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Updated: June 14, 2025
Eabani falls a victim to Ukhat's attractions. Ukhat exposed her breast, revealed her nakedness, took off her clothing. Unabashed she enticed him. The details of the meeting are described with a frank simplicity that points again to the antiquity of the legend. For six days and seven nights Eabani enjoyed the love of Ukhat.
Haupt has ingeniously conjectured that the sickness which affects Gilgamesh is of a venereal character. The hero wanders about in search of healing. His suffering is increased by his deep sorrow over the loss of his 'companion. The death of Eabani presages his own destruction, and he dreads the dreary fate in store for him. The ninth tablet introduces us to this situation.
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.
The few fragments of the seventh and eighth tablets do not suffice for determining exactly in what way this happened, but Ishtar is evidently the cause of the misfortune. A fatal illness, it would seem, seizes hold of Eabani, whether as the result of a further contest or directly sent, it is impossible to say. For twelve days he lingers and then is taken away.
Associated with Marduk in the creation of mankind is a goddess Aruru. The goddess Aruru created the seed of men together with him. We encounter this goddess Aruru in the Gilgamesh epic, where she is represented as creating a human being, Eabani; and, curiously enough, she creates him in agreement with the Biblical tradition, out of a lump of clay.
Gilgamesh and Eabani together proceed to the contest with the bull, as they formerly proceeded against Khumbaba. On seal cylinders this fight is frequently pictured. In agreement with the description in the narrative, Eabani takes hold of the tail of the animal, while Gilgamesh despatches him by driving a spear into the bull's heart. Ishtar's plan is thus frustrated.
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.
Aruru, upon hearing this, forms a man of Anu. Aruru washes her hands, takes a bit of clay, and throws it on the ground. She creates Eabani, a hero, a lofty offspring, the possession of Ninib. This creature Eabani is described as having a body covered with hair. He has long flowing locks and lives with the animals about him.
The description reminds one forcibly of the garden of Eden, and the question suggests itself whether in this episode of the Gilgamesh epic, we have not again a composite production due to the combination of Gilgamesh's adventures with the traditions regarding Eabani. Unfortunately the description of the contest with Khumbaba is missing. There is a reference to the tyrant's death, but that is all.
Finally he reaches the sea, where the maiden Sabitum has her palace and throne. Upon seeing the hero, the maiden locks the gates of her palace and will not permit Gilgamesh to pass across the sea. Gilgamesh pleads with Sabitum, tells of the loss of his friend Eabani, 'who has become dust, and whose fate he does not wish to share. If it is possible, let me cross the ocean.
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