The Akkadian Tale of Ishtar and Dumuzi

The Descent of Ishtar to the Underworld

This is an Akkadian version of the ancient tale, containing ritual instructions for the 'taklimtu', a ritual that was performed annually. As a funeral tradition, it included the ritual bathing and anointing of a statue representing Dumuzi followed by its 'lying in state' in Ninevah. Like many religions, statues representing god or goddess often travelled through the countryside at certain times in the year. Even in Europe thousands of years later, there are accounts of the great Goddess Nerthus and her journey in a waggon to a sacred lake where she underwent ritual bathing each year.

In this poem, the 'land of no return' is named Kurnugi. In the Descent of Inanna, the place name is simply Kur. 'Kur' was the word for Mountain originally and came to represent the land or river of the dead.

It is possible that the statue of the goddess made a ritual journey from Uruk to Kutha, the entrance to the Underworld, on a seasonal basis.

I intend to post the Sumerian version of the Descent of Ishtar separately. There are some differences between the two. In the Akkadian version, Dumuzi is created by Ea in order to serve Erishkigal but the ostensible reason for Ishtar's journey, the death of Ereshkigal's husband, the 'Bull of Heaven' is not stated or at any rate, that portion of the tale did not survive.

The order by Ereshkigal to send the 60 diseases that torment every portion of a human's being is included only in the Akkadian version. This may be an example of an ancient Semitic practice wherein a sacrificial animal or person was laden with every unwanted 'sin' or disease by each member of the community, then driven out of the community. By performing a ritual of this nature, the people believed themselves to be purified and protected from evil or disease for another year.

If this interpretation is correct, Ishtar went into the Underworld as the designated representative of the World Above. Stripped of regalia and power, she then was 'assaulted' by every disease, and finally 'hung on a hook like a piece of meat' (in the Sumerian colourful description). Ultimately, however, it is Dumuzi rather than Ishtar who is the Sacrifice. There appear to be two courts, that of the Earth Above and the Earth Below, that mirror one another. Inanna is Queen of the 'Above World' and her twin sister Ereshkigal is Queen of the World Below. Upon the death of the consort of the Queen of the World Below, the Queen of the World Above must journey to that dark world and ultimately offer the gift of her own consort, Dumuzi. Dumuzi afterwards in turn is 'ransomed' by his twin-sister, Belili, and the sequence ends with a description of a time when the table will be set in the Above World for a ritual funeral banquet attended by the dead.

In many ancient civilisations, the 'Afterlife' was believed to mirror the life of this world in most respects, subject perhaps to its own laws, but sharing many of the same traditions and rituals. The funeral feast ritual, described in the poem of Mot and Ba'al here is enacted between two sisters rather than two vying male gods.

The 'newcomer' Dumuzi ostensibly is fashioned by Ea, the All-Father in order to 'gladden the heart' of the bereaved widow but in truth must be given to Ereshkigal in order that the circle of life, death and rebirth remain unbroken. While Ishtar remains in the World Below, there is a total cessation of the rituals of life in the World Above. No crops will grow, no children will be conceived until the Great Queen of the World Above is allowed to return to resume her rulership.

The price that must be paid is 'an eye for an eye' in a sense. The Great Queen of the World Below has been deprived of her consort. If Ishtar is to be allowed to return to the World Above, her life must be ransomed with that of a living consort, Dumuzi.

The 'Bull of Heaven' is another manifestation of the 'Apis Bull'. In ancient Egypt, Osiris was the 'Apis Bull', the 'Bull of Heaven'. When he was murdered by Set, his body was cut into pieces and the pieces scattered. The Great Queen Isis attempted to restore him but could not find the most important piece, his manhood. She therefore created an artificial member and through her magical power, was impregnated by the seed of her dead consort. Horus was the result and Osiris thus became Ruler of the Underworld.

The 'Apis Bull' was believed to be the Ka or spirit of the god Osiris. In fact, 'ka' is the word for 'bull' as well as the word that denotes the soul. The Apis Bull was known as the 'living deceased one'. and would be sacrificed in the month of April, in his 28th year, at the very time that Osiris himself had been put to death initially by Set. The number 28 obviously is connected with a lunar cycle. It is possible that the disappearance of the moon each month for three days was the inspiration for the earliest rituals of sacrifice. Even in the case of the Christ, his death and resurrection followed the old lunar pattern. The Apostle's Creed states: 'After three days he rose from the dead... he ascended into heaven and is seated at the right hand of the Father.'

The Apis Bull and cult of Osiris deserve separate posts but the reason for mentioning it here is the designation of Ereshkigal's deceased husband as the 'Bull of Heaven.'

Here is the old Akkadian tale:

The Descent of Ishtar

To Kurnugi, the land of no return,
Ishtar, daughter of Sin determined she would go.
The daughter of Sin determined she would go
To the Dark House, dwelling of the god of Erkalla,
To the house which, once entered,
No one can leave,
At the end of the road where travel
Is all in one direction, a one-way road.
The daughter of Sin determined she would go
To the house where those who enter
Are deprived of light,
Where dust is their food and clay their bread.
They see no light in the dwelling of darkness
And they are clothed, like birds, in feathers.
Over the door and the bolt, dust has settled.
The air does not stir, even the air is still,
In the land of no return.

Ishtar arrived at the gate of Kurnugi,
Addressed her words to the keeper of the gate:
'Here, Gatekeeper, open your gate for me!
Open your gate for me to enter!
If you do not open the gate for me,
I shall smash the door and shatter the bolt!
I shall smash the doorpost and overturn the gates!
I shall raise up the dead and they shall eat the living:
The dead shall outnumber the living!

The gatekeeper made his voice heard and spoke.
To great Inanna he said:
'Stop, Lady, do not break down the gates!'
To great Inanna the gatekeeper spoke:
Let me go to my queen Ereshkigal,
Let me report your words to her!'

To Queen Ereshkigal the gatekeeper went,
To her he spoke:
'Here she is, your sister Inanna
Who holds the great keppu'toy,
Stirs up the Abzu in Ea's presence!'

When Ereshkigal heard this,
Her face grew as livid as cut tamarisk,
As dark as the rim of a kuninu-vessel
Were the lips of the great Queen.

'What brings her to me?' she cried.
'What has incited Inanna against me?
Surely she is not angered
Because I drink water with the Anunnaki,
Because I eat clay for bread,
And drink muddy water for beer?

It is my fate
To weep for young men forced to abandon their sweethearts,
It is my fate
To weep for girls wrenched from the laps of their lovers,
It is my fate
To weep for the infant child expelled from the womb
Before its time to be born.

Go, Gatekeeper, go!
Open the gates to her,
Treat her according to the ancient rites.'

The gatekeeper did her bidding,
He opened the gates to Inanna.

'Enter, my Lady, may Kutha give you joy!
Enter, my Lady,
May the palace of Kurnugi be glad to see you.'

He let her through the first gate,
But stripped the great Crown from her head.

Inanna cried:
'Why, Gatekeeper, did you take the Crown from my head?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the second gate,
But stripped the rings from her ears.

Inanna cried:
'Why, Gatekeeper, did you take the earrings from my ears?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the third gate,
But stripped the beads from her neck.

Inanna cried:
'Why, Gatekeeper, did you take the beads from my neck?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the fourth gate,
But stripped the toggle pins from her breast.

Inanna cried:
'Why, Gatekeeper, did you take the pins from my breast?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the fifth gate,
But stripped the girdle of birthstones from her waist.

Inanna cried:
'Why, Gatekeeper, did you take the sacred girdle from my waist?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the sixth gate,
But stripped the rings from her wrists and ankles.

Inanna cried:
'Why, Gatekeeper, did you take the rings from my wrists and ankles?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

He let her through the seventh and final gate,
But stripped her proud garment from her body,
Leaving her naked.

Inanna cried:
'Why, Gatekeeper, did you take the proud garment from my body?'

'Enter, my Lady!' he replied.
'Such are the rites of the Mistress of Earth.'

Inanna went down to Kurnugi,
Naked she went down to the depths.

Ereshkigal looked at her and trembled.
Inanna did not hesitate,
But bent down towards Ereshkigal.

Ereshkigal made her voice heard and spoke,
Addressed her words to Namtar her Vizier.

'Go, Namtar!
Send out sixty diseases against her,
Send sixty diseases against Inanna my sister:
Disease of the eyes to her eyes
Disease of the arms to her arms,
Disease of the feet to her feet,
Disease of the heart to her heart,
Disease of the head to her head,
To every part of her its disease!'

On the Earth Above,
When Inanna had abandoned it,
No bull mounted a cow,
No young man lay with a girl.
The young men slept in their private rooms,
The girls slept in the company of her firneds.

Then Papsukkal, vizier of the great gods
Hung his head, his face filled with gloom.
He donned the garment of mourning,
His hair unkempt,
Dejected he wept before his father Sin.

His tears flowed freely before King Ea.
His tears before the All-Father flowed.
'Inanna has gone down to the Earth Below,
And she has not come up again.
Since Inanna went down to Kurnugi,
No bull has mounted a cow,
No young man has lain with a girl.
The young men sleep in their private rooms,
And the girls sleep in the company of their friends.'

Ea, in the wisdom of his heart,
A person created.
He created the playboy 'Handsome One'.

'Come, Handsome One,
Set your face towards the gates of Kurnugi!
The seven gates of Kurnugi shall be opened before you.
Ereshkigal shall gaze upon you and be gladdened.
When she is relaxed, her mood will lighten.
Make her swear the oath by the Great Gods.
Raise your head, pay attention to the waterskin!
Say: 'My Lady, let them give me the waterskin,
That I may drink water from it!'

Thus was it done.
But, when Ereshkigal heard his desire,
She struck her thigh and bit her finger.
'You have asked for that which you should not have asked!
Come, Handsome One, I shall curse you!
With a great curse shall I bind you!
For you I decree a fate
That will be forgotten never!

Bread gleaned from the ploughs of the city
Shall be your food,
The drains and sewers of the city
Your only drinking place,
The steps at a threshold
Your only seat,
Both the thirsty and the drunkard
Shall slap your cheek!

Ereshkigal made her voice heard and spoke,
Addressed her words to Namtar her vizier:
'Go Namtar! Rouse the guardians of Egalina!
Decorate the steps of the threshhold with coral.
Bring out the Annunaki
And seat them on their thrones of gold.
With the water of life sprinkle Inanna,
And conduct her into my presence!'

Namtar went to Egalina,
Decorated the steps of the threshhold with coral,
Brought out the Annunaki,
Seated them on their thrones of gold.
With the waters of life he sprinkled Inanna,
And brought her to her sister.

Through the first door he brought Inanna,
Restoring the proud garment of her body.
Through the second gate he brought her,
Restoring the rings of gold on her wrists and ankles.
Through the third door he brought her,
Restoring the girdles of birthstones to her waist.
Through the fourth gate he brought her,
Restoring the toggle pins to her breast.
Through the fifth gate he brought her,
Restoring the beads to her neck.
Through the sixth gate he brought her,
Restoring the rings to her ears.
Through the seventh gate finally he brought her,
Restoring the Great Crown to her head.

'Swear she has paid for her ransom,
By Dumuzi, the lover of her youth
Has she paid!

'Let her return in exchange!

'Prepare Dumuzi,
Wash him with pure water,
Anoint him with sweet oil,
Clothe him in a robe of crimson,
Let the pipe of lapis play,
Let the girls raise their loud lament!'

Belili, sister of Dumuzi,
Then stripped herself of her jewels,
Stripped herself of her robes,
Her lap was filled with eyestones.
Hearing the lament for her brother,
She struck the jewels from her body,
The eyestones with which the front of the wild cow had been filled,
Her lap was filled with jewels.

'Of my only brother,
You shall not rob me forever!
On the day when Dumuzi comes back up,
The day when the pipe of lapis and the ring of carnelian
Come back up with him,
On the day when both male and female mourners
Come back up from Below with Dumuzi,
The dead shall come up and smell the smoke offering!'