She is attracted to him by his achievements and his personality. The tablet begins with a description of the celebration of Gilgamesh's victory. The hero exchanges his blood-stained clothes for white garments, polishes his weapons, and places a crown on his head.

To secure the grace of Gilgamesh, the exalted Ishtar raises her eyes.

Come, Gilgamesh, be my husband, Thy love[896] grant me as a gift, Be thou my husband and I will be thy wife I will place thee on a chariot of lapis lazuli and gold, With wheels of gold and horns of sapphire (?) Drawn by great ... steeds (?).

With sweet odor of cedars enter our house.

Upon entering our house, ... will kiss thy feet.

Kings, lords, and princes will be submissive to thee, Products of mountain and land, they will bring as tribute to thee.

Ishtar appears here as the G.o.ddess of love and fertility. As such she promises Gilgamesh also abundance of herds. But Gilgamesh rejects the offer, giving as his reason the sad fate encountered by these who were victims of Ishtar's love:

Tammuz, the consort of thy youth (?), Thou causest to weep every year.

The bright-colored _allallu_ bird thou didst love.

Thou didst crush him and break his pinions.

In the woods he stands and laments, "O my pinions!"

Thou didst love a lion of perfect strength, Seven and seven times[897] thou didst bury him in the corners (?), Thou didst love a horse superior in the fray, With whip and spur[898] thou didst urge him on, Thou didst force him on for seven double hours,[899]

Thou didst force him on when wearied and thirsty; His mother Silili thou madest weep.

In this way Gilgamesh proceeds to upbraid the G.o.ddess, instancing, in addition, her cruel treatment of a shepherd, and apparently also of a giant, whom she changed to a dwarf. The allusions, while obscure, are all of a mythological character. The weeping of Tammuz symbolizes the decay of vegetation after the summer season. The misfortunes that afflict the bird, lion, and horse similarly indicate the loss of beauty and strength, which is the universal fate of those who once enjoyed those attributes. Ishtar, as the great mother, produces life and strength, but she is unable to make life and strength permanent. Popular belief makes her responsible for decay and death, since life and fertility appear to be in her hand. Gilgamesh, as a popular hero, is brought into a.s.sociation by popular traditions with Ishtar, as he is brought into relationships with Eabani and Ukhat. A factor in this a.s.sociation was the necessity of accounting for Gilgamesh's death. As a hero, the favorite of the G.o.ds and invincible in battle, he ought to enjoy the privilege of the G.o.ds--immortality. The question had to be answered how he came to forego this distinction. The insult he offers to Ishtar is the answer to this question. Knowing that Ishtar, although the giver of life, does not grant a continuance of it, he who is produced by Aruru will have nothing to do with the great G.o.ddess. But his refusal leads to a dire punishment, more disastrous even than the alliance with Ishtar, which would have culminated in his being eventually shorn of his strength.

Ishtar, determined that Gilgamesh should not escape her, flies in rage to her father Anu, the G.o.d of heaven, and tells of the manner in which she has been treated. Anu comforts her. Yielding to Ishtar's request he creates a divine bull, known as Alu, _i.e._, the strong or supreme one,[900] who is to destroy Gilgamesh. At this point in the narrative Eabani is again introduced. Gilgamesh and Eabani together proceed to the contest with the bull, as they formerly proceeded against Khumbaba. On seal cylinders this fight is frequently pictured.[901] In agreement with the description in the narrative, Eabani takes hold of the tail of the animal, while Gilgamesh despatches him by driving a spear into the bull's heart. Ishtar's plan is thus frustrated.

Ishtar mounts the wall of walled Uruk.

In violent rage she p.r.o.nounces a curse: "Cursed be Gilgamesh, who has enraged me, Who has killed the divine bull."

Eabani adds insult to injury by challenging the G.o.ddess.

Eabani, upon hearing these words of Ishtar, Takes the carca.s.s (?) of the divine bull and throws it into her face.

Woe to thee! I will subdue thee, I will do to thee as I have done to him.[902]

The mythological motives that prompted the introduction of Ishtar into this tablet now become apparent. The division of the epic into twelve parts is due to scholastic influences. It is certainly not accidental that the calendar also consists of twelve months. While it is by no means the case that each tablet corresponds to some month, still in the case of the sixth and, as we shall see, in the case of the seventh and eleventh tablets, this correspondence is certain. The sixth month is designated as the month of the "Mission of Ishtar." What this mission is we shall see in a subsequent chapter.[903] In this month was celebrated a festival to Tammuz, the young bridegroom of Ishtar, who is slain by the G.o.ddess. The prophet Ezekiel gives us a picture of the weeping for Tammuz,[904] which formed the chief ceremony of the day.

It is this character of the month that accounts not only for the introduction of the Ishtar episode in the sixth tablet, but which finds further ill.u.s.trations in the mourning which Ishtar and her attendants indulge in after the death of the divine bull.

Ishtar a.s.sembled the Kizreti, Ukhalti and Kharimati.

Over the carca.s.s of Alu they raised a lamentation.

These three cla.s.ses of sacred prost.i.tutes have already been dwelt upon.[905] With more material at our disposal regarding the cult of Ishtar or Nana of Erech, we would be in a position to specify the character of the rites performed at this temple. The statements of Herodotus and of other writers suffice, however, to show that the three terms represent cla.s.ses of priestesses attached to the temple. In this respect the Ishtar cult of Erech was not unique, for we have references to priestesses elsewhere. However, the function of the priestess in religious history differs materially from that of the priest. She is not a mediator between the G.o.d and his subjects, nor is she a representative of the deity. It is as a 'witch,' that by virtue of the a.s.sociation of ideas above set forth,[906] she is able to determine the intentions of the G.o.ds. Her power to do harm is supplemented by her ability to furnish oracles. In this capacity we have already come across her,[907] and we may a.s.sume that giving oracles const.i.tuted a chief function of the priestess in Babylonia. It was furthermore natural to conclude that as a 'witch' and 'oracle-giver,' the priestess belonged to the deity from whom she derived her power. When we come to the cult of a G.o.ddess like Ishtar, who is the symbol of fertility, observances that ill.u.s.trated this central notion would naturally form an ingredient part of that 'sympathetic magic,'--the imitation of an action in order to produce the reality--which dominates so large a proportion of early religious ceremonialism. Among many nations the mysterious aspects of woman's fertility lead to rites that by a perversion of their original import appear to be obscene.[908] In the reference to the three cla.s.ses of sacred prost.i.tutes, we have an evidence that the Babylonian worship formed no exception to the rule. But with this proposition that the prost.i.tutes were priestesses attached to the Ishtar cult and who look part in ceremonies intended to symbolize fertility, we must for the present rest content.

Gilgamesh, secure in his victory, proceeds to offer the horns of the divine bull to his patron Lugal-Marada, the 'king' of Marad, and who appears to be identical with Shamash himself. The offering is accompanied by gifts to the sanctuary of precious stones and oil. There is general rejoicing.

The episode of Gilgamesh's contest with the bull also belongs to the mythological phases of the epic. The bull is in Babylonian mythology[909] as among other nations a symbol of the storm. It is in his role as a solar deity that Gilgamesh triumphs over the storm sent by Anu, that is, from on high. In the following chapter, we will come across another form of this same myth suggested evidently, as was the fight of Marduk with Tiamat, by the annual storms raging in Babylonia.

Gilgamesh triumphs as does Marduk, but when once the summer solstice, which represents the sun's triumph, is past, the decline of the sun's strength begins to set in. This is indicated by the subsequent course of the narrative.

The scene of rejoicing at Gilgamesh's triumph is changed to one of sadness. Eabani is s.n.a.t.c.hed away from Gilgamesh. The few fragments of the seventh and eighth tablets do not suffice for determining exactly in what way this happened, but Ishtar is evidently the cause of the misfortune. A fatal illness, it would seem, seizes hold of Eabani,--whether as the result of a further contest or directly sent, it is impossible to say. For twelve days he lingers and then is taken away.

As usual, the catastrophe is foreseen in dreams. For a third time[910]

he sees a vision of fire and lightning, which forebodes the end.

The fragmentary condition of the epic at this point is particularly unfortunate. There is a reference to Nippur,[911] of which it would be important to know the purpose.

The relationship between Gilgamesh and Eabani would be much clearer if the seventh and eighth tablets were preserved in good condition. The disappearance of Eabani before the end of the epic confirms, however, the view here maintained, that the career of Eabani was originally quite independent of Gilgamesh's adventures. His death is as superfluous as is his a.s.sociation with Eabani. In all critical moments Gilgamesh appears to stand alone. He conquers Uruk, and it is he who celebrates the victory of the divine bull. The subsequent course of the narrative after Eabani's death, except for the frequent mention of Gilgamesh's lament for his companion, proceeds undisturbed. Moreover, Eabani's punishment appears to be identical with that meted out to Gilgamesh. The latter is also stricken with disease, but in his case, the disease has a meaning that fits in with the mythological phases of the epic. The seventh month--the one following the summer solstice--marks the beginning of a turning-point in the year. As the year advances, vegetation diminishes, and the conclusion was naturally drawn that the sun upon whom vegetation depended had lost some of his force. This loss of strength is pictured as a disease with which the sun is afflicted. In this way, the seventh tablet--and possibly also the eighth--continues the nature myth embodied in the sixth.

Haupt has ingeniously conjectured that the sickness which affects Gilgamesh is of a venereal character. The hero wanders about in search of healing. His suffering is increased by his deep sorrow over the loss of his 'companion.' The death of Eabani presages his own destruction, and he dreads the dreary fate in store for him. The ninth tablet introduces us to this situation.

Gilgamesh weeps for his companion Eabani.

In distress he is stretched out on the ground.[912]

'I will not die like Eabani.

Sorrow has entered my body.

Through fear of death, I lie stretched out on the ground.'

He determines to seek out a mysterious personage, whom he calls Parnapishtim,[913] the son of Kidin-Marduk.[914] This personage has in some way escaped the fate of mankind and enjoys immortal life. He is called the "distant one." His dwelling is far off, "at the confluence of the streams." The road to the place is full of dangers, but Gilgamesh, undaunted, undertakes the journey. The hero himself furnishes the description.

I came to a glen at night, Lions I saw and was afraid.

I raised my head and prayed to Sin.

To the leader (?) of the G.o.ds my prayer came.

[He heard my prayer (?)], and was gracious to me.

On many seal cylinders and on monuments, Gilgamesh is pictured in the act of fighting with or strangling a lion. In the preserved portions of the epic no reference to this contest has been found.[915] We should look for it at this point of the narrative. The following lines contain a reference to weapons,--ax and sword,--and in so far justify the supposition that some contest takes place. But the text is too mutilated to warrant further conjectures. After escaping from the danger occasioned by the lions, Gilgamesh comes to the mountain Mashu, which is described as a place of terrors, the entrance to which is guarded by 'scorpion-men.'

He reached the mountain Mashu, Whose exit is daily guarded, ...

Whose back extends to the dam of heaven, And whose breast[916] reaches to Aralu;[917]

Scorpion-men guard its gate, Of terror-inspiring aspect, whose appearance is deadly, Of awful splendor, shattering mountains.

At sunrise and sunset they keep guard over the sun.

It will be recalled that the earth is pictured by the Babylonians as a mountain. The description of Mashu is dependent upon this conception.

The mountain seems to be coextensive with the earth. The dam of heaven is the point near which the sun rises, and if the scorpion-men guard the sun at sunrise and sunset, the mountain must extend across to the gate through which the sun pa.s.ses at night to dip into the great _Apsu_.[918]

Aralu is situated under the earth, and Mashu, reaching down to Aralu, must be again coextensive with the earth in this direction. The description of Mashu accordingly is a reflex of the cosmological conceptions developed in Babylonia. The scorpion-men pictured on seal cylinders[919] belong to the mythical monsters, half-man, half-beast, with which the world was peopled at the beginning of things. However, there is also an historical background to the description. The name Mashu appears in texts as the Arabian desert to the west and southwest of the Euphrates Valley.[920] It is called a land of dryness, where neither birds nor gazelles nor wild a.s.ses are found. Even the bold a.s.syrian armies hesitated before pa.s.sing through this region. In the light of the early relationships between Babylonia and Arabia,[921] this reference to Mashu may embody a tradition of some expedition to Southern Arabia.[922] Beyond Mashu lay a great sea,--perhaps the Arabian Sea,--which Gilgamesh is obliged to cross ere he reaches his goal.

Gilgamesh is terrified at the sight of these scorpion-men but the latter have received notice of his coming and permit him to pa.s.s through the gate.

A scorpion-man addresses his wife: "He who comes to us is of divine appearance."

The wife of the scorpion-man agrees that Gilgamesh is in part divine, but she adds that in part he is human. In further conversation, the scorpion-man announces that it is by express command of the G.o.ds that Gilgamesh has come to the mountain. Gilgamesh approaches and tells the scorpion-man of his purpose. The hero, recovering his courage, is not held back by the description that the scorpion-man gives him of the dangers that beset the one who ventures to enter the dreadful district.

The gate is opened and the journey begins.

He gropes his way for one double hour, With dense darkness enclosing him on all sides.

He gropes his way for two double hours, With dense darkness enclosing him on all sides.

After traversing a distance of twenty-four hours' march, Gilgamesh beholds a tree of splendid appearance, decorated with precious stones and bearing beautiful fruit. Finally he reaches the sea, where the maiden Sabitum has her palace and throne. Upon seeing the hero, the maiden locks the gates of her palace and will not permit Gilgamesh to pa.s.s across the sea. Gilgamesh pleads with Sabitum, tells of the loss of his friend Eabani, 'who has become dust,'[923] and whose fate he does not wish to share.

Gilgamesh speaks to Sabitum: "[Now] Sabitum, which is the way to Parnapishtim?

If it is possible, let me cross the ocean.

If it is not possible, let me stretch myself on the ground."[924]

Sabitum speaks to Gilgamesh: "O Gilgamesh! there has never been a ferry, And no one has ever crossed the ocean.

Shamash, the hero, has crossed it, but except Shamash, who can cross it?

Difficult is the pa.s.sage, very difficult the path.

Impa.s.sible (?) the waters of death that are guarded by a bolt.

How canst thou, O Gilgamesh, traverse the ocean?

And after thou hast crossed the waters of death, what wilt thou do?"