Mountain, because of your elevation, because of your height, Because of your goodness, because of your beauty, Because you wore a holy garment, Because An organized?
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Inanna petitions to An , the Sumerian god of the heavens, to allow her to destroy Mount Ebih. All of his plants die, except for one poplar tree.
To his surprise, the goddess Inanna sees his one poplar tree and decides to rest under the shade of its branches. Inanna rejects these excuses and kills him. In Sumerian religion , the Kur was conceived of as a dark, dreary cavern located deep underground;  life there was envisioned as "a shadowy version of life on earth". Inanna pounds on the gates of the Underworld, demanding to be let in. Then, one by one, open each gate a crack.
Let Inanna enter. As she enters, remove her royal garments. She asks why, and is told, "It is just the ways of the Underworld. Inanna passes through a total of seven gates, at each one removing a piece of clothing or jewelry she had been wearing at the start of her journey,  thus stripping her of her power. Then she made her sister Erec-ki-gala rise from her throne, and instead she sat on her throne. The Anna , the seven judges, rendered their decision against her. They looked at her — it was the look of death. They spoke to her — it was the speech of anger.
They shouted at her — it was the shout of heavy guilt. The afflicted woman was turned into a corpse. And the corpse was hung on a hook. Three days and three nights pass, and Ninshubur, following instructions, goes to the temples of Enlil , Nanna , An , and Enki , and pleads with each of them to rescue Inanna.
Finally, they come upon Dumuzid, Inanna's husband. Inanna, displeased, decrees that the galla shall take him. In the Sumerian poem The Return of Dumuzid , which begins where The Dream of Dumuzid ends, Dumuzid's sister Geshtinanna laments continually for days and nights over Dumuzid's death, joined by Inanna, who has apparently experienced a change of heart, and Sirtur , Dumuzid's mother.
The Akkadian version begins with Ishtar approaching the gates of the Underworld and demanding the gatekeeper to let her in:. If you do not open the gate for me to come in, I shall smash the door and shatter the bolt, I shall smash the doorpost and overturn the doors, I shall raise up the dead and they shall eat the living: And the dead shall outnumber the living!
The gatekeeper whose name is not given in the Akkadian version  hurries to tell Ereshkigal of Ishtar's arrival.
Moses and Sargon - A Striking Parallel - Genesis Proclaimed Association
Ereshkigal orders him to let Ishtar enter, but tells him to "treat her according to the ancient rites. When she finally passes the seventh gate, she is naked. After Ishtar descends to the underworld, all sexual activity ceases on earth. Ereshkigal becomes enraged when she hears Asu-shu-namir's demand, but she is forced to give them the water of life. Asu-shu-namir sprinkles Ishtar with this water, reviving her.
Then, Ishtar passes back through the seven gates, receiving one article of clothing back at each gate, and exiting the final gate fully clothed. Folklorist Diane Wolkstein interprets the myth as a union between Inanna and her own "dark side": her twin sister-self, Ereshkigal. When Inanna ascends from the Underworld, it is through Ereshkigal's powers, but, while Inanna is in the underworld, it is Ereshkigal who apparently takes on the powers of fertility. The poem ends with a line in praise, not of Inanna, but of Ereshkigal. Wolkstein interprets the narrative as a praise-poem dedicated to the more negative aspects of Inanna's domain, symbolic of an acceptance of the necessity of death in order to facilitate the continuance of life.
Another recent interpretation, by Clyde Hostetter, holds that the myth is an allegorical report of related movements of the planets Venus, Mercury, and Jupiter;  and those of the waxing crescent Moon in the Second Millennium, beginning with the spring equinox and concluding with a meteor shower near the end of one synodic period of Venus. In the Akkadian Epic of Gilgamesh , Ishtar appears to Gilgamesh after he and his companion Enkidu have returned to Uruk from defeating the ogre Humbaba and demands Gilgamesh to become her consort. Listen to me while I tell the tale of your lovers.
There was Tammuz, the lover of your youth, for him you decreed wailing, year after year. You loved the many-coloured Lilac-breasted Roller , but still you struck and broke his wing [ You have loved the stallion magnificent in battle, and for him you decreed the whip and spur and a thong [ You struck and turned him into a wolf; now his own herd-boys chase him away, his own hounds worry his flanks. Infuriated by Gilgamesh's refusal,  Ishtar goes to heaven and tells her father Anu that Gilgamesh has insulted her.
I shall bring up the dead to eat food like the living; and the hosts of the dead will outnumber the living. Later in the epic, Utnapishtim tells Gilgamesh the story of the Great Flood ,  which was sent by the god Enlil to annihilate all life on earth because the humans, who were vastly overpopulated, made too much noise and prevented him from sleeping. The cult of Inanna-Ishtar may have been introduced to the Kingdom of Judah during the reign of King Manasseh  and, although Inanna herself is not directly mentioned in the Bible by name,  the Old Testament contains numerous allusions to her cult.
The Song of Songs bears strong similarities to the Sumerian love poems involving Inanna and Dumuzid,  particularly in its usage of natural symbolism to represent the lovers' physicality. The cult of Inanna-Ishtar also heavily influenced the cult of the Phoenician goddess Astarte. Early artistic and literary portrayals of Aphrodite are extremely similar to Inanna-Ishtar.
The cult of Inanna may also have influenced the deities Ainina and Danina of the Caucasian Iberians mentioned by the medieval Georgian Chronicles. Traditional Mesopotamian religion began to gradually decline between the third and fifth centuries AD as ethnic Assyrians converted to Christianity. In his pamphlet The Two Babylons , as part of his argument that Roman Catholicism is actually Babylonian paganism in disguise, Alexander Hislop , a Protestant minister in the Free Church of Scotland , incorrectly argued that the modern English word Easter must be derived from Ishtar due to the phonetic similarity of the two words.
Ishtar's first major appearance in modern literature was in Ishtar and Izdubar ,  a book-length poem written in by Leonidas Le Cenci Hamilton, an American lawyer and businessman, loosely based on the recently-translated Epic of Gilgamesh. Inanna has become an important figure in modern feminist theory because she appears in the male-dominated Sumerian pantheon ,  but is equally as powerful, if not more powerful than, the male deities she appears alongside.
While classical deities such as Apollo and Aphrodite frequently appear in modern popular culture,  Mesopotamian deities have, by contrast, fallen into almost complete obscurity. The Argentinian-born Jewish feminist artist Liliana Kleiner created an exhibition of paintings depicting her interpretations of Inanna's myths,  which was first displayed in Mexico in Inanna is also an important figure in modern BDSM culture. Nomis has cited the portrayal of Inanna in the myth of Inanna and Ebih as an early example of the dominatrix archetype,  characterizing her as a powerful female who forces gods and men into submission to her.
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Cowan has also criticized the portrayal of Inanna in modern Neopaganism, remarking that it "reduces [her] to little more than a patron goddess of parking lots and crawlspaces". From Wikipedia, the free encyclopedia. For other uses, see Ishtar disambiguation. Queen of Heaven Goddess of love, beauty, sex, desire, fertility, war, justice, and political power. She is equipped with weapons in her back, has a horned helmet, and is trampling a lion.
Uruk tradition: An and an unknown mother Isin tradition: Nanna and Ningal Other traditions: Enlil and an unknown mother or Enki and an unknown mother  . The eight-pointed star was Inanna-Ishtar's most common symbol. Lions were one of Inanna-Ishtar's primary symbols. Main article: Epic of Gilgamesh. Statue from the Aihole temple of the Hindu goddess Durga , heavily armed with a lion at her side, slaying the buffalo demon. Durga's warrior aspects and associations with lions may be derived from Inanna. Electronic Text Corpus of Sumerian Literature. Oxford University.
Retrieved 22 June Ackerman, Susan , Day, Peggy Lynne ed. Eerdmans Publishing Co. Cathcart , Cromwell Press, pp. Hallo 2nd ed. Winona Lake, Indiana: Eisenbrauns. Symbolic and spatial associations of the south Caucasian goddess of game animals. Black, Jeremy The Literature of Ancient Sumer. Oxford University Press. Things are further complicated when a mysterious stranger warns Aiden that possessing the secret of heaven could cost him his life.
Pursued by the F. Expose the secret of heaven An interesting premise, but also incredibly sad and thought provoking.
Biery The Romantic is a love story about friendship, passion, and the echo of unrequited love. Hadriel Alighieri has harbored a secret love in his heart for his entire life. It began in his youth, when he fell in love with his best friend, Sophia Paula. After Sophia leaves for America and is later betrothed to Joshua Abrams, Hadriel is devastated, but he is a hopeless romantic.
In the winter of his life he is haunted by the memory of Sophia Paula. When the Angel of Death comes for Hadriel, the journey begins. From his deathbed, he travels to the day he fell in love. He retraces the steps of his life in search of his unrequited love.
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For she too harbors a secret love in her heart. But what begins as a journey to fulfill a promise turns into a discovery of the only emotion that defines our lives. Did she wait for him? I liked how the novel begins with Hadriel looking back over his life, in the presence of the angel of death; it gives the book an immediate touch of sorrow and heartbreak, as well as some mystery. The reader wonders just what happened to Hadriel and Sophia, and will find out as the story weaves on.
Category: Romance. The veil between the heavens and the underworld has fallen. Mesopotamia is a region with kingdoms at war. The desires of gods and men sweep across the Land Between the Two Rivers so frequently that peace is merely a memory of a forgotten time. Demons and shape shifters lurk in the shadows, sorcerers and soothsayers warn of impending danger, and a demigod sits in the eye of the storm.