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I take the stem of the word to be nakâlu. To have a share in it. Jensen and Haupt translate "inconsiderately," but this rendering misses the point. Lit., 'my humanity. Not destroy it altogether. Lit. 'the god Dibbarra. I.e., the 'very clever' or 'very pious, an epithet given to Parnapishtim.

After Ea's effective speech Bel is reconciled, and the scene closes dramatically, as follows: Bel came to his senses, Stepped on board of the ship, Took me by the hand and lifted me up, Brought up my wife, and caused her to kneel at my side, Turned towards us, stepped between us, and blessed us. 'Hitherto Parnapishtim was human, But now Parnapishtim and his wife shall be gods like us.

Says the wife to Parnapishtim: "Transform him, let the man eat of the charm-root, Let him return, restored in health, on the road that he came. Through the gage let him pass out, back to his country." Parnapishtim says to his wife: "The torture of the man pains thee. Cook the food for him and place it at his head." It is interesting to note that the woman appears as the exorciser of the disease.

Its breadth and depth should be equal, and when it is finished, Parnapishtim is to float it. The warning from Ea comes to him in a dream, as we learn from a subsequent part of the story. Parnapishtim does not deem it necessary to dwell upon this, for it is only through dreams that the gods communicate with kings and heroes.

If to these considerations we add, that the name Parnapishtim signifies 'offspring of life, that his wife's name is not mentioned, that we are not told what becomes of his family and servants, who are also saved from the deluge, it is evident that the incident of Parnapishtim's escape is an allegory, introduced into the story as a dramatic means of teaching the doctrine which we have seen dominates the tale, that man, ordinarily, cannot secure immortal life.

The one in the Gilgamesh epic, where the hero is told of the plant of life, succeeds in finding it, but as he is about to eat the 'food' loses his grasp upon it. The exertions of man are in vain. True, there is Parnapishtim, a mortal who with his wife has obtained immortal life. He is the exception that proves the rule.

Nisir signifies 'protection' or 'salvation. The houseboat clings to this spot. At this mountain, the mountain Nisir, the boat stuck fast. For six days the boat remains in the same position. At the beginning of the seventh day, Parnapishtim endeavors to ascertain whether the waters have abated sufficiently to permit him to leave the boat. When the seventh day approached I sent forth a dove.

The story of Eabani, Ukhat, and Sadu is independent of Gilgamesh's career, and so also is the story of his wanderings to Mashu and his encounter with Parnapishtim. Gilgamesh is brought into association with Eabani by what may be called, a natural process of assimilation.

The oriental love of story-telling has produced the Gilgamesh epic and, like a true story, it grows in length, the oftener it is told. Gilgamesh is merely a peg upon which various current traditions and myths are hung. Hence the combination of Gilgamesh's adventures with those of Eabani, and hence also the association of Gilgamesh with Parnapishtim.

The ship resembles the ordinary craft still used on the Euphrates. It is a flat-bottomed skiff with upturned edges. On this shell the real 'house' of Parnapishtim is placed. The structure is accurately described. Its height is one hundred and twenty cubits, and its breadth is the same, in accordance with the express orders given by Ea. No less than six floors are erected, one above the other.