919 - Budapest, 22 September 1988) – Composer. He studied composition from 1937 to 1943 with Zoltán Kodály at the Ferenc (Franz) Liszt Academy of Music in Budapest, where he received a Degree in Music Education in 1943. He also obtained a general education degree in the same year. From 1943 until 1946 he was a secondary school teacher. He taught at the Higher School of Music in the Capital; from 1943 to 1946 at the Béla Bartók Music School from 1966 to 1968, and at the Teacher’s Training Department of the Academy of Music, Budapest between 1968 and 1979. He was a representative of the talented composer generation trained by Zoltán Kodály. He continued and revived the valuable musical traditions of the century, relying on the best and purest sources. Sugár was a humanist in thinking and spirit, a protector of the folk music-inspired Hungarian national traditions, meanwhile endowing his compositions with a unique personal style. His works include Hunyadi (Hero’s Song, Hősi ének) (1951); Kelemen Kőmíves (Kőmíves Kelemen) (1958); The Daughter of the Sea (A tenger lánya) (1961); Peasant War (Paraszti háború) (1975), and Savonarola (1979). Orchestral Works: Suite (Szvit) (1954); Overture (Nyitány) (1954); Concerto in Memoriam Béla Bartók (1962); Metamorphosis (1966); Sinfonia a variazione (1970); Epilogue (Epilogus) (1973); Concertino (1976); Pastoral and Rondo (Pasztorál és Rondó) (1978). Compositions for String Orchestra: Divertimento (1948); Symphonetta (Szinfonietta) (1955); Partita (1967). Chamber Works: String Trio (Vonóstrió) (1941-1942); Serenade (Szerenád) (1943); Sonata for Violin and Piano (Hegedű-zongora szonáta) (1946); 3 String Quartets (3 vonósnégyes) (1947, 1950, 1969); Frammenti Musicali (1958) and Rhapsody (Rapszódia) (1959). He was a recipient the Erkel Prize (1953), the Kossuth Prize (1954), and the Béla Bartók-Ditta Pásztory Prize (1986). He received the Merited Artist title in 1974. – B: 0883, T: 7667.→Kodály, Zoltán; Lehotka, Gábor; Sugár, Viktor Jenő.

Sugár, Viktor Jenő (Victor, Eugene) (Déva, 12 March 1872 - Budapest, 18/19 April 1942) – Organist. Sibling of the componist Rezső (Rudolph) Sugár. He completed his secondary schooling in Szeged, after which he entered a military career. As artillery officer he studied music composition and organ playing at the Budapest National School of Music (Nemzeti Zenede), Budapest. In 1909, with the rank of Captain, he left the military and became organ teacher at the National School of Music. In World War I, he again joined the army; and at the end of the war mustered out as major. Straight after, in 1918, he became the choirmaster of the Matthias Church (Coronation Church) of Buda; and in 1922, musical director of the Corvin Theater, Budapest. In 1909, from the donation of 50,000 crowns by Emperor/King Francis Joseph I, based on Sugár’s plans, the Organ Works Co. of Rieger of Budapest prepared the new instrument of 4 manuals, which received the label, the “King’s Organ”. It was on 2 September 1936, under the baton of Sugár, that Zoltán Kodály’s Budavár Te Deum (Budavári Te Deum) was first performed. Works by Sugár include On the Construction of the Organ (Az orgona-épitésről) (1913) and The Music of the Matthias Church (Coronation Church) of Budavár) (1932). – B: 0945, 1031, T: 7456.→Sugar, Rezső; Kodály, Zoltán.
Suka, Sándor (Alexander) (Farkaslaka, now Lupeni, Transylvania, Romania, 1 January 1921 - Budapest, 17 September 1993) – Actor. He completed the Academy of Dramatic Art in Budapest in 1953; then the National Theater (Nemzeti Színház) of Budapest engaged him. From 1971 till 1984 he was a member of the Metropolitan Operetta Theater (Fővárosi Operett Színház), and from 1986, he returned to the National Theater. He was a multi-faceted artist, who could equally successfully play character roles, humorous and tragic figures. His roles included Bottom in Shakespeare’s A Midsummer-Night’s Dream (Szeniványéji álom); Angelo in Shakespeare’s Comedy of Errors (Tévedések vígjátéka); Berreh in Vörösmarty’s Csongor and Tünde; Cléante in Molière’s Tartuffe; Miska in I. Kálmán’s Gipsy Princess (Csárdáskirálynő); French king in P. Kacsoh’s John the Brave (János vitéz); Frosch in J. Strauss Jr.’s Die Fledermaus (Denevér), and Sir Basil in F. Lehár’s Count of Luxembourg (Luxemburg grófja). There are more than 20 feature films and TV-plays to his credit, e.g. Tartuffe, John the Brave, My Fair Lady and Count of Luxemburg. He was a recipient the Mari Jászai Prize (1959), the Merited Artist title (1979), the Outstanding Artist title, and the Aase & Richard Björklund Foundation Prize (Sweden) (1990). – B: 1445, 1031, T: 7456.
Sükösd, Mihály (Michael) (Budapest, 4 October 1933 - Budapest, 12 October 2000) – Writer, publicist, writer on history of literature, critic and journalist. He obtained a B.A. Degree in Hungarian Language and Librarianship, and a Degree in English and Philosophy. From 1956 to 1964 he was a language instructor at the Budapest Polytechnic, also a research fellow and secretary. Thereafter, for about three decades, he was a contributor, editor and columnist for the journal Reality (Valóság) and, from 1991 he was deputy Editor-in-Chief for two years. From 1958 on he appeared with his published works. His novels include From Tree to Tree (Fától fáig) (1962); The Outsider (A kívülálló) (1968); Detention on Remand (Vizsgálati fogság) (1973); All Souls’ Day: Resurrection (A Halottak napja: feltámadás) (1986), and Difficulties of a Statesman (Egy államférfi nehézségei) (1990). He is also the author of numerous volumes of short stories, e.g. Lead Cage (Ólomketrec) (1960) and Prince of Babylon (Babilon hercege) (1981). He wrote an essay entitled Homage to Ingmar Bergmann (Hódolat Ingmar Bergmannak) (1988). Among his sociological writings there are: Dickens (1960); Franz Kafka (1965) and Hippy World (Hippivilág) (1979). His essays on Hungarian literature appeared in the weeklies Moving World (Mozgó Világ); 168 o’clock (168 óra), and the daily paper Peoples’ Freedom (Népszabadság). In his novels he relied on documentation, while in his sociographic works he studied the beat and hippy movements. For his work he was honored with the Attila József Prize. – B: 1031, 0936, T: 7456.
Süli, András (Andrew) (Algyő, 30 November 1897 - Szeged, 20 October 1969) – Painter in Naïve Art. He completed six years of primary school (1902-1908). Until the age of 18 he was an agricultural laborer and day-worker. From 1915 to 1918 he fought at the war front, and after the war he was a farmer. In the winter, he occupied himself with basket weaving. As an artist, he worked for only five years, from 1933 to 1938, starting with water colors; then changed over to oil paints. The dominant theme of his paintings is the village of his birth, in the center of the Great Hungarian Plain (Nagyalföld); the peasant courtyard, the peasant room, the church, the River Tisza with rafts and ships, the railway station with rail carriages, cars, and electric wires and poles disappearing in the distance, etc. His paintings are decorative, radiating inner poise and emotional fullness. He was fond of symmetry and the construction with striped patterns. He followed the ornamental approach typical of folk art. His paintings suggest the third dimension in a naïve manner: he became one of the most significant representatives of the naïve Hungarian art. He endows inanimate objects (chairs, cars) with anthropomorphic characteristics. He scored his first successes at the exhibitions of natural talents of the 1930s (one in Budapest in 1934, one in Amsterdam in 1938). The 35-40 paintings, sent to the Budapest exhibition in 1934, were not returned (he did not receive remuneration) and in his despair he burned all the remaining paintings he had stored at home. He moved to Szeged and did not paint again for the rest of his life, for more than three decades. He lived from casual jobs. However, his sold, and other paintings were collected together and appeared at various exhibitions, like the one in Linz in 1964; 8 paintings in Pozsony (now Bratislava, Slovakia) in 1968; 31 of his paintings were exhibited at a Naïve Artists’ International Triennial (Budapest) in 1969, where he won second prize. His first one-man show in Hungary was held in the Cupola Hall of the Museum of Szeged in 1968. Some of his paintings are on permanent exhibits in the Naïve Artists’ Museum in Kecskemét, and in the National Gallery of Budapest. He was an outstanding figure of Hungarian naïve artists. A house with his paintings in Algyő, a Street, and a summer artist camp bear his name. – B: 0883, 1864, T: 7456.
Sulyok, Dezső (Desider) (Simaházapuszta, belongs to the village of Adásztevel, 28 March 1897 - New York, 18 May 1965) – Attorney and politician. His father was a miller; he lost his parents at the age of nine and was raised by his uncle. He graduated from the High School of Pápa, was drafted into the army and fought in World War I on the Russian front (1916-1918). After the war, he became a gendarme officer. Later, he earned a Law Degree from the University of Budapest. In 1924 he passed the bar examination, then set up a law office in Pápa. He took part in the community life of the town, and was President of the Catholic Circle. In 1935 he became a Member of Parliament, at first as a non-party-man, later, with a program for the Independent Smallholders’ Party. At the time, when the right-wing Arrow-Cross Party was gaining strength, he courageously and passionately opposed the Arrow-Cross leader, Ferenc (Francis) Szálasi. In World War II, he served at the Russian front as a first lieutenant (1942-1943). From 1943 he was Co-President of the Smallholders’ Party. Due to his anti-war stance, he was arrested and sent to an interment camp; he was later released at the request of József (Joseph) Mindszenty, Bishop of Veszprém. In the last month of the war, he had to hide. After World War II, Sulyok became one of the leaders of the Smallholders’ Party. From January 1945 he was a member of the Provisional National Assembly. In 1947, he and his men left the Party and, together with Vince (Vincent) Nagy, he founded the Freedom Party (Szabadség Párt). The Party lasted six months because it turned against the official “popular democratic” policy of the Communist government, supported by the occupying Soviet military. Later, most of its members joined the Pfeiffer Party. Thereupon Dezső Sulyok left Hungary and emigrated to the USA. In New York, he became a member of the executive committee of the Great Hungarian National Commission. He left the Commission in 1952. Between 1948 and 1950 he edited the People’s Word (Népszava) in the USA. After 1956 he founded the Hungarian 1956 Movement (Magyar Október 23 Mozgalom) in New York. Besides articles and his memoires in Hungarian, his works include Zwei Nächte ohne Tag (1948) and The Hungarian Tragedy (A magyar tragédia) (1954). – B: 0883, 1031, 1105, T: 7456.→Szálasi, Ferenc; Mindszenty, József; Pfeiffer, Zoltán.

Sulyok, Imre (Emeric) (Budapest 30 March 1912 - Budapest, 24 November 2008) – Composer, organist and music historian. His high school studies were at the Roman Catholic Archbishopric High School, Budapest (1922-1930). He spent one year as a conscript in the Army. From 1931 to 1941 he studied composition, organ and voice at the Department of Protestant Church Music at the Ferenc (Franz) Liszt Academy of Music, Budapest. From 1936 to 1951 he was organist at the Lutheran Church in Óbuda. From 1939 he was a contributor to the Hungarian Radio. In 1945 he published the collection entitled Old Hungarian Religious Songs (Régi Magyar Istenes énekek) with Tibor Schulek. In the meantime, in 1944, he was conscripted into the Army again and, at the end of World War II, he was in Austria. He returned to Hungary, but fell into Russian captivity, was deported to the Soviet Union, and only in June of 1947 could he return home. In 1950, Sulyuk was dismissed from the Radio and became an external co-worker, from 1958 an editor, and then, from 1967 Editor-in-Chief of the Music Publishing Company (Zeneműkidó Vállalat), Budapest. He retired from there in 1972, and became the editor of the new Liszt-Life Work. From 1980 he was the organist and choirmaster in the Kelenföld Lutheran Church. From 1956, for 11years he taught Church Music at the Lutheran Theological Academy, Budapest. He participated in editing the New Part of the Lutheran Hymnbook (1955), and the new edition of it in 1982. His works include a number of music compositions and articles. He received the Liszt Prize in 1994, and became a member of the Hungarian Academy of Art in 1996. – B: 1506, T: 7103.
Sulyok, Mária (Szautner) (Királyhida, now Bruck an der Leitha, Austria, 5 November 1908 - Budapest, 20 October 1987) – Actress. She obtained her diploma from the Academy of Dramatic Art, Budapest in 1929, and started her career with one season at the Csokonai Theater of Debrecen (Debreceni Csokonai Színház), followed by one season at the Theater of Miskolc (Miskolci Színház). From there, she was contracted with the Comic Theater (Vígszínház) in Budapest, though she also appeared with the Magyar Theater (Magyar Színház) in Budapest. After 1945 she played in the Artist, Inner City and Comedy Theaters. In 1947 she became a member of the National Theater. From 1961 on, she returned to the Comedy Theater, where she stayed until her retirement. Afterwards she was contracted to the Madách Theater. A clear change occurred in Sulyok’s acting in 1959, when she played Claire in Dürrenmatt’s drama The Visit (Der Besuch der alten Dame – Az öreg hölgy látogatása): a new face, a new voice and new acting style became evident to the public: a figure, firm as a rock. After that followed roles such as Christine in Eugene O’Neill’s Mourning Becomes Electra (Amerikai Elektra); Hekabe in Euripides’ The Trojan Women (Trójai nők), and her last role as Nurse Rebecca in Arthur Miller’s The Crucible (A szálemi boszorkányok). Her curious humor was shown in her role as Eugenia in Ferenc Molnár’s Olympia, as the Nurse in Shakespeare’s Romeo and Juliet, and as Mama in Molnár’s The Guardsman (A testőr). Other roles included Queen Margaret in Shakespeare’s Richard III; Gertrudis in József Katona’s Bánk bán; Marta in Goethe’s Faust, and Sadie Thomson in Somerset Maugham’s Rain (Eső). Her feature films include Love Dreams (Szerelmi álmok) (1935); Devil’s Knight (Az ördöglovas) (1943); Auntie Mici’s Two Lives (Mici néni két élete) (1962), and the TV film: Pygmalion (1982). Her superb stage appearance and charming femininity won roles for her in Shakespeare’s dramas, e.g. as Queen Gertrude in Hamlet. She belongs among the greatest of Hungarian actresses. Her awards include the Kossuth Prize (1957), the titles of Merited Artist and Outstanding Artist (1961, 1963). – B: 0883, 1427, 1445, T: 7456.
Sümeghy, József (Joseph) (Csabrendek, 4 January 1892 - Budapest, 11 November 1955) – Geologist. He completed his tertiary studies at the University of Kolozsvár (now Cluj-Napoca, Romania), specializing in paleontology under István Gaál. He earned his Ph.D. in Geology and Mineralogy in 1920. He became a demonstrator at the Department of Geology-Mineralogy in the University of Szeged, to where the University of Kolozsvár was transferred after the Dictated Peace Treaty of Trianon (1920), which ceded Transylvania (Erdély) to Romania. Early in his career he researched the western part of Transdanubia (Dunántúl), where, on the basis of deep drilling, he threw new light upon the Pannonian stratigraphic sequence (several thousand meters thick of early Pliocene age, laid down 4.8 million years ago). He also updated the mapping of flatland areas, the geology of which is restricted to the youngest, less than 2-million-year old Quaternary deposits. He was pioneering in the elaboration of the geological facies maps. In 1926 he followed Henrik Horusitzky in the Geological Institute of Budapest, where he worked as section geologist until 1932; later, he became senior geologist. From 1946 he ran the hydrological and water conservation section, and subsequently the flatland section. He was the first to investigate the geothermic conditions of the Great Plain (Nagy Alföld). In 1950 he conducted the uniform re-mapping of the flatland areas; and it is due to his work that the 1:300,000-scale soil map of Hungary became a reality. His published works include Fossil Fauna of the Pannonian Age from the Great Plain (Pannoniai koru fauna az Alföldről) (in Földtani Közlöny, 1927); The Trans-Tisza Region (Tiszántúl) (1944), and The Pliocene and Pleistocene of Hungary (A magyarországi pliocén és pleisztocén) (1955). – B: 0883, 7456, T: 7456.→Trianon Peace Treaty.

Sumerian-Hungarian Language Connection – A popularly assumed relationship which has serious difficulties, mainly because (1) there is a considerable time distance between the latest Sumerian writings and the earliest Hungarian text, and (2) there is no continuous sequence of linguistic documents on which the phonetic and grammatical history can be followed. As early as 1850, H.C. Rawlinson stated that the oldest cuneiform texts in Mesopotamia are in the “Scythian language”. Orientalist Julius Oppert (1825-1905), in his work Études sumériennes (1881) made a cautious comparison between the Sumerian and Hungarian, while the Assyriologist François Lenormant (1837-1883), in his 1875 essay Les principes de comparaison de l’accadien et des langues touraniennes (The principles of comparison of the Accadian and Turanian languages) pointed out a possible relationship between them. Jácint Rónai (1814-1889), a Benedictine monk, later Grand Provost and Bishop, educator of aristocratic families, and author of a book on the origin of races, drew the attention of the above pioneers to the possibility that the deciphering of the cuneiform words on the clay tablets should not be attempted through Hebrew, but through Hungarian. Studies of other scientists attempted to show relationship in terms of language structure between the Sumerian and the Ural-Altaic languages, e.g. A. Dolgopolsky (1964), Dénes (Dennis) Sinor (1966) and Dr. Zsigmond (Sigismund) Varga (1942). There were some professional linguists who went further and tried to show linguistic connection with the predecessors of Hungarian, e.g. with Proto-Uralic (B. Collinder, 1965). Samuel Noah Kramer, in his book: The Sumerians, Their History, Culture and Character (1963), compares the grammatical structure of the Sumerian language with that of the Hungarian, and states: “…Sumerian resembles no little such agglutinative languages as Turkish, Hungarian, and some of the Caucasian languages…”

After World War II, mainly during the 1970s, the discussion of this possible relationship reached its peak. In face of the deluge of works by amateurs, works of some professional linguists were also published. Attempts to evaluate linguistic affinities also included the so-called polygonal method, while others tried a statistical method, first used by Dell Hymes (1960) in his Lexicostatistics so far (Current Anthropology, 1/1, 3-44), with a logarithmic formula. It was used by some in the form of the widely criticized glottochronology, e.g. András (Andrew) Zakar (1971), who succeeded in publishing a paper in the journal Current Anthropology 12 (2), Chicago, entitled Sumerian Ural-Altaic Affinities, submitting it for debate. Twelve well-recognized Western linguists made comments and criticisms on Zakar’s introductory assertions, and Zakar also provided a summary at the end of his book. In another essay in 1972, entitled On the Sumerian Language (published in Hungarian Past 1 (2-3), Sydney), Zakar applied the Hyden-Swadech 100 basic word glossary (applying the controversial glottochronology, rejected by most linguists) to compare Sumerian with Hungarian root words; only those morphemes were used that had the same meanings as the items of the basic vocabulary. In professional linguistic science this essay proved a hopeless attempt on the part of Zakar.

This hypothetical linguistic (but not ethnic) relationship between Sumerian and Hungarian has been criticized or condemned by many linguistic scholars such as: G. Bárczi (1974), G. Komoróczy (1976), P. Hajdú (1966, 1972) (”relationship with Sumerian is a myth”), L. Papp (1970) (condemns “ancient historical illusions”), M. Zsirai (in L. Ligeti ed., 1943) (relationship with Sumerian is a “curiosity”), A. Róna-Tas (1978), A. Schedel (1966), I. Fodor (1974), while J. Lotz (1952) condemned the quite extensive work of Ida Bobula (1951) A Plea for Reconsideration (168 pp.) (some aspects of which were praised by Gallus, 1969). However, there are scholars who approach the question of a possible relationship either from a broadly cultural-historical, Turkological, or philosophical point of view, or by studying archaic forms of languages: these include the excellent, broadly conceived work by S. Gallus (1969): Possibility of a Relationship of the Magyar and Sumerian Languages (in Hungarian), and also works by D. Sinor (1966); I. Kiszely (1983); G. Györffy (1958); G. Németh (1930); D. Osetzky (1977); S. Vajay (1968); F. Badiny Jós, L Götz (1994); A. Bodor, S. Csőke; A. Orbán; L. Pass; A. Schedel, and I. Szőcs. B: 1020, 1068, 1816, 1871, 7456, T: 7669, 7456.→Sumerians; Sumerian Pictorial and Cuneiform Writing; Sumerology; Sumerian–Hungarian Relations; Varga, Zsigmond; Zakar, András.
Sumerian Pictorial and Cuneiform Writing – According to the present viewpoint of science, the Sumerians were the first people to create conceptual writing with pictographs, representing objects, enabling them to record their thoughts in an uninterrupted manner. Four stages can be identified: (1) Creation of picture signs, similar to the objects (pictographs). (2) Creation of picture signs (ideograms) to express verbs, sentiments and abstract concepts. (3) Syllable signs, consisting of pictographs to express suffixes and affixes, (the Sumerian language as the Hungarian, was an agglutinative language). (4) Creation of distinguishing signs. Cuneiform writing developed from this writing. During the course of development, signs simplified from the ideograms of the most important words served as the symbol for the appropriate word’s initial sound.

The Hungarian runic script and the Sumerian cueniform writing show some resemblence, as can be seen on the Tatárlaka discs (Tartarian Tablets), found in Tatárlaka, Transylvania by Zsófia (Sophia) Torma in the 19th century which date to around 5300 BC, pre-dating the Sumerian findings. – B: 1020, T: 7669.→Ancient Hungarian Runic Writing; Sumerians; Sumerian-Hungarian Language Connection; Sumerology; Torma, Zsófia.


Sumerians – A people and culture in southern Mesopotamia (in present-day Iraq) from 3500 to ca. 2004 B.C. They lived in the richly endowed area of the Tigris and Euphrates Interfluve as a distinct, non-Semitic ethnic group. They formed the earliest known civilization in recorded history. They were preceeded in the region by a prehistoric people, who were the earliest settlers in the land. They have become known as the Ubaidians from the excavation of their settlement site at al-Ubaid, near Ur.

Where the original homeland of the Sumerians was located is still uncertain. According to the noted American Sumerologist Samuel Noah Kramer (The Sumerians – Their History, Culture and Character, 1963), they may have come from the neighborhood of the ancient city-state of Arratta, situated in the region of the Caspian Sea, probably in the mountainous northwestern part of Iran (Persia). Other theories have also been advanced; but the issue has never reached a consensus. The one thing historians agree on is that the Sumerians came from a mountainous region.

Systematic excavations were begun in Northern Mesopotamia, the ancient Assyria, in 1842, by Paul Emil Botta (1802-1870), the French consul in Mosul, and have continued with numerous interruptions well into the 20th century.

French Orientalist Jules Oppert (1825-1905), in a lecture delivered before the Ethnographic and Historical Section of the French Society of Numismatics and Archeology in 1869, declared that these people and their language should be called “Sumerian” or “Shumerian”, basing his conclusions on the title “King of Sumer and Akkad” found in the inscriptions of some of the early Akkadian rulers. The name Akkad applied to the Semitic people of Assyria and Babylonia, while the name Sumer referred to the non-Semitic inhabitants. What the Sumerians called themselves is not clear. They called their land, however, ki-en-gar, “Land of the True God”, and referred to themselves as the “black-headed people”.



History – The Sumerians divided their history into two distinct periods: the “Kings before the Flood”, when “kingship descended from heaven”; and the “Kings after the Flood”. Before the Flood 8 kings ruled over 5 cities. After the Flood they were divided into the Kish, Uruk, Ur, Amazi, Adab and Mari dynasties with 66 kings. They attributed an incredible total of close to a quarter of a million years for the kings before the Flood; and a total of more than 25 thousand years for the first two dynasties after the Flood.

Early Sumerian civilization was predominantly agricultural with a well-developed irrigation system comprised of a network of canals. However, by 3000 B.C. it evolved into a flourishing urban civilization with mud-brick buildings, Ziggurats, or step-Pyramids, and walled cities. They were the first in recorded history to develop communal life. Their economy was based on agriculture, stockbreeding, fruitgrowing, fishing, industry and commerce. Their products were exported all over the Middle East and beyond.

The Sumerians lived in a number of loosely confederated city-states, like Uruk, Ur, Lagash, Nippur, Eridu, Erech, Larsa, Isin, Adab, Kullab and Kish, one usually dominating the others. The last Sumerian king before the Akkadian takeover was Lugalzaggesi, who styled himself as “king of Erech and the king of the land”, which extended “from the Lower Sea [Persian Gulf] along the Tigris and Euphrates Rivers to the Upper Sea [Caspian]”. But in the last quarter of the 3rd millennium B.C., he was conquered by the Semite Sargon (Sharrukê = legitimate king), the founder of the powerful dynasty of Akkad, which began the Semitization of Sumer. However, the Akkadians were invaded by the Gutians around 2200 B.C., who came “from the mountains”. They laid waste to the land, destroyed Nippur, and defeated the king, Naram-Sin. Afterwards, there was a brief Sumerian “Renaissance” with the kings of the III. Dynasty of Ur (ca. 2113 B.C.), such as Ur-Nammu and Sulgi, and a new Sumerian empire was established. (This period coincided with the Danubian III. period with copper technology in the Carpathian Basin.) This dynasty however collapsed under the attacks of the kings of Elam and Isin in 2004 B.C., and brought the end of the independence of Sumer. Most of the Sumerian cities were destroyed and the population fled in all directions of the compass. Then, around 1750 B.C., the Semite Hammurabi, after conquering Larsa, Elam, Mari and Eshnuna, became the ruler of a united kingdom reaching from the Persian Gulf to northern Mesopotamia. With Hammurabi, the history of Sumer came to an end and the history of Babylon, a Semitic state built on a Sumerian foundation, began. The last mention of the Sumerians as a people occurred around 1740 B.C.

Language – The thousands of cuneiform documents, first unearthed in the northern region of Iraq, were written in Semitic Akkadian. It was not until 1852 that Henry C. Rawlinson (1810-1895) noticed that the tablets excavated at Kuyunjik near ancient Niniveh, were bilingual, and that the words corresponding to the Semitic were in a hitherto unknown language he considered “Scythian or Turanian.”

The Sumerian is an agglutinative language. Its roots are invariable and are mostly monosyllabic, although there is a considerable number of polysyllabic among them, especially of the later period. The vowels are frequently modified in accordance with the law of vowel harmony. The nouns have no grammatical gender and are divided into animate and inanimate. Persons belong to the animate, objects and animals to the inanimate group. In addition to the main Sumerian dialect, the Emergir (“princely tongue”), there were several others. One of them, the Emesal, was used primarily in speeches by female deities, women and eunuchs. (Interestingly, in Hungarian some female animals are called “emse”.)

The first linguist to take notice of the similarities between the Sumerian and modern agglutinative languages was Edward Hincks (1792-1866), who pointed out that “…all Turanian [Ural-Altaic] languages were descendants if not from the Akkadian, from its parent”, i.e., from a common predecessor. ” Oppert went as far as to say that their language was an agglutinative one not inflected like the Semitic or Indo-European and that it had close affinities with Turkish, Finnish and Hungarian. In a Report on his scientific expedition to Mesopotamia (1851-54), he even provided syllabaries of Sumerian-Hungarian words, such as:

Sumerian Magyar

pe (ear) fül

si (eyes) szem

kat (two) két, kettő

ha (fish & may, if) hal, ha

nap (day) nap



at (father) atya

lub (foot) láb

sam (number) szám

num (no) nem

mag (large) magas

pal (large sword) pallos

lil (soul) lélek (lílek in dialect}
Since that time the Sumerian language has been compared to a great variety of language groups. Although S. N. Kramer in his aforementioned work agreed that “…in structure Sumerian resembles…such agglutinative languages as Turkish, Hungarian and some of the Caucasian languages”, he added the rider that “…in vocabulary, grammar, and syntax, however, Sumerian still stands alone and seems to be unrelated to any other language living or dead” – a surprising statement considering that Sumerian was the lingua franca of the entire region for close to 2000 years!

This “unrelated” theory may have its roots in that the Sumerian-Turanian (Ural-Altaic) connection was vigorously attacked by some Semitic linguists led by Joseph Halévy, the noted Hebraist of the Sorbonne, in the 1870s. Halévy, throughout his long and distinguished career, denied the mere existence of a non-Semitic people in the land of Babylon, and threw a lot of confusion into the ranks of the linguists with far-reaching consequences. He declared the Sumerian language to have been the secret language of the Assyrian-Babylonian, i.e. Semitic priests, but never a living tongue. A. H. Sayce published the following retort: “For centuries Hebrew was supposed to have been the language of Paradise, and the old belief, which made the Semitic Adam the first civilized man, still unconsciously affected the Semitic scholars of the 19th century.” Also: “Babylonian culture owed its origins to a race whose type of language was that of the Finn, of the Magyar or the Japanese” (The Archeology of Cuneiform Inscriptions, London, 1908). Sayce traced the pronunciation of several Sumerian phonemes to the Magyar, Mongolian, Turkic or Finnish sounds by deriving the existence of the “ö” and “ü”, and even considered the existence of the Hungarian “gy” (dj) (Accadian Phonology, 1877).

The polemic carried well into the 20th century. The Hungarians entered the debate right from the start, in the 1850s. The notable exponents of the Sumero-Hungarian “relationship” were Dr. Ferenc (Francis) Ribáry (1827-1880); Ágoston (Austin) Halász (1863-1925) Roman Catholic Bishop of Kassa (now Košice, Slovakia); Sándor (Alexander) Giesswein (1856-1923); and Zsófia (Sophia) Torma (1840-1899), a distinguished archeologist and researcher, who excavated Sumerian-type potsherds and clay disks containing pictographs in the Transylvanian village of Tordos (now in Romania). Then in 1961, additional early Sumerian-type finds were excavated at Alsótatárlaka (Tartaria, Romania) near the Tordos-site, by Romanian archeologist, N. Vlassa. Judging by these finds, some archeologists and historians concluded that the sites must have been Sumerian mining colonies founded in the gold, silver and copper-rich mountains of the region. Others opined that the Sumerians may have originated in the Carpathian Basin, from where they migrated to Mesopotamia.

The first truly scholarly work in Hungary was published by Gyula Ferenczy (1861-1931), a bona fide Sumerologist and author of the first book on the Sumerian-Ural-Altaic-Magyar relationship, Sumer és Akkád (Sumer and Akkad, 1897). The other notable work was authored by Dr. Zsigmond (Sigismund) Varga (1886-1956), professor of Oriental languages at the University of Debrecen, entitled Ötezer év távolából (From a Distance of Five Thousand Years, 422 pp. 1942). This was a follow-up to an earlier work, A Sumir kérdés jelen állása (The present status of the Sumerian question, 1920), for which he was awarded the Fáy-Prize by the Hungarian Academy of Sciences.

By this time, however, the Finno-Ugric linguistic and ethnic origin of the Hungarians, implanted in the middle of the 19th century by Pál (Paul) Hunfalvy (Hunsdorfer, 1810-1891) and German linguist Joseph Budenz, had firmly taken root in Hungarian scientific and linguistic circles, On their recommendation, the Hungarian Academy of Sciences adopted the Finno-Ugric origins as the official theory, according to which the Hungarian people and their language originated in the Ural Mountains of Siberia by the river Ob, among the primitive Ob-Ugric Vogul and Ostiak tribes. Consequently, a southern, Mesopotamian connection became ipso facto irreconcilable with the Finno-Ugric theory.

After World War II, all pro-Sumerian research was banned by Communist Hungary, and ridiculed and attacked by Finno-Ugric linguists. Research was pursued only by Hungarian émigrés in various parts of the West. Notable among them were Dr. Ferenc (Francis) Badiny Jós, professor of Sumerology at the University of Buenos Aires, Argentina; Dr. Viktor Padányi in Australia; Dr. András Zakar in the US – former secretary to Cardinal József Mindszenty – who got as far as a professional debate with well-known linguists and scholars in the journal Current Anthropology (1971). (It was refuted by Hungarian linguist Péter Hajdú in a later issue of the journal.) There were also Dr. Ida Bobula in the US, who published her findings also in English; Dr. Miklós (Nicholas) Érdy in the U.S.; and Dr. László (Ladislas) Götz with his scholarly 2-volume work, Keleten kél a nap (The Sun Rises in the East, Budapest, 1994). However, leading linguists and historians in Hungary refused to accept any of their findings and either ignored them or rejected them out of hand, among them Géza Komoróczy, Peter Hajdú and István (Stephen) Fodor – although they were never able to satisfactorily and convincingly disprove the Sumerian connection. No one disputes the relationship between the Finno-Ugric languages. What some linguists and historians question is the current theory as to where, when and how it came about.

The Sumero-Hungarian relationship theory didn’t find favor with later Western linguists either, partly for political, partly for cultural and prestige reasons. Especially some Indo-European linguists and historians were up in arms, who couldn’t reconcile themselves to the fact that it was not the “superior” Aryan race that established the first civilization, but the “barbarian Turanian”. The only work to receive any notice is a 1975 publication by Dr. Kálmán (Coloman) Gosztonyi, one-time professor at the Collège Saint-Michel, St.-Etienne (Loire) and a student of the École Practique des Hautes Études Sciences Philologiques (Sumérien), Paris (Sorbonne). In his Sumerian grammar book, Comparative Sumerian Grammar (Dictionnaire d’Étymologie Summerienne et Grammaire Comparée, published with the support of the Centre National de la Recherche Scientifique in Paris 1975), Gosztonyi compares the grammatical structures of Finno-Ugric, Caucasian, ancient Mesopotamian, as well as various African and native American languages, and demonstrates that out of 53 Sumerian grammatical characteristics, 51 are present in the Hungarian, followed by 29 in the various Turkish, 24 in the Caucasian and 21 in the northern Finno-Ugric languages

Writing – In 1850 E. Hincks read a paper before the British Association for the Advancement of Science in which he outlined his suspicions that the cuneiform system of writing was invented by a non-Semitic people who had preceded the Semites in Mesopotamia. The oldest extant written document of mankind, a clay tablet inscribed with pictographs, now in the Ashmolean Museum of Oxford, was found in the ancient Sumerian city of Kish, and dates from ca. 3500 BC. It remains undeciphered to this day. The oldest deciphered cuneiform text that developed directly from pictographs dates from the Jemdat-Nasr-period (ca. 3100 BC.), is now in the British Museum in London. It is a list of agricultural produce.

Cuneiform script began as pictographic writing. Each sign was a picture of one or more objects and represented a word. The signs were impressed into wet clay tablets with a wedge-shaped instrument, hence the name “cuneiform”. The tablets were then fired in an oven, or left in the sun to dry. However, the system was cumbersome to use and the scribes gradually simplified the form of the signs. They also reduced the number of signs by substituting phonetic for ideographic values. Cuneiform writing went through 18 stages of development from 3000 to 600 B.C.

The excavation of ancient Nippur in Iraq was conducted in the early 1900s by the noted German Assyriologist, H. V. Hilprecht. The expedition yielded some 30,000 cuneiform tablets. Those in Sumerian range over more than two millennia, from the second half of the 3rd millennium to the last centuries of the 1st millennium B.C. Clay tablets found in the land of Sumer number several hundred thousand, of which only about 50,000 are deciphered to date. The texts have been translated into several modern languages.

Sumerian ceased to be a spoken language around 1700 B.C. It remained however the sacred and literal language of the Assyro-Babylonian priests and scribes until the emergence of the Phoenician alphabet in the last century B.C.



Religion – The Sumerians practiced polytheism. Their term for the universe was an-ki, meaning “heaven-earth”. Between heaven and earth there existed a substance, which they called lil, meaning breath, spirit, wind, air. Ruling over this universe was a pantheon consisting of a group of manlike but superhuman and immortal beings, called dingir or “god”. The main Sumerian Gods were: Enki, god of wisdom and water; Utu, the sun-god; Ninhursag, the great mother-goddess, originally probably “Mother Earth”; Ninurta, god of the stormy south wind, and Innana (the Akkadian Ishtar), goddess of love, Queen of Heaven, a titular goddess of Erech, and her husband, Dumuzi – the Biblical Tammuz. There were also Ereshkingal, goddess of death and gloom, and Asag, demon of sickness. The Sumerians cherished goodness and truth, law and order, justice, freedom, righteousness, mercy and compassion. They believed in a “righteous shepherd”, and prayed “My god, you who are my father who begot me, lift up my face…” (Hymn of the goddess Nanshe).

The Sumerians left an indelible impression on Judaism, Christianity and Mohammedanism – which is not altogether surprising, since Abraham came from the “land of Ur of the Chaldees“ (Gen. 11:28). They believed that a primeval sea existed prior to creation. According to the Sumerians and the Hebrews, man was fashioned of clay and imbued with the “breath of life”. According to both Sumerian and Biblical writers, the world was created by divine command. There exists almost an identical Sumerian version of the Flood. No doubt, the Biblical story of the Tower of Babel originated in an effort to explain the existence of the Mesopotamian ziggurats (Akkadian ziqquratu, “pinnacle’ or “mountain top”) the tall, stepped pyramid-like temples. To the Hebrews these immense structures must have represented mankind’s lust for power. The idea that “the whole Earth was of one language and of one speech” (Gen. 11:1) is echoed in the Sumerian poem Emerkar and the Lord of Arratta: “The whole universe, the people in unison / To Enlil in one tongue give praise”. Ethics and morals were essentially identical with those of the Hebrews. The Biblical Sheol and the Hades of the Greeks have their concepts in the Sumerian Kur, the dark, dread abode of the dead.



Dr. András (Andrew) Zakar published an exhaustive study on the subject entitled A Sumér Hitvilág és a Biblia (Sumerian Beliefs and the Bible (Garfield, N.J., 1972). See also S. N. Kramer’s aforementioned work.

Literature – The Sumerians had a rich and varied literary output, spanning over some 3000 years. It consists mainly of myths and epic tales, hymns and lamentations, proverbs and historiographic documents. The Sumerian “belles-lettres” profoundly influenced not only Hebrew literary works, but those of the ancient Greeks as well. It was in Sumer that the epic genre first originated and spread from there to other lands. To date there are nine extant epic tales, the most famous being the story of Gilgamesh, King of Uruk, which contains the Flood story.

Hymnography became such a sophisticated literary art that it was subdivided into various categories, e.g. “harmony-hymns”, “musical hymns”, “hymns of hero-ship”, etc.

The lamentations are of two kinds: those bewailing the destruction of Sumerian cities and city-states, e.g. the destruction of Ur, and those lamenting the death of the god Dumuzi.

They also produced several lengthy funeral dirges and elegies.

The longest Sumerian historiographic composition is The Curse of Agade. Another revolves about the defeat of the Gutians by Sumer’s “savior”, King Utuhegel.

Perhaps the best-known myth contained in the Gilgamesh Epic is the Story of the Flood, a forerunner of the Biblical version:

What I had loaded thereon, the whole harvest of life

I caused to embark within the vessel; all my family and my relations,

The beasts of the field, the cattle of the field, the craftsmen, I made them all embark.

I entered the vessel and closed the door…

(…)

Unto Mount Nitsir came the vessel,

Mount Nitsir held the vessel and let it not budge…

When the seventh day came,

I sent forth a dove, I released it;

It went, the dove, it came back…

I sent forth a swallow, I released it.

It went, the swallow, it came back..

I sent forth a crow, I released it;

It went, the crow, and beheld the subsidence of the waters…”

The Hebrews most likely adopted these myths during their Babylonian captivity.

So far, seven catalogues of literary works have been unearthed, dating from the 2nd millennium B.C., listing the titles of over 200 Sumerian compositions. Then, in the 1960s an eighth came to light; but only fragments have been deciphered and translated to date.

The Legacy of Sumer – The Sumerians held sway over the Near East for close to 2000 years, spreading their culture and language far and wide. Their influence reached from the Indus (Mohenjo-Daro finds) to the Mediterranean (Cyprus and Crete); to the Caucasus region; to Central Asia; to the southern Urals in the north and to Ethiopia to the south; to Transylvania and Hungary in the west (see the four-wheeled cart model found in the Danube at Budakalász). They established mining colonies in Afghanistan for lapis lazuli; and in the Caucasus and Transylvania for precious metals.

C. W. Ceram in his book Gods, Graves and Scholars (New York, 1967) lists 27 Sumerian “firsts” in human history, among them: the potter’s wheel, the wheeled vehicle, the sailboat; bronze-casting; the first schools; the first temples; the first arches; the first historians; the first law codes; the first “Farmer’s Almanac”; the first maps of cities; the first irrigation system; the first cosmogony and cosmology; first literary debates; the first library catalogue; the first legal precedent. Hamurabbi’s Code is largely based on an earlier Sumerian legal code. In the field of mathematics they made their major contribution by devising the sexagesimal system for their calculations. They divided the month into 30 days; the days into 24 hours and the hour into 60 minutes; the circle into 360; the solar system into 12 divisions.

The Sumerians had a rich musical culture. Based on the construction of instruments recovered in the royal tombs of Ur – a harp, lyre, lute, drums and pipes – musicologists concluded that the Sumerians were familiar with the pentatonic (5-note) and the heptatonic (7-note) scales. A silver double-pipe found there shows a remarkable reemblance to the Avar double-pipe (8th century A.D.) unearthed at Felgyő in Hungary.

They knew how to use copper, gold and silver for jewelry, weapons and technology. They also excelled in the field of art. In the 16 tombs of kings, queens, princesses and priestesses excavated in 1922 in Ur by Leonard Wooley, rich artifacts came to light. The best known are (1) the beautiful wooden harp with a bull’s head made of solid gold, inlaid with mother-of-pearl, gold and lapis lazuli; beneath the head is a set of shell plaques engraved with scenes of animal life; (2) a card-table decorated with bone, lapis lazuli and shell; (3) cylinder-seals; (4) an alabaster vase decorated with relief, illustrating a religious procession; (5) a female head of white alabaster called the “Woman of Varka”; (6) a 2.4 m. long Sun-symbol, a copper stele from Ur displaying an eagle with lion’s head above two stags, known as the Imdugud bird (also read as Anzu); (7) a solid gold he-goat or ram supporting a tree ; (8) the gold head-dress of Queen Shub-ad; (9) a gold dagger; and (10) perhaps the most famous of them all, the mosaic “Royal Standard of Ur”, dating from the last quarter of the 3rd millennium B.C., representing a veritable “story book” of Sumerian life.

The Sumerians excelled in the manufacture of jewelry and gold objects. The royal graves of Ur yielded beautiful examples of their craftsmanship. In one of them they found the helmet of king Meskalamdug, made of 15-karat gold. According to Woolley, never before in any age and in any country have they manufactured finer gold jewelry then these, dating from 2700 B.C! The Sumerians were the first to produce electron, a fusion of gold and silver.

Following the destruction of Sumer, a large number of the non-Semitic population dispersed and migrated north, northeast and northwest, leaving an indelible mark on the culture and language of the local populations, vestiges of which can be demonstrated to this day. – B: 2068, 7817, T: 7617.→ Sumerian–Hungarian Language Connection; Sumerian Picture and Cuneiform Writing; Sumerology; Some of the persons have their own entry.




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