to go to Gilgamesh. In this way the two are brought together. SECOND AND THIRD TABLETS The second tablet is very imperfectly preserved. Indeed, it is difficult to determine the dividing line between the second and third tablets. From an analysis of the fragments, which must belong to the one or the other, we gather that after a tussle between the two heroes they strike up a friendship, and further plan an exploit, which they are to undertake in common, to proceed to a cedar wood in which a tyrant Khumbaba reigns. For some reason, which, until further fragments shall have been discovered, is puzzling, Engidu is either lured back to the wilderness and once more becomes a companion of the animals, or in a dream is transported to his former state. He laments the enticement of the harlot which had led him away from his haunts. On seal cylinders this picture of the wild, primitive man with the long locks, and either naked or clothed in skins and surrounded by animals, or in conflict with them, is frequently depicted.* Engidu is represented as cursing the harlot who, at the instigation of the hunter, brought him to Uruk; but the Sungod Shamash intervenes and shows him the benefits conferred by the harlot and recalls to him the outlook for a happy life in conjunction with his royal friend Gilgamesh. Engidu is reconciled to his companionship with Gilgamesh, but is again disturbed by terrible dreams in which he is carried away by demons to the lower world. The description of this abode of the dead is interesting. The dwelling into which one enters, and from which one may not go out, To the road from which one does not return, To the house whose inhabitants are deprived of light, Where earth is their food, clay their nourishment, Covered are they like birds with feathers, They do not see the light, They dwell in darkness. Ward, "Seal Cylinders of Western Asia," Chapters VII. and X. The description tallies with the one given at the beginning of the story of the Descent of Ishtar into the nether world, of which a translation will be found in a later section. FOURTH AND FIFTH TABLETS The chief episode dealt with in the fourth and fifth tablets is the overthrow of the tyrant Khumbaba, who is pictured as dwelling in a magnificent wood of cedars in a far-off country. The meaning of the episode is obscure and, unfortunately, the fragmentary condition of the two tablets in question makes it impossible to give even a definite answer to the very natural question of the situation of the cedar forest where the tyrant dwelt. Until recently the general opinion was in favor of regarding Khumbaba as a ruler of Elam (to the east of Babylonia) and of placing the seat of his rule somewhere in the mountainous regions to the northeast of Babylonia. It is not, however, certain that Khumbaba is an Elamitic name, and there are various indications which speak in favor of seeking for the cedar forest in the Amanus mountains (northern Syria), or perhaps in the region still farther north. Gilgamesh, accompanied by Engidu, is to proceed against the tyrant. Both appear to be in mortal terror of the outcome of the conflict. The mother of Gilgamesh, who is the goddess Nin-sun, prays to the Sun-god Shamash to protect her son, and accompanies the prayer with an offering. She raises her hands to Shamash: "Why hast thou stirred up the heart of my son Gilgamesh, So that he finds no rest? Thou hast stirred him up so that he wishes to take Engidu's terror manifests itself in several troublesome dreams which are sent to him, but which apparently are interpreted as an indication that Gilgamesh will triumph. They proceed and at last reach the cedar forest, which arouses their astonishment. VOL. I.-18. They stood and gazed at the forest; They regarded the great height of the cedars; They looked for the entrance to the wood in which Khumbaba wanders, measuring his steps. The roads are well laid out, the paths cleared, They behold the mount of cedars, the dwelling of the gods, The sanctuary of Irnini. The description of the conflict with Khumbaba is almost entirely lacking. It would appear that, before the ruler himself is approached, Gilgamesh and Engidu are obliged to engage the guardian of the forest in mortal combat. They succeed in dispatching him, and, when the text again becomes clear, we find the two heroes returning from their perilous undertaking in triumph. It may be that the entire episode recalls the dimmed recollection of some conflict between the Babylonians and some mountainous groups - possibly Hittites who not infrequently threatened the Euphrates valley with invasion. If this be the case it follows that Gilgamesh and Engidu had originally nothing to do with the episode itself and are merely brought into connection with it as the result of the tendency to ascribe all the great deeds of the past to the favorite hero in association with his beloved companion. SIXTH TABLET In Tablet Six we have as the main episode one which is clearly mythical in character. The goddess Ishtar, attracted by the beauty and the achievements of Gilgamesh, falls in love with him and proposes marriage to him. The majestic Ishtar directed her gaze to the beauty of Gilgamesh. Come, Gilgamesh, be my husband, grant me thy seed; Aye, grant me. Be thou my husband, let me be thy wife. I will harness with thee a chariot of lapis lazuli and gold, With wheels of gold and with horns of precious stones, Mighty horses shalt thou harness daily to it, Entering into our house amidst the perfume of cedars. On thy entering into our house, those seated on the throne will kiss thy feet, Kings and lords and all the great will bow down to thee, Bringing to thee as tribute the treasures of mountain and land." In this strain the goddess proceeds in the hope of leading Gilgamesh by the attractions that she offers him — wealth, glory, and tribute. Gilgamesh, however, declines, and in justification reminds the goddess of the sad fate that had pursued her former lovers. "Which of thy husbands didst thou love forever? Verily I will recount all thy misdeeds. Tammuz, thy youthful husband, thou causest to weep every year; To the young shepherd thou didst make love, Thou didst beat him and break his wings, Now he stands in the woods and laments, 'Oh, my wing.' Thou didst love a lion perfect in strength, Seven times and again seven, thou didst dig traps for him. Thou didst win the love of a spirited horse: whip, spur, and thong thou didst decree for him; To dash along for seven double hours thou didst decree for him, To raise up dust and then to drink, thou didst decree for him. For his mother, the goddess Silili, thou didst decree weeping. Thou didst win the love of the shepherd, the guardian who daily. ... for thee, daily slaughtered a kid; Thou didst beat him, change him into a wolf, His own shepherd boys drove him off, His own dogs bit his skin. Thou didst win the love of Ishullanu, the gardener of thy father, Who always brought you a bunch of flowers, Thou didst raise thy eyes to him, enticing him, 'Dear Ishullanu, let me enjoy thy love, Draw forth thy hand and touch . . .' Ishullanu spoke to thee, 'What do you desire of me? Has my mother not baked, have I not eaten, That I should eat food of mischief and curses, thorns, and thistles... ?' Thou didst hear this speech of his, Thou didst bite him and change him into a ... Gave him a dwelling in the midst of . . . Where he can not mount to the roof nor descend. And now you seek my love and will deal with me as with The goddess Ishtar, sorely wounded in her pride, rushes in anger to her father Anu, who dwells in the highest heaven. When Ishtar heard this, Ishtar grew furious and mounted to heaven. Ishtar went to Anu, her father, To Antu, her mother, she went and spoke: "Oh, my father, Gilgamesh has cursed me, Gilgamesh has rehearsed my misdeeds, My misdeeds, and my curses." The goddess calls upon her father to create a heavenly bull and to send him to Uruk and there kill Gilgamesh. Anu grants the request, and the bull, of extraordinary strength, is sent down to Uruk. Many hundreds are slain by him, but finally Gilgamesh and Engidu succeed in dispatching the monster. Ishtar, more furious than ever, mounts the wall of Uruk and pronounces a curse. "Woe to Gilgamesh, who has offended me, |