Lilith – First Wife of Adam

Lilith stands as one of the most enduring and mysterious figures in mythology, shifting from ancient demon to modern feminist icon. Her story begins in the cradle of civilization, where she first appears in Mesopotamian texts as a wind spirit or night demon. The Sumerians, Babylonians, and Assyrians spoke of lilītu, female demons who prowled the darkness, seeking to steal away newborns and seduce men in their sleep. The earliest known references cast Lilith as a malevolent force, a spectral entity tied to death and disorder. In Babylonian demonology, she was considered an ominous presence who brought sickness to infants and mothers. Her image was so feared that amulets and incantations were inscribed with divine names to ward her off.

Lilith’s transformation within Jewish tradition is where she becomes more than a mere night demon. While she is only briefly mentioned in the Hebrew Bible, appearing in Isaiah 34:14 as a “night creature” dwelling in desolation, it is in later rabbinic texts that she gains her most infamous reputation. The Talmud describes Lilith as a winged, long-haired entity who causes harm to newborns, reinforcing the idea that she is a child-snatching demon. However, her most dramatic role emerges in medieval Jewish mysticism, particularly in the Alphabet of Ben Sira, a text from the 8th–10th century CE, which introduces the legend of Lilith as the first wife of Adam.

Lilith was created from the same soil as Adam, making her his equal. Unlike Eve, who was fashioned from Adam’s rib, Lilith refused to be subservient to him. When Adam demanded that she obey his authority, she defied him, insisting on equality. Her rebellion extended to the most intimate aspects of their relationship—refusing to lay beneath Adam in a demonstration of submission, she declared her own independence. In her frustration, she uttered the secret name of God and fled the Garden of Eden, taking refuge by the Red Sea. There, she embraced her new existence outside of divine order, mating with demons and birthing legions of monstrous offspring.

Adam, distraught over Lilith’s departure, pleaded with God to bring her back. In response, God sent three angels—Senoy, Sansenoy, and Semangelof—to retrieve her. They found Lilith but were met with her unwavering refusal to return. As punishment, the angels decreed that one hundred of her children would die each day. Lilith, in turn, vowed to inflict harm upon human children, particularly newborns, out of vengeance. However, she promised to spare those protected by amulets bearing the names of the three angels, a tradition that persisted in Jewish households for centuries.

Over time, Lilith’s legend evolved within mystical traditions, particularly in the Kabbalah, where she became associated with Samael, a dark angel often linked to Satan. She was portrayed as the consort of this demonic figure, mothering demons and serving as a temptress who led men astray. The Zohar, a foundational text of Jewish mysticism, depicts her as a seductress who lures men into sin, further cementing her status as a dangerous yet alluring figure. Medieval scholars often cast her as the antithesis of Eve—while Eve was the obedient mother of humanity, Lilith was the wild and untamed force that threatened divine order.

Lilith’s connection to Mesopotamian mythology is also seen in the Epic of Gilgamesh, where she appears in the tale of the Huluppu Tree. In this legend, a sacred tree is planted by the goddess Inanna, but it becomes infested by three supernatural beings: a serpent at its roots, an Anzû bird in its branches, and Lilith, who has made a home in the trunk. Gilgamesh, the legendary king of Uruk, intervenes by driving away the serpent and bird, forcing Lilith to flee into the wilderness. This portrayal reinforces her role as a chaotic, liminal figure associated with the wild and untamed aspects of existence.

Lilith’s presence in ancient Mesopotamian culture extended into practical rituals for protection. One of the most notable artifacts associated with her are incantation bowls, also known as demon bowls. Used in Jewish, Christian, and Mandaean communities between the 5th and 8th centuries CE, these bowls were inscribed with Aramaic or Hebrew spells designed to trap or repel malevolent spirits, including Lilith. They were often buried upside down beneath homes, particularly near doorways or under the beds of pregnant women and newborns, serving as a form of supernatural defense. Lilith was frequently mentioned in these inscriptions as a dangerous entity to be bound or exiled, with divine names, angels, and sacred commands invoked to neutralize her power. This widespread practice demonstrates how deeply ingrained the fear of Lilith was and how people sought to shield themselves from her perceived threats.

A notable 17th-century Hebrew amulet, designed to protect mothers and newborns from Lilith, provides a tangible representation of these protective practices. Found in Jewish communities, this amulet features inscriptions invoking divine protection and the names of angels such as Senoy, Sansenoy, and Semangelof, who were traditionally believed to ward off Lilith’s influence. Such artifacts were commonly placed in homes or worn as talismans to safeguard against supernatural harm. The amulet reflects the persistent fear of Lilith in Jewish folklore and the cultural measures taken to counteract her perceived threats, blending religious belief with protective magic.

Despite her negative portrayal in religious texts, Lilith underwent a dramatic re-evaluation in the modern era. Feminist thinkers reclaimed her as a symbol of female autonomy and resistance against patriarchal control. Rather than a demon, she became an icon of defiance, a woman who refused to be subjugated. In this light, Lilith’s departure from Eden was not an act of evil but an assertion of her right to self-determination. Literature, art, and feminist theology recast her as an inspiration for women seeking independence and equality. The Jewish feminist magazine Lilith, founded in 1976, embodies this reinterpretation, celebrating her as a figure of empowerment rather than fear.

Today, Lilith’s name echoes across popular culture, from literature to television, music, and esoteric spirituality. She appears in novels, poetry, and occult traditions, embodying both danger and liberation. In some instances, she is also summoned in pop culture as a supernatural entity. Rituals depicted in film, television, and video games often present Lilith as a demoness who can be invoked through arcane means, sometimes requiring specific symbols, chants, or sacrificial offerings. These portrayals reinforce her dark mystique, blending her ancient mythology with modern occult aesthetics.

Whether seen as a demon, a fallen angel, or a feminist icon, Lilith remains a powerful and provocative figure whose story continues to evolve. Her tale is ultimately one of rebellion, a narrative of a woman who chose exile over submission, and whose legacy challenges the boundaries of myth, religion, and history.