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The waters are not extensive, for only twelve strokes are enumerated; but the current is so strong that it is with the utmost difficulty that Gilgamesh succeeds in passing through them. At last, Gilgamesh is face to face with Parnapishtim. The latter is astonished to see a living person come across the waters.
The sixth tablet marks an important division in the epic. The Ishtar and Sabitum episodes and the narrative of Parnapishtim itself a compound of two independent tales, one semi-historical, the other a nature-myth represent accretions that may refer to a time when Gilgamesh had become little more than a name, a type of mankind in general.
The representation of Gilgamesh on very ancient seal cylinders warrants us in passing beyond the third millennium, but more than this can hardly be said. Gilgamesh is a hero of irresistible power. So much at least is clear from the badly mutilated lines that Gilgamesh has played sad havoc with the inhabitants of Uruk.
Elsewhere the city Uruk is called "the dwelling of Anu and Ishtar, the city of the Kizréti, Ukháti, and Kharimâti" and in a subsequent tablet of the Gilgamesh epic these three classes of harlots are introduced as the attendants of Ishtar, obedient to her call.
Gilgamesh addresses Parnapishtim from the ship, recounts his deeds, among which we distinguish the killing of a panther, of Alû, of the divine bull, and of Khumbaba. The death of Eabani is also dwelt upon, and then Gilgamesh pleads with Parnapishtim, tells him of the long, difficult way that he has traveled, and of all that he has encountered on the road.
As it is, Eabani asks Ukhat to conduct him To the glorious dwelling, the sacred seat of Anu and Ishtar, To the seat of Gilgamesh, perfect in power, Surpassing men in strength like a mountain bull.
The story forms part of a stock of traditions of which we have another specimen in the Eabani-Ukhat episode, incorporated in the Gilgamesh epic.
Obedient to the advice of Sabitum, Gilgamesh tells Ardi-Ea his story and also his desire. Ardi-Ea consents, and tells Gilgamesh to take his ax, to go into the woods, and to cut down a large pole that may serve as a rudder. Gilgamesh, upon hearing this, Takes an ax in his hand, ... Goes to the wood and makes a rudder five gar long. Gilgamesh and Ardi-Ea mount the ship.
Vague stories of simitar arrangers are found among the East African Nandi, and the South African Zulus. +641+. Traces of this function of organizing society appear in the mythical figures of some higher religions. Among such figures may be reckoned the Babylonian Gilgamesh, the Old Testament Cainides, the Greek Heracles, Theseus, Orpheus, and others.
It is a long and hard road that they have to travel. The terror inspired by Khumbaba is compared to that aroused by a violent storm, but Gilgamesh receives assurances, in no less than three dreams, that he will come forth unharmed out of the ordeal.
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