representing Merodach, and "the woman-creature" Tiawath.
5. Religious Belief in Babylonia and Assyria, p. 88.
6. Religious Belief in Babylonia and Assyria, p. 81.
7. Religious Belief in Babylonia and Assyria, p. 82.
8. Elsewhere Ishtar herself is sprinkled. See p. 130.
9. Translation from Prof. Sayce's Hibbert Lectures, p. 157.
10. These deities of the underworld must not be confounded with the gods of the abyss referred to at great length in Chapter II. The first group are gods of the dead, the second gods of the primeval waters.
11. In sacrifice, too, the totemic or symbolic animal of the god is often flayed and the skin worn by the priest, who in this manner personates the god. In ancient Mexico the priests of Centeotl wore the skin of a woman sacrificed annually to that goddess.
CHAPTER IV:
THE GILGAMESH EPIC
As it is probable that the materials of the Gilgamesh epic, the great mythological poem of Babylonia, originally belong to the older epoch of Babylonian mythology, it is fitting that it should be described and considered before passing to the later developments of Chaldean religion.
The Gilgamesh epic ranks with the Babylonian myth of creation as one of the greatest literary productions of ancient Babylonia. The main element in its composition is a conglomeration of mythic matter, drawn from various sources, with perhaps a substratum of historic fact, the whole being woven into a continuous narrative around the central figure of Gilgamesh, prince of Erech. It is not possible at present to fix the date when the epic was first written. Our knowledge of it is gleaned chiefly from mutilated fragments belonging to the library of Assur-bani-pal, but from internal and other evidence we gather that some at least of the traditions embodied in the epic are of much greater antiquity than his reign. Thus a tablet dated 2100 B.C. contains a variant of the deluge story inserted in the XIth tablet of the Gilgamesh epic. Probably this and other portions of the epic existed in oral tradition before they were committed to writing—that is, in the remote Sumerian period.
Assur-bani-pal was an enthusiastic and practical patron of literature. In his great library at Nineveh (the nucleus of which had been taken from Calah by Sennacherib) he had gathered a vast collection of volumes, clay tablets, and papyri, most of which had been carried as spoil from conquered lands. He also employed scribes to copy older texts, and this is evidently how the existing edition of the Gilgamesh epic came to be written. From the fragments now in the British Museum it would seem that at least four copies of the poem were made in the time of Assur-bani-pal. They were not long permitted to remain undisturbed. The great Assyrian empire was already declining; ere long Nineveh was captured and its library scattered, while plundering hordes burnt the precious rolls of papyrus, and buried the clay tablets in the debris of the palace which had sheltered them.
There they were destined to lie for over 2000 years, till the excavations of Sir A. H. Layard, George Smith, and others brought them to light. It is true that the twelve tablets of the Gilgamesh epic (or rather, the fragments of them which have so far been discovered) are much defaced; frequently the entire sense of a passage is obscured by a gap in the text, and this, when nice mythological elucidations are in question, is no light matter. Yet to such an extent has the science of comparative religion progressed in recent years that we are probably better able to read the true mythological significance of the epic than were the ancient Babylonians themselves, who saw in it merely an account of the wanderings and exploits of a national hero.
The epic, which centres round the ancient city of Erech, relates the adventures of a half-human, half-divine hero, Gilgamesh by name, who is king over Erech. Two other characters figure prominently in the narrative—Eabani, who evidently typifies primitive man, and Ut-Napishtim, the hero of the Babylonian deluge myth. Each of the three would seem to have been originally the hero of a separate group of traditions which in time became incorporated, more or less naturally, with the other two.
The first and most important of the trio, the hero Gilgamesh, may have been at one time a real personage, though nothing is known of him historically.1 Possibly the exploits of some ancient king of Erech have furnished a basis for the narrative. His name (for a time provisionally read Gisdhubar, or Izdubar, but now known to have been pronounced Gilgamesh2) suggests that he was not Babylonian but Elamite or Kassite in origin, and from indications furnished by the poem itself we learn that he conquered Erech (or relieved the city from a besieging force) at the outset of his adventurous career. It has been suggested also that he was identical with the Biblical Nimrod, like him a hero of ancient Babylon; but there are no other grounds for the suggestion.
So much for the historical aspect of Gilgamesh. His mythological character is more easily established. In this regard he is the personification of the sun. He represents, in fact, the fusion of a great national hero with a mythical being. Throughout the epic there are indications that Gilgamesh is partly divine by nature, though nothing specific is said on that head. His identity with the solar god is veiled in the popular narrative, but it is evident that he has some connexion with the god Shamash, to whom he pays his devotions and who acts as his patron and protector.
The Birth of Gilgamesh
Among the traditions concerning his birth is one related by Ælian (Historia Animalium, XII, 21) of Gilgamos (Gilgamesh), the grandson of Sokkaros. Sokkaros, who, according to Berossus, was the first king to reign in Babylonia after the deluge, was warned by means of divination that his daughter should bear a son who would deprive him of his throne. Thinking to frustrate the designs of fate he shut her up in a tower, where she was closely watched. But in time she bore a son, and her attendants, knowing how wroth the King would be to learn of the event, flung the child from the tower. But before he reached the ground an eagle seized him up and bore him off to a certain garden, where he was duly found and cared for by a peasant. And when he grew to manhood he became King of the Babylonians, having, presumably, usurped the throne of his grandfather.
Here we have a myth obviously of solar significance, conforming in every particular to a definite type of sun-legend. It cannot have been by chance that it became attached to the person of Gilgamesh. Everything in the epic, too, is consonant with the belief that Gilgamesh is a sun-god—his connexion with Shamash (who may have been his father in the tradition given by Ælian, as well as the eagle which saved him from death), the fact that no mention is made of his father in the poem, though his mother is brought in more than once, and the assumption throughout the epic that he is more than human.
Given the key to his mythical character it is not hard to perceive in his adventures the daily (or annual) course of the sun, rising to its full strength at noonday (or mid-summer), and sinking at length to the western horizon, to return in due time to the abode of men. Like all solar deities—like the sun itself—his birth and origin are wrapped in mystery.
