* The account of Bcrossus implies this as a cause of the
     Deluge, since he mentions the injunction imposed upon the
     survivors by a mysterious voice to be henceforward
     respectful towards the gods, [Greek word]. The Chalæan
     account considers the Deluge to have been sent as a
     punishment upon men for their sins against the gods, since
     it represents towards the end (cf. p. 52 of this History) Ea
     as reproaching Bel for having confounded the innocent and
     the guilty in one punishment.

     ** The name of this individual has been read in various
     ways: Shamashnapishtim, “sun of life,” Sitnapishtim, “the
     saved,” and Pirnapishtim. In one passage at least we find,
     in place of Shamashnapishtim, the name or epithet of
     Aclrakhasis, or by inversion Khasisadra, which appears to
     signify “the very shrewd,” and is explained by the skill
     with which he interpreted the oracle of Ea. Khasisadra is
     most probably the form which the Greeks have transcribed by
     Xisuthros, Sisuthros, Sisithes.

     *** The account of the Deluge covers the eleventh tablet of
     the poem of Gilgames. The hero, threatened with death,
     proceeds to rejoin his ancestor Shamashnapishtim to demand
     from him the secret of immortality, and the latter tells him
     the manner in which he escaped from the waters: he had saved
     his life only at the expense of the destruction of men. The
     text of it was published by Smith and by Haupt, fragment by
     fragment, and then restored consecutively. The studies of
     which it is the object would make a complete library. The
     principal translations are those of Smith, of Oppert, of
     Lenor-mant, of Haupt, of Jensen, of A. Jeremias, of
     Sauveplane, and of Zimmern.

045.jpg Page With One of the Tablets Of The Deluge Series.
     Facsimile by Faucher-Gudin, from the photograph published by
     G. Smith, Chaldæan Account of the Deluge from terra-cotta
     tablets found at Nineveh.

He confided to a hedge of reeds the resolution that had been adopted:* “Hedge, hedge, wall, wall! Hearken, hedge, and understand well, wall! Man of Shurippak, son of Ubaratutu, construct a wooden house, build a ship, abandon thy goods, seek life; throw away thy possessions, save thy life, and place in the vessel all the seed of life. The ship which thou shalt build, let its proportions be exactly measured, let its dimensions and shape be well arranged, then launch it in the sea.” Shamashnapishtim heard the address to the field of reeds, or perhaps the reeds repeated it to him. “I understood it, and I said to my master Ea ‘The command, O my master, which thou hast thus enunciated, I myself will respect it, and I will execute it: but what shall I say to the town, the people and the elders?’” Ea opened his mouth and spake; he said to his servant: “Answer thus and say to them: ‘Because Bel hates me, I will no longer dwell in your town, and upon the land of Bel I will no longer lay my head, but I will go upon the sea, and will dwell with Ea my master. Now Bel will make rain to fall upon you, upon the swarm of birds and the multitude of fishes, upon all the animals of the field, and upon all the crops; but Ea will give you a sign: the god who rules the rain will cause to fall upon you, on a certain evening, an abundant rain. When the dawn of the next day appears, the deluge will begin, which will cover the earth and drown all living things.’” Shamashnapishtim repeated the warning to the people, but the people refused to believe it, and turned him into ridicule. The work went rapidly forward: the hull was a hundred and forty cubits long, the deck one hundred and forty broad; all the joints were caulked with pitch and bitumen. A solemn festival was observed at its completion, and the embarkation began.** “All that I possessed I filled the ship with it all that I had of silver, I filled it with it; all that I had of gold I filled it with it, all that I had of the seed of life of every kind I filled it with it; I caused all my family and my servants to go up into it; beasts of the field, wild beasts of the field, I caused them to go up all together. Shamash had given me a sign: ‘When the god who rules the rain, in the evening shall cause an abundant rain to fall, enter into the ship and close thy door.’ The sign was revealed: the god who rules the rain caused to fall one night an abundant rain. The day, I feared its dawning; I feared to see the daylight; I entered into the ship and I shut the door; that the ship might be guided, I handed over to Buzur-Bel, the pilot, the great ark and its fortunes.”

     * The sense of this passage is far from being certain; I
     have followed the interpretation proposed, with some
     variations, by Pinches, by Haupt, and by Jensen. The
     stratagem at once recalls the history of King Midas, and the
     talking reeds which knew the secret of his ass’s ears. In
     the version of Berossus, it is Kronos who plays the part
     here assigned to Ea in regard to Xisuthros.

     ** The text is mutilated, and does not furnish enough
     information to follow in every detail the building of the
     ark. From what we can understand, the vessel of
     Shamashnapishtim was a kind of immense kelek, decked, but
     without masts or rigging of any sort. The text identifies
     the festival celebrated by the hero before the embarkation
     with the festival Akitu of Merodach, at Babylon, during
     which “Nebo, the powerful son, sailed from Borsippa to
     Babylon in the bark of the river Asmu, of beauty.” The
     embarkation of Nebo and his voyage on the stream had
     probably inspired the information according to which the
     embarkation of Shamashnapishtim was made the occasion of a
     festival Akitu, celebrated at Shurippak; the time of the
     Babylonian festival was probably thought to coincide with
     the anniversary of the Deluge.

“As soon as the morning became clear, a black cloud arose from the foundations of heaven. Bamman growled in its bosom; Nebo and Marduk ran before it—ran like two throne-bearers over hill and dale. Nera the Great tore up the stake to which the ark was moored. Ninib came up quickly; he began the attack; the Anunnaki raised their torches and made the earth to tremble at their brilliancy; the tempest of Ramman scaled the heaven, changed all the light to darkness, flooded the earth like a lake.* For a whole day the hurricane raged, and blew violently over the mountains and over the country; the tempest rushed upon men like the shock of an army, brother no longer beheld brother, men recognized each other no more.

     * The progress of the tempest is described as the attack of
     the gods, who had resolved on the destruction of men. Ramman
     is the thunder which growls in the cloud; Nebo, Merodach,
     Nera the Great (Nergal), and Ninib, denote the different
     phases of the hurricane from the moment when the wind gets
     up until it is at its height; the Anunnaki represent the
     lightning which flashes carelessly across the heaven.

048.jpg Shamashnapishtim Shut Into the Ark.
     Drawn by Faucher-Gudin, from a Chalæan intaglio.

In heaven, the gods were afraid of the deluge;* they betook themselves to flight, they clambered to the firmament of Anu; the gods, howling like dogs, cowered upon the parapet.** Ishtar wailed like a woman in travail; she cried out, “the lady of life, the goddess with the beautiful voice: ‘The past returns to clay, because I have prophesied evil before the gods! Prophesying evil before the gods, I have counselled the attack to bring my men to nothing; and these to whom I myself have given birth, where are they? Like the spawn of fish they encumber the sea! ‘The gods wept with her over the affair of the Anunnaki;’ the gods, in the place where they sat weeping, their lips were closed.” It was not pity only which made their tears to flow: there were mixed up with it feelings of regret and fears for the future. Mankind once destroyed, who would then make the accustomed offerings? The inconsiderate anger of Bel, while punishing the impiety of their creatures, had inflicted injury upon themselves. “Six days and nights the wind continued, the deluge and the tempest raged. The seventh day at daybreak the storm abated; the deluge, which had carried on warfare like an army, ceased, the sea became calm and the hurricane disappeared, the deluge ceased. I surveyed the sea with my eyes, raising my voice; but all mankind had returned to clay, neither fields nor woods could be distinguished.*** I opened the hatchway and the light fell upon my face; I sank down, I cowered, I wept, and my tears ran down my cheeks when I beheld the world all terror and all sea. At the end of twelve days, a point of land stood up from the waters, the ship touched the land of Nisir:**** the mountain of Nisir stopped the ship and permitted it to float no longer. One day, two days, the mountain of Nisir stopped the ship and permitted it to float no longer.

     * The gods enumerated above alone took part in the drama of
     the Deluge: they were the confederates and emissaries of
     Bel. The others were present as spectators of the disaster,
     and were terrified.

     ** The upper part of the mountain wall is here referred to,
     upon which the heaven is supported. There was a narrow space
     between the escarpment and the place upon which the vault of
     the firmament rested: the Babylonian poet represented the
     gods as crowded like a pack of hounds upon this parapet, and
     beholding from it the outburst of the tempest and the
     waters.

     ***The translation is uncertain: the text refers to a legend
     which has not come down to us, in which Ishtar is related to
     have counselled the destruction of men.

     **** The Anunnaki represent here the evil genii whom the
     gods that produced the deluge had let loose, and whom
     Ramman, Nebo, Merodach, Nergal, and Ninib, all the followers
     of Bel, had led to the attack upon men: the other deities
     shared the fears and grief of Ishtar in regard to the
     ravages which these Anunnaki had brought about (cf. below,
     pp. 141-143 of this History).

Three days, four days, the mountain of Nisir* stopped the ship and permitted it to float no longer. Five days, six days, the mountain of Nisir stopped the ship and permitted it to float no longer. The seventh day, at dawn, I took out a dove and let it go: the dove went, turned about, and as there was no place to alight upon, came back. I took out a swallow and let it go: the swallow went, turned about, and as there was no place to alight upon, came back. I took out a raven and let it go: the raven went, and saw that the water had abated, and came near the ship flapping its wings, croaking, and returned no more.” Shamashnapishtim escaped from the deluge, but he did not know whether the divine wrath was appeased, or what would be done with him when it became known that he still lived.** He resolved to conciliate the gods by expiatory ceremonies. “I sent forth the inhabitants of the ark towards the four winds, I made an offering, I poured out a propitiatory libation on the summit of the mountain. I set up seven and seven vessels, and I placed there some sweet-smelling rushes, some cedar-wood, and storax.” He thereupon re-entered the ship to await there the effect of his sacrifice.

     * I have adopted, in the translation of this difficult
     passage, the meaning suggested by Haupt, according to which
     it ought to be translated, “The field makes nothing more
     than one with the mountain;” that is to say, “mountains and
     fields are no longer distinguishable one from another.” I
     have merely substituted for mountain the version wood, piece
     of land covered with trees, which Jensen has suggested.

     ** The mountain of Nisir is replaced in the version of
     Berossus by the Gordyæan mountains of classical geography; a
     passage of Assur-nazir-pal informs us that it was situated
     between the Tigris and the Great Zab, according to Delitzsch
     between 35° and 36° N. latitude. The Assyrian-speaking
     people interpreted the name as Salvation, and a play upon
     words probably decided the placing upon its slopes the
     locality where those saved from the deluge landed on the
     abating of the waters. Fr. Lenormant proposes to identify it
     with the peak Rowandîz.

The gods, who no longer hoped for such a wind-fall, accepted the sacrifice with a wondering joy. “The gods sniffed up the odour, the gods sniffed up the excellent odour, the gods gathered like flies above the offering. “When Ishtar, the mistress of life, came in her turn, she held up the great amulet which Anu had made for her.” * She was still furious against those who had determined upon the destruction of mankind, especially against Bel: “These gods, I swear it on the necklace of my neck! I will not forget them; these days I will remember, and will not forget them for ever. Let the other gods come quickly to take part in the offering. Bel shall have no part in the offering, for he was not wise: but he has caused the deluge, and he has devoted my people to destruction.” Bel himself had not recovered his temper: “When he arrived in his turn and saw the ship, he remained immovable before it, and his heart was filled with rage against the gods of heaven. ‘Who is he who has come out of it living? No man must survive the destruction!’” The gods had everything to fear from his anger: Ninib was eager to exculpate himself, and to put the blame upon the right person. Ea did not disavow his acts: “he opened his mouth and spake; he said to Bel the warrior: ‘Thou, the wisest among the gods, O warrior, why wert thou not wise, and didst cause the deluge? The sinner, make him responsible for his sin; the criminal, make him responsible for his crime: but be calm, and do not cut off all; be patient, and do not drown all. What was the good of causing the deluge? A lion had only to come to decimate the people. What was the good of causing the deluge? A leopard had only to come to decimate the people. What was the good of causing the deluge? Famine had only to present itself to desolate the country. What was the good of causing the deluge? Nera the Plague had only to come to destroy the people. As for me, I did, not reveal the judgment of the gods: I caused Khasisadra to dream a dream, and he became aware of the judgment of the gods, and then he made his resolve.’” Bel was pacified at the words of Ea: “he went up into the interior of the ship; he took hold of my hand and made me go up, even me; he made my wife go up, and he pushed her to my side; he turned our faces towards him, he placed himself between us, and blessed us: ‘Up to this time Shamashnapishtim was a man: henceforward let Shamashnapishtim and his wife be reverenced like us, the gods, and let Shamashnapishtim dwell afar off, at the mouth of the seas, and he carried us away and placed us afar off, at the mouth of the seas.’” Another form of the legend relates that by an order of the god, Xisuthros, before embarking, had buried in the town of Sippara all the books in which his ancestors had set forth the sacred sciences—books of oracles and omens, “in which were recorded the beginning, the middle, and the end. When he had disappeared, those of his companions who remained on board, seeing that he did not return, went out and set off in search of him, calling him by name. He did not show himself to them, but a voice from heaven enjoined upon them to be devout towards the gods, to return to Babylon and dig up the books in order that they might be handed down to future generations; the voice also informed them that the country in which they were was Armenia. They offered sacrifice in turn, they regained their country on foot, they dug up the books of Sippara and wrote many more; afterwards they refounded Babylon.” It was even maintained in the time of the Seleucido, that a portion of the ark existed on one of the summits of the Gordyæan mountains.** Pilgrimages were made to it, and the faithful scraped off the bitumen which covered it, to make out of it amulets of sovereign virtue against evil spells.

051.jpg the Judi Mountains Sometimes Identified With Tub Ntsib Mountains.
     Drawn by Faucher-Gudin, from a sketch by G. Smith, Assyrian
     Discoveries
, p. 108.

     * We are ignorant of the object which the goddess lifted up:
     it may have been the sceptre surmounted by a radiating star,
     such as we see on certain cylinders. Several Assyriologists
     translate it arrows or lightning. Ishtar is, in fact, an
     armed goddess who throws the arrow or lightning made by her
     father Anu, the heaven.

     ** Bekossus, fragm. xv. The legend about the remains of the
     ark has passed into Jewish tradition concerning the Deluge.
     Nicholas of Damascus relates, like Berossus, that they were
     still to be seen on the top of Mount Baris. From that time
     they have been continuously seen, sometimes on one peak and
     sometimes on another. In the last century they were pointed
     out to Chardin, and the memory of them has not died out in
     our own century. Discoveries of charcoal and bitumen, such
     as those made at Gebel Judî, upon one of the mountains
     identified with Nisir, probably explain many of these local
     traditions.

The chronicle of these fabulous times placed, soon after the abating of the waters, the foundation of a new dynasty, as extraordinary or almost as extraordinary in character as that before the flood. According to Berossus it was of Chaldæan origin, and comprised eighty-six kings, who bore rule during 34,080 years; the first two, Evechous and Khomasbelos, reigned 2400 and 2700 years, while the later reigns did not exceed the ordinary limits of human life. An attempt was afterwards made to harmonize them with probability: the number of kings was reduced to six, and their combined reigns to 225 years. This attempt arose from a misapprehension of their true character; names and deeds, everything connected with them belongs to myth and fiction only, and is irreducible to history proper. They supplied to priests and poets material for scores of different stories, of which several have come down to us in fragments. Some are short, and serve as preambles to prayers or magical formulas; others are of some length, and may pass for real epics. The gods intervene in them, and along with kings play an important part. It is Nera, for instance, the lord of the plague, who declares war against mankind in order to punish them for having despised the authority of Anu. He makes Babylon to feel his wrath first: “The children of Babel, they were as birds, and the bird-catcher, thou wert he! thou takest them in the net, thou enclosest them, thou decimatest them—hero Nera!” One after the other he attacks the mother cities of the Euphrates and obliges them to render homage to him—even Uruk, “the dwelling of Anu and Ishtar—the town of the priestesses, of the almehs, and the sacred courtesans; “then he turns upon the foreign nations and carries his ravages as far as Phoenicia. In other fragments, the hero Etana makes an attempt to raise himself to heaven, and the eagle, his companion, flies away with him, without, however, being able to bring the enterprise to a successful issue. Nimrod and his exploits are known to us from the Bible.* “He was a mighty hunter before the Lord: wherefore it is said, Even as Nimrod the mighty hunter before the Lord. And the beginning of his kingdom was Babel, and Erech, and Accad, and Calneh, in the land of Shinar.” Almost all the characteristics which are attributed by Hebrew tradition to Nimrod we find in G-ilgames, King of Uruk and descendant of the Shamashnapishtim who had witnessed the deluge.**

     * Genesis x. 9, 10. Among the Jews and Mussulmans a complete
     cycle of legends have developed around Nimrod. He built the
     Tower of Babel; he threw Abraham into a fiery furnace, and
     he tried to mount to heaven on the back of an eagle. Sayce
     and Grivel saw in Nimrod an heroic form of Merodach, the god
     of Babylonia: the majority of living Assyriologists prefer
     to follow Smith’s example, and identify him with the hero
     Gilgames.

     ** The name of this hero is composed of three signs, which
     Smith provisionally rendered Isdubar—a reading which,
     modified into Gishdhubar, Gistubar, is still retained by
     many Assyriologists. There have been proposed one after
     another the renderings Dhubar, Namrûdu, Anamarutu, Numarad,
     Namrasit, all of which exhibit in the name of the hero that
     of Nimrod. Pinches discovered, in 1890, what appears to be
     the true signification of the three signs,Gilgamesh,
     Gilgames; Sayce and Oppert have compared this name with that
     of Gilgamos, a Babylonian hero, of whom. Ælian has preserved
     the memory. A. Jeremias continued to reject both the reading
     and the identification.

Several copies of a poem, in which an unknown scribe had celebrated his exploits, existed about the middle of the VIIth century before our era in the Royal Library at Nineveh; they had been transcribed by order of Assur-banipal from a more ancient copy, and the fragments of them which have come down to us, in spite of their lacunae, enable us to restore the original text, if not in its entirety, at least in regard to the succession of events. They were divided into twelve episodes corresponding with the twelve divisions of the year, and the ancient Babylonian author was guided in his choice of these divisions by something more than mere chance. Gilgames, at first an ordinary mortal under the patronage of the gods, had himself become a god and son of the goddess Aruru: “he had seen the abyss, he had learned everything that is kept secret and hidden, he had even made known to men what had taken place before the deluge.” The sun, who had protected him in his human condition, had placed him beside himself on the judgment-seat, and delegated to him authority to pronounce decisions from which there was no appeal: he was, as it were, a sun on a small scale, before whom the kings, princes, and great ones of the earth humbly bowed their heads.* The scribes had, therefore, some authority for treating the events of his life after the model of the year, and for expressing them in twelve chants, which answered to the annual course of the sun through the twelve months.

     * The identity of Gilgames with the Accadian fire-god, or
     rather with the sun, was recognized from the first by H.
     Rawlinson, and has been accepted since by almost all
     Assyriologists. A tablet brought back by G. Smith, called
     attention to by Fr. Delitzsch, and published by Haupt,
     contains the remains of a hymn addressed to Gilgames, “the
     powerful king, the king of the Spirits of the Earth.”

The whole story is essentially an account of his struggles with Ishtar, and the first pages reveal him as already at issue with the goddess. His portrait, such as the monuments have preserved it for us, is singularly unlike the ordinary type: one would be inclined to regard it as representing an individual of a different race, a survival of some very ancient nation which had held rule on the plains of the Euphrates before the arrival of the Sumerian or Semitic* tribes.

     * Smith (The Chaldæan Account of Genesis, p. 194) remarked
     the difference between the representations of Gilgames and
     the typical Babylonian: he concluded from this that the hero
     was of Ethiopian origin. Hommel declares that his features
     have neither a Sumerian nor Semitic aspect, and that they
     raise an insoluble question in ethnology.

057.jpg Gilgames Strangles a Lion.
Drawn by Faucher-Gudin,
from an Assyrian bas-relief
from Khorsabad, in the
Museum of the Louvre

His figure is tall, broad, muscular to an astonishing degree, and expresses at once vigour and activity; his head is massive, bony, almost square, with a somewhat flattened face, a large nose, and prominent cheek-bones, the whole framed by an abundance of hair, and a thick beard symmetrically curled. All the young men of Uruk, the well-protected, were captivated by the prodigious strength and beauty of the hero; the elders of the city betook themselves to Ishtar to complain of the state of neglect to which the young generation had relegated them. “He has no longer a rival in their hearts, but thy subjects are led to battle, and Gilgames does not send one child back to his father. Night and day they cry after him: ‘It is he the shepherd of Uruk, the well-protected, he is its shepherd and master, he the powerful, the perfect and the wise.’” Even the women did not escape the general enthusiasm: “he leaves not a single virgin to her mother, a single daughter to a warrior, a single wife to her master. Ishtar heard their complaint, the gods heard it, and cried with a loud voice to Aruru: ‘It is thou, Aruru, who hast given him birth; create for him now his fellow, that he may be able to meet him on a day when it pleaseth him, in order that they may fight with each other and Uruk may be delivered.‘When Aruru heard them, she created in her heart a man of Anu. Aruru washed her hands, took a bit of clay, cast it upon the earth, kneaded it and created Babani, the warrior, the exalted scion, the man of Ninib, whose whole body is covered with hair, whose tresses are as long as those of a woman; the locks of his hair bristle on his head like those on the corn-god; he is clad in a vestment like that of the god of the fields; he browses with the gazelles, he quenches his thirst with the beasts of the field, he sports with the beasts of the waters.” Frequent representations of Eabani are found upon the monuments; he has the horns of a goat, the legs and tail of a bull.* He possessed not only the strength of a brute, but his intelligence also embraced all things, the past and the future: he would probably have triumphed over Gilgames if Shamash had not succeeded in attaching them to one another by an indissoluble tie of friendship. The difficulty was to draw these two future friends together, and to bring them face to face without their coming to blows; the god sent his courier Saîdu, the hunter, to study the habits of the monster, and to find out the necessary means to persuade him to come down peaceably to Uruk. “Saîdu, the hunter, proceeded to meet Eabani near the entrance of the watering-place. One day, two days, three days, Eabani met him at the entrance of the watering-place. He perceived Saîdu, and his countenance darkened: he entered the enclosure, he became sad, he groaned, he cried with a loud voice, his heart was heavy, his features were distorted, sobs burst from his breast. The hunter saw from a distance that his face was inflamed with anger,” and judging it more prudent not to persevere farther in his enterprise, returned to impart to the god what he had observed.

     * Smith was the first, I believe, to compare his form to
     that of a satyr or faun; this comparison is rendered more
     probable by the fact that the modern inhabitants of Chaldæa
     believe in the existence of similar monsters. A. Jeremias
     places Eabani alongside Priapus, who is generally a god of
     the fields, and a clever soothsayer. Following out these
     ideas, we might compare our Eabani with the Graico-Roman
     Proteus, who pastures the flocks of the sea, and whom it was
     necessary to pursue and seize by force or cunning words to
     compel him to give oracular predictions.

060.jpg Gilgames Fights, on the Left With a Bull, On The Right With Eabani.
     Drawn by Faucher-Gudin, from a Chaldæan intaglio in the
     Museum at the Hague. The original measures about 1 7/10 inch
     in height.

“I was afraid,” said he, in finishing his narrative,* “and I did not approach him. He had filled up the pit which I had dug to trap him, he broke the nets which I had spread, he delivered from my hands the cattle and the beasts of the field, he did not allow me to search the country through.” Shamash thought that where the strongest man might fail by the employment of force, a woman might possibly succeed by the attractions of pleasure; he commanded Saîdu to go quickly to Uruk and there to choose from among the priestesses of Ishtar one of the most beautiful.** The hunter presented himself before Grilgames, recounted to him his adventures, and sought his permission to take away with him one of the sacred courtesans. “‘Go, my hunter, take the priestess; when the beasts come to the watering-place, let her display her beauty; he will see her, he will approach her, and his beasts that troop around him will be scattered.’”*** The hunter went, he took with him the priestess, he took the straight road; the third day they arrived at the fatal plain. The hunter and the priestess sat down to rest; one day, two days, they sat at the entrance of the watering-place from whose waters Eabani drank along with the animals, where he sported with the beasts of the water.

     * Haupt, Das Babylonische Nimrodepos, p. 9, 11. 42-50. The
     beginning of each line is destroyed, and the translation of
     the whole is only approximate.

     ** The priestesses of Ishtar were young and beautiful women,
     devoted to the service of the goddess and her worshippers.
     Besides the title qadishtu, priestess, they bore various
     names, kizireti, ukhati, kharimâti; the priestess who
     accompanied Saîdu was an ukhat.

     *** As far as can be guessed from the narrative, interrupted
     as it is by so many lacunæ, the power of Eabani over the
     beasts of the field seems to have depended on his
     continence. From the moment in which he yields to his
     passions the beasts fly from him as they would do from an
     ordinary mortal; there is then no other resource for him but
     to leave the solitudes to live among men in towns. This
     explains the means devised by Shamash against him: cf. in
     the Arabian Nights the story of Shehabeddin.

“When Eabani arrived, he who dwells in the mountains, and who browses upon the grass like the gazelles, who drinks with the animals, who sports with the beasts of the water, the priestess saw the satyr.” She was afraid and blushed, but the hunter recalled her to her duty. “It is he, priestess. Undo thy garment, show him thy form, that he may be taken with thy beauty; be not ashamed, but deprive him of his soul. He perceives thee, he is rushing towards thee, arrange thy garment; he is coming upon thee, receive him with every art of woman; his beasts which troop around him will be scattered, and he will press thee to his breast.” The priestess did as she was commanded; she received him with every art of woman, and he pressed her to his breast. Six days and seven nights, Eabani remained near the priestess, his well-beloved. When he got tired of pleasure he turned his face towards his cattle, and he saw that the gazelles had turned aside and that the beasts of the field had fled far from him. Eabani was alarmed, he fell into a swoon, his knees became stiff because his cattle had fled from him. While he lay as if dead, he heard the voice of the priestess: he recovered his senses, he came to himself full of love; he seated himself at the feet of the priestess, he looked into her face, and while the priestess spoke his ears listened. For it was to him the priestess spoke—to him, Eabani. “Thou who art superb, Eabani, as a god, why dost thou live among the beasts of the field? Come, I will conduct thee to Uruk the well-protected, to the glorious house, the dwelling of Anu and Ishtar—to the place where is Gilgames, whose strength is supreme, and who, like a Urus, excels the heroes in strength.” While she thus spoke to him, he hung upon her words, he the wise of heart, he realized by anticipation a friend. Eabani said to the priestess: “Let us go, priestess; lead me to the glorious and holy abode of Anu and Ishtar—to the place where is Gilgames, whose strength is supreme, and who, like a Urus, prevails over the heroes by his strength. I will fight with him and manifest to him my power; I will send forth a panther against Uruk, and he must struggle with it.” * The priestess conducted her prisoner to Uruk, but the city at that moment was celebrating the festival of Tammuz, and Gilgames did not care to interrupt the solemnities in order to face the tasks to which Eabani had invited him: what was the use of such trials since the gods themselves had deigned to point out to him in a dream the line of conduct he was to pursue, and had taken up the cause of their children. Shamash, in fact, began the instruction of the monster, and sketched an alluring picture of the life which awaited him if he would agree not to return to his mountain home. Not only would the priestess belong to him for ever, having none other than him for husband, but Gilgames would shower upon him riches and honours. “He will give thee wherein to sleep a great bed cunningly wrought; he will seat thee on his divan, he will give thee a place on his left hand, and the princes of the earth shall kiss thy feet, the people of Uruk shall grovel on the ground before thee.” It was by such flatteries and promises for the future that Gilgames gained the affection of his servant Eabani, whom he loved for ever.

     * I have softened down a good deal the account of the
     seduction, which is described with a sincerity and precision
     truly primitive.

Shamash had reasons for being urgent. Khumbaba, King of Elam, had invaded the country of the Euphrates, destroyed the temples, and substituted for the national worship the cult of foreign deities;* the two heroes in concert could alone check his advance, and kill him. They collected their troops, set out on the march, having learned from a female magician that the enemy had concealed himself in a sacred grove. They entered it in disguise, “and stopped in rapture for a moment before the cedar trees; they contemplated the height of them, they contemplated the thickness of them; the place where Khumbaba was accustomed to walk up and down with rapid strides, alleys were made in it, paths kept up with great care. They saw at length the hill of cedars, the abode of the gods, the sanctuary of Irnini, and before the hill, a magnificent cedar, and pleasant grateful shade.” They surprised Khumbaba at the moment when he was about to take his outdoor exercise, cut off his head, and came back in triumph to Uruk.** “Gilgames brightened his weapons, he polished his weapons. He put aside his war-harness, he put on his white garments, he adorned himself with the royal insignia, and bound on the diadem: Gilgames put his tiara on his head, and bound on his diadem.”

     * Khumbaba contains the name of the Elamite god, Khumba,
     whichenters into the composition of names of towns, like Ti-
     Khumbi; or into those of princes, as Khumbanigash,
     Khumbasundasa, Khumbasidh. The comparison between Khumbaba
     and Combabos, the hero of a singular legend, current in the
     second century of our era, does not seem to be admissible,
     at least for the present. The names agree well in sound,
     but, as Oppert has rightly said, no event in the history of
     Combabos finds a counterpart in anything we know of that of
     Khumbaba up to the present.

     ** G. Smith places at this juncture Gilgames’s accession to
     the throne; this is not confirmed by the fragments of the
     text known up to the present, and it is not even certain
     that the poem relates anywhere the exaltation and coronation
     of the hero. It would appear even that Gilgames is
     recognized from the beginning as King of Uruk, the well-
     protected.

Ishtar saw him thus adorned, and the same passion consumed her which inflames mortals.* “To the love of Gilgames she raised her eyes, the mighty Ishtar, and she said, ‘Come, Gilgames, be my husband, thou! Thy love, give it to me, as a gift to me, and thou shalt be my spouse, and I shall be thy wife. I will place thee in a chariot of lapis and gold, with golden wheels and mountings of onyx: thou shalt be drawn in it by great lions, and thou shalt enter our house with the odorous incense of cedar-wood. When thou shalt have entered our house, all the country by the sea shall embrace thy feet, kings shall bow down before thee, the nobles and the great ones, the gifts of the mountains and of the plain they will bring to thee as tribute. Thy oxen shall prosper, thy sheep shall be doubly fruitful, thy mules shall spontaneously come under the yoke, thy chariot-horse shall be strong and shall galop, thy bull under the yoke shall have no rival.’” Gilgames repels this unexpected declaration with a mixed feeling of contempt and apprehension: he abuses the goddess, and insolently questions her as to what has become of her mortal husbands during her long divine life. “Tammuz, the spouse of thy youth, thou hast condemned him to weep from year to year.** Nilala, the spotted sparrow-hawk, thou lovedst him, afterward thou didst strike him and break his wing: he continues in the wood and cries: ‘O, my wings!’ *** Thou didst afterwards love a lion of mature strength, and then didst cause him to be rent by blows, seven at a time.**** Thou lovedst also a stallion magnificent in the battle; thou didst devote him to death by the goad and whip: thou didst compel him to galop for ten leagues, thou didst devote him to exhaustion and thirst, thou didst devote to tears his mother Silili.

     * Ishtar’s declaration to Gilgames and the hero’s reply have
     been frequently translated and summarized since the
     discovery of the poem. Smith thought to connect this episode
     with the “Descent of Ishtar to Hades,” which we shall meet
     with further on in this History, but his opinion is no
     longer accepted. The “Descent of Ishtar” in its present
     condition is the beginning of a magical formula: it has
     nothing to do with the acts of Gilgames.

     ** Tammuz-Adonis is the only one known to us among this long
     list of the lovers of the goddess. The others must have been
     fairly celebrated among the Chaldæans, since the few words
     devoted to each is sufficient to recall them to the memory
     of the reader, but we have not as yet found anything
     bearing upon their adventures in the table of the ancient
     Chaldæo-Assyrian classics, which had been copied out by a
     Ninevite scribe for the use of Assur-bani-pal, the title of
     the poems is wanting.

     *** The text gives kappî, and the legend evidently refers
     to a bird whose cry resembles the word meaning “my
     wings.” The spotted sparrow-hawk utters a cry which may be
     strictly understood and interpreted in this way.

     **** This is evidently the origin of our fable of the
     “Amorous Lion.”

Thou didst also love the shepherd Tabulu, who lavished incessantly upon thee the smoke of sacrifices, and daily slaughtered goats to thee; thou didst strike him and turn him into a leopard; his own servants went in pursuit of him, and his dogs followed his trail.* Thou didst love Ishullanu, thy father’s gardener, who ceaselessly brought thee presents of fruit, and decorated every day thy table. Thou raisedst thine eyes to him, thou seizedst him: ‘My Ishullanu, we shall eat melons, then shalt thou stretch forth thy hand and remove that which separates us.’ Ishullanu said to thee: ‘I, what dost thou require from me? O my mother, prepare no food for me, I myself will not eat: anything I should eat would be for me a misfortune and a curse, and my body would be stricken by a mortal coldness.’ Then thou didst hear him and didst become angry, thou didst strike him, thou didst transform him into a dwarf, thou didst set him up on the middle of a couch; he could not rise up, he could not get down from where he was. Thou lovest me now, afterwards thou wilt strike me as thou didst these.” **

     * The changing of a lover, by the goddess or sorceress
     who loves him, into a beast, occurs pretty frequently in
     Oriental tales; as to the man changed by Ishtar into a
     brute, which she caused to be torn by his own hounds, we may
     compare the classic story of Artemis surprised at her bath
     by Actseon.

     ** As to the misfortune of Ishullanu, we may compare the
     story in the Abrabian Nights of the Fisherman and the
     Genie shut up in the leaden bottle. The king of the Black
     Islands was transformed into a statue from the waist to the
     feet by the sorceress, whom he had married and afterwards
     offended; he remained lying on a bed, from which he could
     not get down, and the unfaithful one came daily to whip him.

“When Ishtar heard him, she fell into a fury, she ascended to heaven. The mighty Ishtar presented herself before her father Anu, before her mother Anatu she presented herself, and said: ‘My father, Grilgames has despised me. Grilgames has enumerated my unfaithfulnesses, my unfaithfulnesses and my ignominies.’ Anu opened his mouth and spake to the mighty Ishtar: ‘Canst thou not remain quiet now that Gilgames has enumerated to thee thy unfaithfulnesses, thy unfaithfulnesses and ignominies?’” But she refused to allow the outrage to go unpunished. She desired her father to make a celestial urus who would execute her vengeance on the hero; and, as he hesitated, she threatened to destroy every living thing in the entire universe by suspending the impulses of desire, and the effect of love. Anu finally gives way to her rage: he creates a frightful urus, whose ravages soon rendered uninhabitable the neighbourhood of Uruk the well-protected. The two heroes, Gilgames and Eabani, touched by the miseries and terror of the people, set out on the chase, and hastened to rouse the beast from its lair on the banks of the Euphrates in the marshes, to which it resorted after each murderous onslaught.

068.jpg Gilgames and Eabani Fighting With Monsters.
     Drawn by Faucher-Gudin, from a Chaldæan intaglio in the New
     York Museum. The original is about an inch and a half in
     height.

A troop of three hundred valiant warriors penetrated into the thickets in three lines to drive the animal towards the heroes. The beast with head lowered charged them; but Eabani seized it with one hand by the right horn, and with the other by the tail, and forced it to rear. Gilgames at the same instant, seizing it by the leg, plunged his dagger into its heart. The beast being despatched, they celebrated their victory by a sacrifice of thanksgiving, and poured out a libation to Sharnash, whose protection had not failed them in this last danger. Ishtar, her projects of vengeance having been defeated, “ascended the ramparts of Uruk the well-protected. She sent forth a loud cry, she hurled forth a malediction: ‘Cursed be Gilgames, who has insulted me, and who has killed the celestial urus.’ Eabani heard these words of Ishtar, he tore a limb from the celestial urus and threw it in the face of the goddess: ‘Thou also I will conquer, and I will treat thee like him: I will fasten the curse upon thy sides.’ Ishtar assembled her priestesses, her female votaries, her frenzied women, and together they intoned a dirge over the limb of the celestial urus. Gilgames assembled all the turners in ivory, and the workmen were astonished at the enormous size of the horns; they were worth thirty mimæ of lapis, their diameter was a half-cubit, and both of them could contain six measures of oil.” He dedicated them to Shamash, and suspended them on the corners of the altar; then he washed his hands in the Euphrates, re-entered Uruk, and passed through the streets in triumph. A riotous banquet ended the day, but on that very night Eabani felt himself haunted by an inexplicable and baleful dream, and fortune abandoned the two heroes. Gilgames had cried in the intoxication of success to the women of Uruk: “Who shines forth among the valiant? Who is glorious above all men? Gilgames shines forth among the valiant, Gilgames is glorious above all men.” Ishtar made him feel her vengeance in the destruction of that beauty of which he was so proud; she covered him with leprosy from head to foot, and made him an object of horror to his friends of the previous day. A life of pain and a frightful death—he alone could escape them who dared to go to the confines of the world in quest of the Fountain of Youth and the Tree of Life which were said to be there hidden; but the road was rough, unknown, beset by dangers, and no one of those who had ventured upon it had ever returned. Gilgames resolved to brave every peril rather than submit to his fate, and proposed this fresh adventure to his friend Eabani, who, notwithstanding his sad forebodings, consented to accompany him. They killed a tiger on the way, but Eabani was mortally wounded in a struggle in which they engaged in the neighbourhood of Nipur, and breathed his last after an agony of twelve days’ duration.

“Gilgames wept bitterly over his friend Eabani, grovelling on the bare earth.” The selfish fear of death struggled in his spirit with regret at having lost so dear a companion, a tried friend in so many encounters. “I do not wish to die like Eabani: sorrow has entered my heart, the fear of death has taken possession of me, and I am overcome. But I will go with rapid steps to the strong Shamashnapishtim, son of Ubaratutu, to learn from him how to become immortal.” He leaves the plain of the Euphrates, he plunges boldly into the desert, he loses himself for a whole day amid frightful solitudes. “I reached at nightfall a ravine in the mountain, I beheld lions and trembled, but I raised my face towards the moon-god, and I prayed: my supplication ascended even to the father of the gods, and he extended over me his protection.” A vision from on high revealed to him the road he was to take. With axe and dagger in hand, he reached the entrance of a dark passage leading into the mountain of Mâshu,* “whose gate is guarded day and night by supernatural beings.”