
Deciphering Secrets of Ancient Civilizations, Noah's Ark, and Flood Myths | Lex Fridman Podcast #487
Lex Fridman (host), Irving Finkel (guest), Lex Fridman (host), Lex Fridman (host)
In this episode of Lex Fridman Podcast, featuring Lex Fridman and Irving Finkel, Deciphering Secrets of Ancient Civilizations, Noah's Ark, and Flood Myths | Lex Fridman Podcast #487 explores irving Finkel Reveals Deep Origins Of Writing, Floods, And Play Lex Fridman and Assyriologist Irving Finkel explore the origins, structure, and decipherment of cuneiform, arguing that writing—and even lexicography—emerged far earlier and more systematically than the archaeological record alone suggests.
Irving Finkel Reveals Deep Origins Of Writing, Floods, And Play
Lex Fridman and Assyriologist Irving Finkel explore the origins, structure, and decipherment of cuneiform, arguing that writing—and even lexicography—emerged far earlier and more systematically than the archaeological record alone suggests.
Finkel makes a controversial case that proto-writing likely existed millennia before Sumer, possibly even at sites like Göbekli Tepe, and that our surviving tablets are only a tiny, skewed fraction of a much larger intellectual tradition.
They examine how Mesopotamian flood myths predate and shape the biblical Noah story, including Finkel’s work on the Ark tablet and his reconstruction of a giant coracle, framing the flood as a powerful literary device rooted in real catastrophe.
The conversation also covers the philosophy of translation, ancient board games like the Royal Game of Ur, attitudes toward gods, ghosts, and death, and the role of the British Museum as a long-term custodian of humanity’s material memory.
Key Takeaways
Writing likely predates our earliest tablets by millennia.
While the oldest known true writing is around 3500 BC in Mesopotamia, Finkel argues that pictorial and perhaps phonetic systems must have evolved much earlier through long-distance trade and practical communication needs.
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Cuneiform was a highly flexible, syllabic system backed by early lexicography.
Mesopotamian scholars not only created a syllable-based script that could record multiple languages, they also standardized and cataloged signs into extensive word lists, allowing cuneiform to remain stable and readable for over 3,000 years.
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Our surviving tablets are a distorted sample of ancient reality.
Finkel stresses that caches like the Ur III accounts or Ashurbanipal’s library likely represent a couple of storerooms, not whole cultures; vast quantities of texts were lost, moved, or written on perishable materials, so our picture is partial and biased.
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Mesopotamian flood stories structurally underpin the biblical Noah narrative.
The Atrahasis and Gilgamesh flood accounts—centuries older than Genesis—include key shared motifs such as divine decision, ark-building with detailed specifications, a world-destroying deluge, and the three successive release of birds, indicating literary borrowing, not independent invention.
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Ancient stories and games were sophisticated tools for thought and social life.
Epic literature like Gilgamesh wrestled with mortality and divine power, while board games such as the Royal Game of Ur blended chance and strategy, serving as “time pass,” social competition, and a culturally transmissible form of structured thinking.
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Translation of ancient texts is interpretive, not mechanical.
Finkel emphasizes that no word in Akkadian or Sumerian maps perfectly to a single English word, that modal nuances (could, might, should) are often missing in grammar but present in reality, and that good translation requires philology plus literary sensitivity.
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The British Museum’s deeper mission is long-horizon human self-understanding.
He frames the museum not as an art gallery but as a global, non-sectarian record of human achievement and struggle, preserving artifacts for unborn generations and offering a rare place where truth, beauty, and comparative religion can be examined together.
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Notable Quotes
“It is theoretically possible to infer the Niagara Falls from a raindrop.”
— Irving Finkel
“What we have is something like all there ever was, which is absurd.”
— Irving Finkel
“The primacy of the Mesopotamian matter was established… you never get floods in Jerusalem.”
— Irving Finkel
“The British Museum is a lighthouse in a universe where we are surrounded by darkness, ignorance, stupidity, uninterest, disinterest, skepticism, ignorance.”
— Irving Finkel
“The limits of my language means the limits of my world.”
— Ludwig Wittgenstein (quoted by Lex Fridman at the end)
Questions Answered in This Episode
If proto-writing at places like Göbekli Tepe is confirmed, how would it force us to rewrite the story of when and why writing began?
Lex Fridman and Assyriologist Irving Finkel explore the origins, structure, and decipherment of cuneiform, arguing that writing—and even lexicography—emerged far earlier and more systematically than the archaeological record alone suggests.
Get the full analysis with uListen AI
Given that so many ancient texts are lost or unwritten, how should modern scholars calibrate their confidence when reconstructing past cultures and belief systems?
Finkel makes a controversial case that proto-writing likely existed millennia before Sumer, possibly even at sites like Göbekli Tepe, and that our surviving tablets are only a tiny, skewed fraction of a much larger intellectual tradition.
Get the full analysis with uListen AI
What ethical framework should govern the custody and display of artifacts in global museums like the British Museum, especially amid repatriation debates?
They examine how Mesopotamian flood myths predate and shape the biblical Noah story, including Finkel’s work on the Ark tablet and his reconstruction of a giant coracle, framing the flood as a powerful literary device rooted in real catastrophe.
Get the full analysis with uListen AI
How might recognizing Mesopotamian influence on the Hebrew Bible change contemporary religious or theological conversations about originality and revelation?
The conversation also covers the philosophy of translation, ancient board games like the Royal Game of Ur, attitudes toward gods, ghosts, and death, and the role of the British Museum as a long-term custodian of humanity’s material memory.
Get the full analysis with uListen AI
Could studying ancient games and divination systems tell us something fundamental about human cognition and our enduring fascination with chance, risk, and control?
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Transcript Preview
The following is a conversation with Irving Finkel, who is a scholar of ancient languages, curator at the British Museum for over 45 years, and is a much admired and respected world expert on cuneiform script, and more generally, on ancient languages of Sumerian, Akkadian, and Babylonian. And also, on ancient board games and, uh, Mesopotamia magic, medicine, literature, and culture. I should also mention that both on and off the mic, Irving was a super kind and fun person to talk to, with an infectious enthusiasm for ancient history that of course I already love, but, uh, fell in love with even more. This is the Lex Fridman Podcast. To support it, please check out our sponsors in the description, or you can also find links to contact me, ask questions, get feedback and so on. And now, dear friends, here's Irving Finkel. Where and when did writing originate in human civilization? Let's go back a few thousand years.
The first attempts at writing that we could call writing go back to the middle of the fourth millennium, say around 3500 BC, something like that. There were people in the Middle East, individuals who lived between the Euphrates and Tigris Rivers, who had clay as their operating material for building and all sorts of other purposes, and eventually as a writing support, they somehow developed the idea of the basis of writing, which means that you can make a sign, which people agree on, on a surface that another person, when they see it, they know what sound it engenders. That is the essence of writing, that there's an agreed system of symbols that A can use and B can then play back, either in their heads or literally with their voices, a bit like a gramophone record. So when it really began is a terribly, terribly awkward question for us, because the truth of the matter is, we have no idea when anything began and all we can say is that the oldest evidence we have is around 3500 BC. But whether that was anywhere near the time or the stage when this started off for, uh, for the first time seems to me very, very unlikely. So in, among these, the Mesopotamians around 3500, they started to do this. They made up signs which everybody understood, and they could write simple pictographic messages. Foot is a foot, leg is a leg, and barley is barley. And then very, very gradually, they had the idea of how you could represent numerals, and then they had the idea that the pictures could also represent signs, and once they had the idea that you could write sounds with pictures, that's the crucial thing, that a picture of a foot not only meant foot, but it meant the sound of the word for foot. Once this happened, some probably very, very imaginative and clever persons had a kind of light bulb moment when they realized that they could develop a whole panoply of signs which could convey sound. And once you had that, you're liberated from pictographic writing into a position where you can record language. So, language, grammar and all the rest of it, and before long, proverbs and literature and all the other things that got written down. So it was a pretty gigantic step whenever it was taken, but we really have no idea when it was first taken. But the first evidence we have presents a sort of clearish sort of picture. It was simple and it got more complicated and then it became magnificent, so that with all the signs, a fluent, well-trained scribe could not only write down the Sumerian language, which was one of the native tongues of Iraq, and, or the Babylonian language, which was one of the other main language of Iraq, but also any other language he heard. So if somebody came speaking French ahead of their time and spoke out loud, he could record with these signs the sound of French. And we have examples of funny languages in the world around in the Bronze Age, which were written in cuneiform purely by ear, and often sometimes the scribes who recorded by dictation or by something wrote stuff they couldn't understand, but somebody else could read and understand it. So, what you have is long before the alphabet, when the alphabet was not even a dream, um, complex, bewildering looking, off-putting writing system which was actually very beautiful and very flexible and lasted for well over three millennia, probably closer to four millennia, and it took a long time for the alphabet, which anybody would say was much, much more useful and much more sensible, to displace it. So it's one of the major stages of man's intellect, because quite soon after the writing first took off, the signs began to proliferate and someone said, "Hey we haven't got a sign for this sound," or, "We haven't got a sign for this idea." And so it began to swell out, and at some extremely remarkable stage, one, probably only one person suddenly realized that if there was no control, um, they would grow exponentially and exponentially until it was all nonsense and everybody had their own writing. And the second thing is that no one could remember them unless they were written down in a retrievable way. So they invented not only writing, they invented lexicography, which means that early in the third millennium, they put down all the things that were made of wood and all the things that were made of reeds and all the names of colors and of countries and all the gods and everything. They made a systematic attempt to make these signs, um, to standardize them and to make them retrievable, and of course to teach them. And having exercised that rigor from the outset, it meant that...... the thing became streamlined and stayed more or less as it was all the way through for three millennia or more. Because the stamp put on it by those early visionaries, not only who, um, came up with the system and how it would work, but to preserve it and to safeguard it, was fantastically effective. So it means that there were scholars in Babylon in the third century or the second century, when Alexander was there, for example, if somebody dug up a tablet in very early writing, they would have a pretty good idea what it meant. They would recognize the signs even though they were so ancient, and they'd see the relationships between them. So you have a fantastically strong system where the spinal cord was structured in a lexicographic, regular system. So lexicography and what the signs were was jealously safeguarded and protected and it lasted fantastically.
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