Inanna and Gilgamesh

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Inanna and Gilgamesh
Mesopotamian Mythology
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Mesopotamian Societies

• Sumerians
• first major civilization (3000 BCE)
• non-Semitic people /language
• Uruk (and other cities)
• cuneiform writing
• elaborate mythology and cult-based mythic poems
• Babylonians / Akkadians
• later (c.1200-600 BCE)
• Semitic people, language
• myth based on Sumerian myth

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Mesopotamian Societies

• cuneiform writing

• Both societies share
• social/political hierarchy with kings as head of
  state
• priestly class who also teach/write/preserve
  literature
• tradition of sacred writings associated with
  actual rituals
• high level of civilization (i.e. social
  structure material wealth)
• irrigation-based agriculture, water resources
  organized by government

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Gods and Goddesses

• Nanna (Sin) (the moon), had a higher place in the
  pantheon than his children
• Utu (Shamash) (the sun), who becomes important as
  a deity of all-seeing justice, and
• Inanna (Ishtar)(the morning star), whose
  multifaceted nature includes goddess of sexual
  love, of justice and warfare, of communal
  prosperity . . .

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Gods and Goddesses

• Dumuzi (Tammuz )was Ishtars husband a god like
  Attis (with Cybele) who died and was reborn every
  year.
• Ereshkigal was the goddess of the Underworld
  (Kurnugi).
• Geshtinanna (Belili) was Tammuzs sister, who
  took his place in the underworld
• Enki (Ea) god of fresh water and wisdom, often a
  helper to humans (as in the flood myth)

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Inanna

• Inanna was the city goddess of Uruk.
• In Sumerian tradition, she appeared in several
  important stories
• Story of the me (decrees which represent the key
  elements of Sumerian civilization) Inanna visits
  Enki here her father. He gets drunk, she steals
  the me, and thus confers power on Uruk.

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Inanna
In another story, she got the hero Gilgamesh to
chase a demon from her hulupu tree, and make her
a throne a story which shows a good
relationship between the powerful king of Uruk
and the citys patron goddess..
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Inanna
and played a key role in civic cult, in a sacred
marriage.
She was worshipped in ornate temples . . .
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Inanna
Here she takes a king by the hand and leads him,
a sign of divine favor. Ishtar is goddess of
prostitutes but the idea that there was sacred
prostitution at her temples is a western
misreading of the evidence blame Herodotus. But
its possible that in a yearly sacred marriage,
Ishtars priestess had a ritual (real or
symbolic?) sexual union with the citys king, to
insure fertility for the coming year.
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Inannas Descent
Inanna decides to visit the Underworld . . .
Inanna daughter of Nanna was determined to go
to the dark house, to the house which those who
enter cannot leave, where those who enter are
deprived of light, where dust is their food, clay
their bread . . .
Ereshkigal is angry that Inanna has come.
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As Inanna enters each of the underworlds seven
gates, the gatekeeper takes away an item of her
high-status adornment crown, earrings, jewelry,
and finally the proud garment of her body.
Inannas Descent
What brings her here? What has incited her
against me? Surely not because I eat clay for
bread, drink muddy water for beer? I have to
weep for young men forced to abandon their
sweethearts. . .
Go in, my lady. Such are the rites of the
Mistress of Earth.
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Inannas Descent
Inanna hangs like a corpse on a stake for three
days. During this time all fertility on the
earth stops. Ninshubir goes to Enlil and Nanna,
who refuse to help, but Enki sends two divine
allies who bring Inanna back to life. But for her
to leave the underworld, a substitute must be
found. In the longer more complete Sumerian
version, it is Dumuzi. He is taken down into the
underworld to take Ishtars place. But he too is
a fertility god (young herd animals), and cannot
remain under ground forever.
Ultimately, his sister Geshtinanna (goddess of
vines) takes his place, and trades off parts of
the year with him.
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Ishtars Descent

• How is this story like the Greek underworld myths
  we have encountered (Demeter and Persephone,
  Orpheus, Heracles, etc.)?
• How is it different?
• How similar are the ideas of the underworld and
  its deities?
• What underlying meanings are there are they
  similar to the ideas about human fate you see in
  the Mysteries at Eleusis?

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Gilgamesh
Gilgamesh is on the Sumerian king-list as one of
Uruks earliest kings in the realm of myth. He
features in several Sumerian myths (such as the
one with Inannas hulupu tree), and in one long
poem, the Epic of Gilgamesh. This poem is the
most popular piece of literature in Mesopotamia,
found in many different languages and versions
across 2500 years. We discovered it in about
1920. There are two major versions we are
reading the Nineveh version, compiled by a priest
in about 800-700 BCE.
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Gilgamesh
I shall tell the land of the one who learned all
things, of the one who experienced everything, I
shall teach the whole. He searched lands
everywhere. He found out what was secret and
uncovered what was hidden, he brought back a tale
of times before the flood. He had journeyed far
and wide, weary and at last resigned. He built
the wall of Uruk. . . One square mile is the
city, one square mile is its orchards, one square
mile is its claypits, as well as the open ground
of Ishtars temple.
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Gilgamesh
Gilgamesh is the son of Lugulbanda and the
goddess Ninsun and he is 2/3 god, 1/3 human.
But like all humans he is destined to die. As the
poem begins he is king of Uruk, busy building his
city ever greater. When the epic opens,
Gilgamesh, though perfect in splendor, perfect
in strength is causing problems at home. His
excess energy (in building, exploration, and sex
everything in fact) is causing tension among
his people, who pray to the gods for relief.
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Gilgamesh and Enkidu
The gods create Enkidu, a hairy wild man, and
place him in the forest near Uruk. He lives like
an animal, startling the locals. They send to
Gilgamesh, who suggests that they tame him by
sending him a woman to sleep with.
The woman (called Shamhat, a cult name of Ishtar)
sleeps with him converting him to humanity.
Enkidu decides to go to Uruk. Gilgamesh dreams
about him, and his mother Ninsun interprets the
dreams. When the two men meet at a celebration
of Ishtar they fight to a standstill, then
become fast friends. They decide to go on a quest
to free the Cedar Forest of Humbaba.
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Gilgamesh and Enkidu
So the heroes represent culture in this battle
against nature . . . Everyone advises against it.
Ninsun prays to Shamash
Why did you single out my son Gilgamesh and
impose a restless spirit on him? He faces an
unknown struggle, he will ride along an unknown
road . . .
She adopts Enkidu as her son, and entreats him to
watch after Gilgamesh. The heroes depart . . .
Enlil destined Humbaba to keep the pine forest
safe, to be the terror of people . . .
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Gilgamesh

• What does Gilgamesh have in common with such
  heroes as Odysseus, Achilles, Heracles, and
  others?
• Is his story (so far) essentially different from
  theirs in some ways?
• Youre reading the poem in fragmentary form so
  this may be hard to tell but . . . are there
  essential differences in how this story is told,
  compared to, say, Homer?

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The Cedar Forest
When Enkidu touches the gates of the Cedar
forest, he feels a supernatural cold and
debility, and at first can barely continue. Then
Gilgamesh has terrible dreams of destruction,
which Enkidu interprets in a favorable light. The
heroes battle Humbaba, who asks for mercy. But
Enkidu urges Gilgamesh to kill the monster,
despite the gods possible displeasure. Humbaba
cries out
The heroes defeat Humbaba, and return to Uruk in
triumph. In Uruk, the goddess Ishtar approaches
Gilgamesh to become her lover.
Neither one of them shall outlive his friend!
Gilgamesh and Enkidu shall never become old men!
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Gilgamesh Ishtar
Come to me, Gilgamesh, and be my lover! Bestow
on me the gift of your fruit! You can be my
husband, I can be your wife. I shall have a
chariot of lapis lazuli and gold harnessed for
you . . . kings, nobles and princes shall bow
down beneath you. . .
But Gilgamesh scornfully rejects her
You are a door that cant keep out winds and
gusts, a palace that rejects its own warriors, a
waterskin which soaks its carrier . . . which of
your lovers lasted forever? Which of your
paramours went to heaven?
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The Bull of Heaven
Enraged, Ishtar sends the Bull of Heaven to
ravage Uruk. Gilgamesh and Enkidu kill it, and
when Ishtar reviles them, Enkidu also insults
her, even throwing the thigh of the bull in her
face. Ishtar calls together the women to mourn
the bull a type scene related to fertility
ritual. (The Bull of Heaven is the husband of
Ereshkigal.)
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Gilgamesh Ishtar
What reasons does Gilgamesh give for rejecting
the love of Ishtar? Have we seen anything like
this in Greek myth? Why is Gilgamesh so hostile
to Ishtar, given that he does reject her? How is
Ishtar characterized in this exchange
benevolent, cruel, as bad as Gilgamesh says, etc.
. . . What do you expect at the conclusion of
this episode, when Enkidu and Gilgamesh have both
disrespected the goddess?
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Enkidus death
Enkidu gets sick and over 12 days, he dies. He
curses the hunter and the prostitute who found
him and made him human, but Shamash persuades him
not to curse the prostitute.
Enkidu has a terrible nightmare
The gods were in council last night. And Anu
said to Enlil, As they have slain the Bull of
Heaven, so too have they slain Humbaba One of
them must die. Enlil replied, Let Enkidu die,
but let Gilgamesh not die. Then heavenly Shamash
said, Was it not according to your plans? But
Enlil turned in anger to Shamash You
accompanied them daily, like one of their
comrades.
Gilgamesh mourned bitterly for Enkidu his friend,
and roved the open country. Shall I die too?
Am I not like Enkidu? Grief has entered my
innermost being . . .
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Gilgamesh travels to the ends of the earth,
through the dark mountain, the pathways of
Shamash
He meets Siduri, the (female) innkeeper (another
cult name of Ishtar), to whom he pours out his
troubles. She directs him to Utnapishtim, and
adds
When he had gone one double-hour, thick is the
darkness, there is no light he can see neither
behind him nor ahead of him When he had gone
seven double hours, thick is the darkness, there
is no light At the nearing of eleven
double-hours, light breaks out. At the nearing
of twelve double-hours, the light is steady.
As for you, Gilgamesh, let your belly be full,
Make merry day and night. Of each day make a
feast of rejoicing. Day and night dance and play!
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Utnapishtim
With the help of the boatman Urshanabi, Gilgamesh
travels across the water to Dilmun, the land at
the edge of time . . . He cuts 60 saplings for
poles, and as each enters the waters, it is eaten
away. He finally uses his tattered clothing for
a sail and arrives exhausted to Utnapishtim

• Utnapishtim tells Gilgamesh
• how Ea told him to build a huge arc because a
  flood was coming
• how built the amazing thing, how he and his
  family alone of all mortals were saved from the
  Flood,
• how Ishtar mourned the dead
• and how he and his wife came to Dilmun, living
  as immortals.

I crossed uncrossable mountains. I travelled all
the seas. No real sleep has calmed my face. I
have worn myself out in sleeplessness my flesh
is filled with grief.
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Gilgamesh says to him, to Utnapishtim the remote,
"as soon as I was ready to fall asleep, right
away you touched me and roused me."
Utnapishtim offers Gilgamesh a way to become
immortal
Test yourself! Don't sleep for six days and seven
nights."
But as soon as Gilgamesh sits down, he falls
asleep. He sleeps for seven days and nights, and
each day, Utnapishtims wife puts a loaf of bread
beside him. The old loaf is rotting when the
last one is fresh a metaphor for the seven
decades of human life.
But Utnapishtim shows him the loaves, and
Gilgamesh realizes that he has failed his
quest. Utnapishtim gives Gilgamesh a consolation
prize a rejuvenating plant. But on the way
home, a snake takes it from him.
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Homecoming
Go up onto the wall of Uruk, and walk around!
Inspect it . . . One square mile is the city, one
square mile is its orchards, one square mile is
its claypits, as well as the open ground of
Ishtars temple.
Urshanabi accompanies Gilgamesh home, and when
they reach the city, Gilgamesh proudly points it
out to him
The story's quiet close belies the significance
of Gilgamesh's return. He is back where he
started but a changed man, his description of
Uruk here suggesting in the context a new
acceptance of the meaning of the city in his
life, an embracing rather than a defiance of the
limits it represents the king has evolved from a
hubristic, dominating male into a wiser man,
accepting the limitations that his mortal side
imposesand his essential kinship with all
creatures who must die . Thomas van Nortwick
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• How do Ishtars descent and Gilgameshs
  experiences on his way to Dilmun compare to one
  another?
• Is there a feel to the wisdom Gilgamesh returns
  with? In other words, what sort of wisdom does
  Gilgamesh gain?

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finis