A literary analysis of the Sumerian myth "inanna's descent" suggests two of its central episodes may actually be a later addition. The intervention of the Anuna gods in Inanna's release was added later for the purpose of integrating the Inanna myth with a Dumuzi myth.
A literary analysis of the Sumerian myth "inanna's descent" suggests two of its central episodes may actually be a later addition. The intervention of the Anuna gods in Inanna's release was added later for the purpose of integrating the Inanna myth with a Dumuzi myth.
A literary analysis of the Sumerian myth "inanna's descent" suggests two of its central episodes may actually be a later addition. The intervention of the Anuna gods in Inanna's release was added later for the purpose of integrating the Inanna myth with a Dumuzi myth.
HOW DUMUZI BECAME INANNA'S VICTIM: ON THE FORMATION
OF "INANNA'S DESCENT"
Dina KATZ - Leiden
The Sumerian myth "Inanna's Descent" (ID) tells about a journey that Inanna made to the Netherworld. It ends with the confinement of her husband Dumuzi and his sister Ge!tinanna in the Netherworld as Inanna's replacements. A literary analysis of the myth suggests that two of its central episodes may actually be a later addition. The purpose of this article is to take another look at the plot of ID, and to propose that while its first part was originally an Inanna myth that ended with her release from the Netherworld through Enki's trick, the intervention of the Anuna gods in Inanna's release was added later for the purpose of integrating the Inanna myth with a Dumuzi myth. The idea that the Sumerian myth "Inanna's Descent" (ID) is a combination of two or three separate myths is not new. In light of the similarity between the last part of ID and the myth "Dumuzi's Dream" (DD) 1 , Sladek commented in his edition of ID on the dichotomy in ID and suggested that the myth is a combination of two independent myths. 2 Wilcke goes even further by identifying the last part of ID as a short version of DD, and stating that ID is secondary to DD. 3 The myth was viewed by Jacobsen as "no less than three separate myths". According to him, each dealt with a dying and reviving god, and their combined form in ID created a causal sequence of death and revival of these gods. 4 Jacobsen's reconstruction of the separate myths comprising ID may be possible. Yet it remains indecisive mainly for his interpretation of the interchange between Dumuzi and Inanna in the spring and for the very use of the last lines of ID to reconstruct an applicable Dumuzi - Ge!tinanna myth. 5
It stands to reason that if one part of a narrative is known in an independent version (or versions), the other part (or parts) may have been independent as well. However, whereas a part of ID is indeed known as an independent myth recounting the capture and death of Dumuzi, we have no independent counterpart for Inanna. The question is, therefore, whether the first part of ID was an independent myth about Inanna, what its background was, and how the components of ID were assembled to form one comprehensive myth.
1. The plot of ID: an outline
To make it easier for the reader to follow our argument, we shall start with a brief outline of the plot. The myth begins with an introduction that foreshadows the events by stating Inanna's intention and listing the places and offices she left behind, and thus hinting at the outcome (ll. 1-13). Only then actually begins the account of the events that took place. The first episode describes Inanna's preparations for the risky trip: her donning of her divine attire and her instructions to Nin!ubur in case she would be trapped in the Netherworld (ll. 14-67). The instructions end with the assertion that Enki would save her life (l. 67). This episode concludes with a report that Inanna went to the Netherworld but told Nin!ubur who followed her to stay and observe her instructions (ll. 68-72). In the following episode we find Inanna at the gate of the Netherworld. This episode proceeds in three stages: The argument between Inanna and the gate keeper, then the report given by the gate keeper to Ere!kigal and her instructions about how to let Inanna in, and finally Inanna's entrance into the Netherworld during which she is gradually undressed at each gate according to Ere!kigal's plan (ll. 73-164). The next episode takes place inside the Netherworld, in front of Ere!kigal its queen. As Inanna entered she tried to throw Ere!kigal off her throne and to establish herself on it. As a result of her attempt of usurpation she is judged by the seven great gods, the Anunna, and put to death. This episode ends with a dry statement that she turned into a corpse and was hanged from a nail (ll. 165-172). The following episode describes the rescue operation. It begins with Nin!ubur's efforts to save Inanna, a repetition of the instructions Inanna gave her (ll. 173-221). It then recounts Enki's plan to trick Ere!kigal and its realisation. This episode ends with the assertion that Inanna came out of the Netherworld as a result of Enki's help (ll. 222- 284). Precisely as Inanna predicted in her instructions to Nin!ubur (l. 67), she was indeed rescued from the Netherworld by Enki. Seemingly Inanna's adventure came to its happy end. But no, the story goes on. At this point the myth takes a surprising turn. The following episode takes place as Inanna leaves the Netherworld: the Anunna appear and demand of her to provide a substitute for herself. Consequently she is escorted by a number of galla who are to execute the Anunna's demand. The episode ends with the formulaic description of the galla as demons (ll.285-306). The following episode relates the search for a substitute. In each of its four parts, Inanna and the galla encounter a divinity whom the galla seize as a possible candidate. The first three, Nin!ubur, ara and Lulal, were mourning Inanna and were thus released upon her request. The fourth, Dumuzi, was celebrating in a majestic fasion; seized with rage, 6 Inanna order the galla to take him. The end of this episode parallels the previous one: the galla, described as demons, escort Dumuzi (ll. 307-367). At this point begins the story of Dumuzi's flight from the galla (ll. 368-ca. 400) 7 . This story is known from a number of myths but mainly from "Dumuzi's Dream". The concluding episode narrates the fate decreed for Dumuzi and Ge!tinanna to stay in turn for a half year in the Netherworld (ll. 401-414). Thematically, ID consists of four parts. The first part, ll. 1-284, deals with Inanna's decent to and ascent from the Netherworld and the second part, ll. 285-367, deals with the Anunna's demand and the search for a substitute. The third part, ll. 368- ca. 400 is the Dumuzi myth and the last part ll. 401-414 concludes the story with a cosmological outcome, and thus provides the literary framework of the myth. This division suggests that ID:1-284 was originally an independent Inanna myth. Furthermore, that the second part, consisting of ID:285-367, was composed especially for the purpose of incorporating ID:1-284 and the Dumuzi myth to form one comprehensive plot. The fourth part which gives a cosmological meaning to the combined myths, seems to unify the first (Inanna) and the third (Dumuzi) parts in a purposeful conclusion. Therefore, it may have been added to ID when the composite plot was designed. The validity of these suggestions will be tested by an analysis of the content and the outlines of the second part. The analysis should demonstrate the relationship of the second part to the first (Inanna) and the third (Dumuzi) parts of the myth, that is to say, it should determine whether the second part originally belonged to an independent Inanna myth and brings it to a satisfactory conclusion, or whether it should be separated from the first part and constitutes a link between two myths. 8
2. The literary materials of the second part
The second part of ID (ll. 285-367) consists of two episodes which thematically subdivide this part into two literary units 9 : ll. 285-306 and ll. 307-367. The first, ll. 285- 306, is a closed literary unit of 22 lines. The beginning and the end of this unit are defined by l. 285/306 d Inanna kur-ta e 11 -da-ni, "As Inanna was rising from the Netherworld", a temporal clause which serves as a literary and chronological framework for the events narrated in it. This unit describes the intervention of the Anunna in Inanna's release from the Netherworld, in which they stipulate that Inanna must bring a substitute for herself. Following this the unit describes the galla who were assigned to fulfil the Anunna's demand. With regard to its materials, this unit combines an element of the first part of the myth with an element taken from its third part. Namely, it links the Anunna, who brought the story of Inanna's descent to its climax (Inanna's death), with the galla who will play a central role in the following story, (the capture of Dumuzi and his death). The Anunna's demand constitutes the condition for Inanna's ascent and it links up with the former story about her descent. The Anunna's dispatch of the galla serves to fulfil the condition and it is linked with the pursuit, capture and death of Dumuzi, which also form the theme of independent traditions. With regard to the plot, this literary unit unites the Anunna and the galla on a functional level, and thereby conjoins the story of Inanna's descent and death with the story of Dumuzi's death in a causal relation. The second literary unit, ll. 307-367, is characterised by its structure. This unit describes the encounter of the galla and Inanna with Nin!ubur, ara, Lulal and Dumuzi during the search for a substitute, and it ends with the handing over of Dumuzi to the galla. The same phrasing is used to describe part of the encounter with each of the aforementioned divinitis so that ll. 307-311, 327 (Nin!ubur) = 330-334, 337 (ara)= 340- 344, 346 (Lulala). Thus, this unit is structured as three parallel episodes and a fourth one, while paralleling the others at its beginning, then digresses and moves toward a climax. The climax reached by the fourth episode would lead to the next story - Dumuzi's myth. Two elements in this unit pertain to the story of Inanna's descent. The first element is Inanna's plea for Nin!ubur's life, recounting Nin!ubur's part in her rescue from the Netherworld (compare ll. 34-67 and 176-216 with ll. 313-326). The second is the formula describing Inanna's reaction to Dumuzi's appearance, a repetition of the formula used to describe the Anunna prosecuting Inanna (ll. 168-170=354-356). Three elements of this unit pertain to the Dumuzi myths. These elements are the portrayal of Dumuzi as a king, naming him a shepherd, and the description of the spilling of the milk (ID:351) which alludes to the destruction of the sheepfold 10 . Thus, each of the literary units (or episodes) that form the second part of ID integrates elements from the first part of the myth which narrated Inanna's descent and the third part which narrates the capture and death of Dumuzi. Both literary units, which constitute the second part of ID, end with the description of the galla as Netherworld demons. 11 This way, the author paralleled the structure the two units and tied them together. One can still claim that the second part was an integral component of an Inanna myth, and that elements of the Dumuzi myth were inserted into it at the stage when the two myths were harmonised. However, in that case one will have to name another young god destined to die, who belongs to Inanna's circle, and who conforms with the pattern of the three divinities who mourned her. Otherwise, the second part of ID cannot form the end of an Inanna myth.
3. The boundaries of the second part
The second part of ID begins in l. 286, directly after Enki's rescue plan has been accomplished. The rescue action ended in l. 281 d Inanna ba-gub, "Thus Inanna arose", that is revived. However, in Ur ms. S 12 we find additional three lines which emphasise the success of Enki's rescue plan. In ll. 282-283 Ere!kigal tells Enki's creatures to take Inanna, and l. 284 states: d inanna inim- d en-ki-[ga-! k]ur-ta e 11 - "Inanna , in accordance with Enk[i's] word, was ascending from the [Net]herworld". These lines clearly bring Inanna's adventure to its conclusion, and from a literary point of view they seem like a closure formula. Thus, ID:284 could represent the end of an independent Inanna myth. In an article concerning the myth "Inanna and Enki" Alster points to a fixed pattern in the plots of myths that evolve around Inanna. 13 According to this pattern, Inanna leaves heaven for a journey from which she returns (or is rescued) thanks to Enki's magic powers. The first part of ID, ending with l. 284, conforms the pattern indicated by Alster. This conformity supports the suggestion that ID:1-284 was originally a separate myth although it was not preserved independently. Inanna's astral image as the star Venus provides a possible mythological background for this myth. The star Venus disappears twice in a cycle of 584 days and it may have been concieved as going to the Netherworld. The second part of ID ends in l. 367, directly before the beginning of Dumuzi's story, the third part of ID. This story describes the hunt for and the capture of Dumuzi by the galla and the death of the god. Dumuzi's story is not unique to ID, but exists independently in DD and in er!emma no. 97 14 . The first line of the Dumuzi's story is ID:368 (note that ID:368=DD:152): d dumu-zi-d r im-da-p sig 7 -sig 7 -g-g, "Dumuzi began to weep and turned very pale". The story then continues with Dumuzi's prayer to Utu (ID:369-375). This prayer is already a part of the earlier Dumuzi myth, and not related to ID. Thus is apparent from two facts. Firstly, the prayer makes no mention of Inanna's activities in ID. On the contrary, it links Dumuzi's right for help with his merits as Inanna's husband. Therefore the prayer did not derive from the plot of ID. 15
Secondly, apart from ID the prayer appears in similar versions in DD:164-173 and er!emma no. 97: 68-76 16 . In DD there is no connection between the death of Dumuzi and Inanna. 17 Moreover, she is not even mentioned in it. The capture and death of a young god, including Dumuzi, are the theme of some other literary compositions. Those who captured the young god are described in the literature either as evil men, as bandits, or as galla. Within the compositions which evolve around the capture and the death of Dumuzi there are two main traditions, one which links the cause for his death with Inanna, such as ID, and a second in which she is not involved at all, such as DD. An overview of the texts dealing with the death of Dumuzi shows that actually only ID and "Dumuzi and Ge!tinanna" pin the blame on Inanna, and that in the rest she either is searching for him or not mentioned at all. Since the description of the capture and the death is not necessarily connected with Inanna's activities or even restricted to Dumuzi's myth, but a motive which forms the framework for other myths concerning the death of a young god (Damu and Ningi!zida), it appears that ID:368-400 18 constitutes a part of an independent myth. The correspondence between the beginning of Dumuzi's story in ID:368 and DD:152 is significant here. It may indicate that the story teller indeed used DD as the source of Dumuzi's story, as Wilcke observed. Yet, the omission of DD:1-151 is due to their irrelevance to the combined myths (ID). The events narrated in DD:1-151 represent Dumuzi's death as a foreordained misfortune of an innocent victim. Therefore, they could not harmonise with Inanna's story in a causal relation and therefore had to be omitted. The end of ID, ll. 401-end, describes how Inanna decrees the fate of Dumuzi and Ge!tinanna to stay in turn, a half year each, in the Netherworld. Yet, except for ID not one of the compositions about the death of a young god, including Dumuzi, refers to their resurrection. 19 Therefore, the seasonal resurrection represents an innovation introduced to Dumuzi's myth at a later stage. Since ID is also unique in providing a reason for Dumuzi's fate (as a substitute for Inanna) as well as in incriminating him (for misconduct during her death), ID:401-end corresponds to the second part of ID (ll. 285- 367) in which these two innovations were introduced and form its main theme. It seems, therefore, that ID:401-end is not a part of the original Dumuzi's myth, but a concluding framework story. Since it describes the consequence of the integrated stories it was probably composed in order to endow the combined myth with a cosmological meaning.
4. The significance of the second part of ID
The ability to establish the first and the third parts of ID as two independent myths disengages them from one another and isolates the second part of the myth. The central theme of ID's second part, Inanna's ascent from the Netherworld by means of a substitute 20 , conforms with the principles of Sumerian theology (see the myth "Enlil and Ninlil"). However, it contradicts the course of the story of the first part. An important theme of the first part is Inanna's rescue from the Netherworld due to Enki's wisdom and magic power, as predicted by the very detailed instructions Inanna gave Nin!ubur, and the assertion that Enki would save her (ID:29-67). 21 Thus, the intervention of the Anunna and their condition introduces a dramatic turn from the plot of Inanna's myth. At the same time, the search for a substitute and especially the incrimination of Dumuzi introduce a deviation from the typical Dumuzi myth. These two elements are absent from the myths of the young dying gods, including those of Dumuzi. The captors, whether they are named galla, evil men or bandits, search only for the very young god who is doomed to go to the Netherworld. The dying young god is always portrayed as an innocent victim of cruel figures. The above mentioned features are unique to ID. Thus thematically, the second part of ID provides for the first time the reason for Dumuzi's capture and death, and links it with Inanna. Structurally, the outlines of ID's second part are well defined: its begining is defined through the framework of its first literary unit (ID:285/306), and its end by a line common to ID and DD (ID 368=DD:152). Further, the second part is located between two stories which can exist independently, and its content represents a deviation from the plots of these stories. A literary analysis reveals that it is composed of elements pertaining to both an Inanna story and a Dumuzi story. The combination of these elements made the second part of the myth compatible with each of these stories. Introducing Dumuzi's guilt on the one hand, and stipulating Inanna's ascent from the Netherworld by providing a substitute on the other, is an instrument to harmonise them. It seems, therefore, that the intervention of the Anunna gods was added to Inanna's myth as a means of introducing Dumuzi's myth. Dumuzi's guilt and arrest by the galla were designed in order to adapt a version of Dumuzi's myth to Inanna's myth. The possibility that ID is a combination of two independent and pre-existent myths explains some inconsistencies found in the Sumerian mythology: 1. The episode describing Inanna handing Dumuzi over to the galla contradicts the many compositions devoted to their love and their marriage, to her search for the dead Dumuzi and to her bitter laments (see especially "Inanna and Bilulu", and CT 15, 18). It also contradicts Dumuzi's epithet "the beloved husband of Inanna" (see: "Death of Ur-nammu, l. 103, and Dumuzi's prayer to Utu which focuses on his rights as her husband). 2. According to the end of ID Inanna visited the Netherworld only once, and then Dumuzi and Ge!tinanna took turns there of half a year each. Yet, according to the list of Inanna's me's she descended to and ascended from the Netherworld 22 , and therefore it seems that she made regular visits to the Netherworld. A descent to the Netherworld can be attributed to Inanna in her astral image as the star Venus, which disappears twice during a cycle of 19 months. Venus's cycle could explain the first part of ID according to which she descended to the Netherworld and came out of it with Enki's help. However, since Venus does not have a yearly cycle, it does not correspond with the yearly cycle of Dumuzi, which forms the conclusion of the third part of ID. Therefore, it cannot explain his role as Inanna's substitute as stated in the second part of this myth. It seems that, whereas the biographies of both gods share a common motive, a descent to the Netherworld, each of them underwent a different mythological reality. The close relationship between Inanna and Dumuzi in Sumerian Mythology created the possibility of combining the two different mythological events that share a similar motif into one myth. The separation of the first part of ID from its third disengages a myth about Inanna's visits to the Netherworld 23 from the myth of Dumuzi's death and descent to the Netherworld and thus eliminate the above mentioned contradictions. The composition of the second part and the concluding literary framework integrated the two mythological events in a causal relation, and created a new myth which explains the death of Dumuzi and his seasonal revival.
1 B. Alster, Dumuzi's Dream, Copenhagen, 1972. I am thankful to Prof. T. Abusch for reading the manuscript and making useful comments. 2 W.R. Sladek, Inanna's Descent to the Netherworld. Diss. John Hopkins University (University Microfilms, Ann Arbor, 1974), 26-27. 3 C. Wilcke in Kindlers Literatur Lexikon (1974) 9092, s.v. Sumerische Mythen. It is unclear whether he means that ID is a combination of two separate myths, or a version of DD extended to give it clear cosmological meaning. 4 Th. Jacobsen, The treasures of Darkness, A History of Mesopotamian Religion (New Haven and London, 1976), 62. 5 As for the background of each myth, Jacobsen maintained that the end of ID (ll. 401- 414) deals with Ge!tinanna as the power in the grape and the wine and with Dumuzi in his aspect as the power in the grain and the beer, and not as shepherd. The different seasons of the year in which the barley and grapes are harvested and processed into beer and wine stand for their successive stay in the Netherworld. Jacobsen further suggested that Inanna symbolises the storehouse which becomes empty in the winter and fills up in the spring signifying her death and revival, respectively. Correspondingly, Dumuzi represents the shepherd whose lambs' and kids' meat fills the storehouse in the spring and thus signifies his death. For Jacobsen's full reconstruction see n. 4, pp. 62-63. Jacobsen's interpretation can be replaced by some alternative interpretations. Even if we accept Inanna as the storehouse, the spring brings to mind revival for Dumuzi as well, since it is the parturition season and a period of abundant grass, milk and cream, and from the Old Babylonian period on we have evidence that Dumuzi's death was mourned not in the spring but in the summer, see R. Kutscher, "The cult of Dumuzi/Tammuz" in P. Artzi AV (1990) 40-43. More problematic is the use he made of 4 lines at the end of the myth. These lines paraphrase a section of er!emma 165 in which Inanna decrees the fate of the fly. Comper M. Cohen, Sumerian Hymnology: The Er!emma (1981) 87-89,ll. 19-25, with ID:401-414. This er!emma describes the search for Dumuzi's body by both Inanna and Ge!tinanna. Although it mentions the alehouse, and according to her name Ge!tinanna represents the power in the wine, she is described in the er!emma as the one who brings milk and cream, and Dumuzi appears in it as a shepherd. Therefore, it is not at all clear that the alehouse signifies their powers in nature, and relates to their successive stay in the Netherworld. Rather, it seems to relate to the mythological role of the fly. Furthermore, whatever the mythological background of the er!emma may be, it is not certain that the brief mention of Ge!tinanna indeed indicates that the editor of ID had a third myth in mind. Since a current theme in the laments for the young dying god describes his sister or mother searching for him and following him to the Netherworld, an alternative interpretation is that in ID the Dumuzi myth was adapted to this theme, and that Ge!tinanna functions here simply as the sister who search for her dead brother. In that case the paraphrased passage from e!remma 165 was chosen from the Dumuzi er!emmas for its conformity with this current theme. Another alternative is that this passage was used because it describes Inanna decreeing a fate, as she was actually doing for Dumuzi and Ge!tinanna in ID, that is to say, not for mythological reasons, but for its associative literary function. 6 The description of her rage is the same as the death sentence pronounced against Inanna herself by the Anunna, comper ll. 168-170. 7 See now the end of ms. S in Kramer, PAPS 124 (1980) 305. The numberig of the last part of ID follows Kramer's edition.
8 There is still another possibility, that the first part, narrating Inanna's descent to and escape from the Netherworld, was composed together with the second part in order to enlarge Dumuzi's myth and give it both an explanation and a cosmological meaning. This possibility simplifies the problems stemming from inconsistencies in Inanna- Dumuzi myths, since we do not have to look for an independent Inanna myth. Therefore it does not need a separate detailed discussion. 9 In the above described outlines of the plot I refer to these units as episodes. The change in the terminology stems from the nature of the discussion. 10 Compare with DD:64, where spilling the milk, symbolising Dumuzi's death, is followed by the common motive of the bound hand and arms. ID:351 is also connected to the description of seven galla who destroyed Dumuzi's sheepfold in er!emma no. 97, See Cohen (n. 5) 71-83, especially ll. 40' ff. Since ll. 28-end of this er!emma are closely related to ID, whereas they contradict the content of ll. 1-27, we cannot refer to specific details of the description, as they might have been influenced by ID. However, Dumuzi's designation as a shepherd and the destruction of the sheepfold is a motive common to all the compositions which recount Dumuzi's death. Not all the myths and laments of Dumuzi refer to him as lugal, yet we find such references both in the Badtibira tradition ("Inanna and Bilulu", Jacobsen, JNES 12[1953], 174:77,79) and the Uruk tradition (er!emma 97:50, DD:110). The image of king is quite understandable since the historiographic tradition knows two kings by the name Dumuzi, one in Badtibira who is also a shepherd (SKL, p. 73, col. i:15-16), and the second in Uruk (SKL, p. 89, col iii:14- 15). 11 Since the description of the galla who accompanied Dumuzi appears in DD as well, we could assume that it is a part of the Dumuzi myth. However, in Ms. S of ID (UET 6/1 no. 10 + Kramer, PAPS 124[1980], pp. 303-305) we don't find the long description of the galla who accompanied Dumuzi, but an adapted repetition of the introduction to their description in relation to Inanna, ms. S ll. 78-79=l. 24. This could mean that the formulaic description of the galla as demons originally belongs to the description of Inanna's exit from the Netherworld in the second part of ID, and that it's appearance with relation to Dumuzi is a later addition. If this is the case, then Ms. S is an early version of the complete ID. The assumption that the second part of ID was composed especially to integrate a Dumuzi myth with an already existing Inanna myth, raises a problem with regard to the origin of the galla motive in Sumerian literature. If the assumption mentioned above is correct, then the galla motive originated in ID and then it was included in other texts either in full or just to identify the captures of the young dying god. In principle, there is a radical difference between a death by a galla and a death by bandits. Whereas the galla represents the arm of the law and therefore his action implies that the young dying god committed some offence, a death by bandits implies that he was an innocent victim. This observation suggests that the galla motive indeed originates in ID and not in the independent Dumuzi myth according to which he was captured by a group of galla but was their innocent victim. 12 See n. 7. The text published by Kramer joins UET 6/1 no. 10 at the bottom. 13 B. Alster, "On the Interpretation of 'Inanna and Enki'", ZA 64(1974), 30. 14 See Cohen (n.5) 71-83. 15 In Dumuzi and Ge!tinanna" which is based on ID and derived from its materials, the prayer is indeed revised and the blame for Dumuzi's misfortune is pined on Inanna (UET 6/1, no. 11:22-32; Sladek, see n. 2 227:23-26). 16 Cohen, (see n. 5) 77. The different versions of the prayer were discussed by B. Alster (see n. 1) 114-116.
17 See also "Inanna and Bilulu" , Jacobsen (see n. 10) and er!emmas no. 88 and no. 165, Cohen (see n. 5) 84-89. 18 For the line numbers of the very last part of the myth I follow Kramer (see. n. 7) 308. 19 ID is the only Sumerian myth which specifically refer to Dumuzi's seasonal journey to the Netherworld. Neither DD nor er!emma 97 mention Dumuzi's resurrection. 20 Afansieva, ZA 70(1980) 161-169. 21 In fact, ascent due to providing a substitute or due to magic or trick are mutually exclusive, either she provides a substitute or uses a trick. 22 G. Farber-Flugge, Der Mythos 'Inanna und Enki" unter besonderer Beruksichtigung der Liste der ME (Rome, 1973), pp. 54-55:19-20. 23 Although such myth is not known to us in an independent version, it could have existed while either not have been revealed yet or not have been survived in writing.