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Updated: June 14, 2025
Unfortunately, the tablet at this point is defective, and the following three tablets are represented by small fragments only, from which it is exceedingly difficult to determine more than the general course of the narrative. Ukhat and Eabani proceed to Uruk.
The dead Eabani, it will be recalled, appears to Gilgamesh and is at once recognized by the latter. What distinguishes the dead from the living is their inactivity. They lie in Aralû without doing anything. Everything there is in a state of neglect and decay. The dead can speak, but the Babylonians probably believed, like the Hebrews, that the dead talk in whispers, or chirp like birds.
The conjuring up of the spirit of Eabani is also a feature that appears to be due to theological influences, and the whole episode of Gilgamesh's wandering from place to place seeking for information appears to be a 'doublet' suggested by the hero's wanderings, as narrated in the ninth and tenth tablets.
The introduction of Ukhat, however, as an aid to carry out the designs of Gilgamesh is devoid of religious significance, and one is inclined to regard the Eabani episode, or at least certain portions of it, as having had at one time an existence quite independent of Gilgamesh's adventures. The description of Eabani is, as we have seen, based upon mythological ideas.
Gilgamesh triumphs as does Marduk, but when once the summer solstice, which represents the sun's triumph, is past, the decline of the sun's strength begins to set in. This is indicated by the subsequent course of the narrative. The scene of rejoicing at Gilgamesh's triumph is changed to one of sadness. Eabani is snatched away from Gilgamesh.
In the episode of Eabani, Ukhat, and the hunter who, be it noted, plays the part of the tempter we seem to have an ancient legend forming part of some tradition regarding the beginnings of man's history, and which has been brought into connection with the Gilgamesh epic, when and how, it is impossible, of course, to say. The hunter follows the instructions of Gilgamesh.
After he had satiated himself with her charms, He turned his countenance to his cattle. The reposing gazelles saw Eabani, The cattle of the field turned away from him. Eabani was startled and grew faint, His limbs grew stiff as his cattle ran off. But Ukhat has gained control of him. He gives up the thought of gazelles and cattle, and returns to enjoy the love of Ukhat. His senses return,
The creation of Eabani recalls the Biblical tradition of the formation of the first man, and Ukhat appears to be the Babylonian equivalent to the Biblical Eve, who through her charms entices Eabani away from the gazelles and cattle, and brings him to Uruk, the symbol of civilized existence.
Ishtar mounts the wall of walled Uruk. In violent rage she pronounces a curse: "Cursed be Gilgamesh, who has enraged me, Who has killed the divine bull." Eabani adds insult to injury by challenging the goddess. Woe to thee! I will subdue thee, I will do to thee as I have done to him. The mythological motives that prompted the introduction of Ishtar into this tablet now become apparent.
A phrase in some way again indicative of Eabani's likeness to a deity. Eabani. Identical with our own word "harem." Perhaps "ensnarer." So in the "Dibbarra" legend. See p. 531 and Delitzsch, Handwörterbuch, p. 41. Sixth tablet, ll. 184, 185. See Jeremias' Izdubar-Nimrod, pp. 59, 60; Nikel, Herodot und die Keilschriftforschung, pp. 84-86. Alttest.
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