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reply to post by Kantzveldt
When I was a young teenager there was no one around that was responsible enough to keep me from watching David Lynch's movie production of Frank Herbert's Dune novel before reading the book. I went on to watch it several more times after that and didn't read the actual book until years and years later. By the time I read Herbert's book David Lynch's Dune was Dune, and all of Lynch's movie design, the costumes and sets and his whole oeuvre settled over Herbert's story.
That's how it will always be with anything Sumerian now for me. I prefer your presentation above all others and I so appreciate you sharing your vision. Your drawing of Ruha that you posted on the 8th sphere thread still haunts my dragon-dreams.
reply to post by Harte
People have told me that but I disagree, I like Lynch's weird dark thing he did with Dune. I have to admit that as a huge fan of the book that I also really liked the sci-fi channel thing, too.
I really like Muad'Dib as the eyeless emperor and the beginning of God Emperor was pretty good, but I felt as though someone other than Herbert had started writing the books so I stopped reading them. I know I am in a strange predicament vis-a-vis the film and book, but that's how the good lord made me, I can't helps it. I like Lynch's stillsuits.
The Old Babylonian Atra-has tells that man was created from a mixture of clay with the flesh and blood of a god who was slaughtered for that purpose the ghost was created in order to form an everlasting reminder of the circumstances that led to the creation of man
“A god and a man shall be mixed together in the clay. (Thus,) for future days we may hear the drum a ghost shall be from the god’s flesh.. She (Nintu) shall announce ‘life’ as his (man’s) sign, and that this is not forgotten a ghost shall be
Spirit which leaves the body was realized as a wind, thus unseen and yet tangible. The formal rite to release of the spirit was crucial in order to gain admittance to the netherworld and join the community of dead spirits
The gods Odin, Vili, and Vé fashioned the Earth (elsewhere personified as a goddess; Jörð) from his flesh, from his blood the ocean, from his bones the hills, from his hair the trees, from his brains the clouds, from his skull the heavens, and from his eyebrows the middle realm in which mankind lives, Midgard. In addition, one stanza relates that the dwarfs were given life by the gods from Ymir's flesh and blood (or the Earth and sea).
Allegro claims some, maybe many, of the ancient god names are mushroom names, they thought rain was god's semen, thunder his voice, mushroom grow so fast, almost magically, so they were the male son of god, and eating some of them gave hallucinations that revealed heaven or knowledge. He gives many examples in India and near east cultures and languages. All this thousands of years before the Christian Era.
Thanks, the general question this raised for me while studying and illustrating the subject was what was the point of retaining the spirits of the dead, if they are not to return, within the ever expanding underworld city...
I think the answer to this question is too obvious to be immediately seen by someone overthinking it.
Just like today, people, loved ones, died.
Just like today, these unfortunates are not observed to have returned.
Just like today, humans were too vain or bereft to bear the idea that death is the utter end.
Also, nice thread and excellent OP.
The term asura is linguistically related to the ahuras of Zoroastrianism, but has, in that religion, a different meaning. The term applies to three deities--(Ahura Mazda, Mithra, and Apam Napat)
AHURA MAZDA; the immortal (Ahu), radiant (Raa)divinity ; that Great (Maz) entity who rules the universe and mankind strictly through Wisdom (Daa)
Iranian "Mithra" and Sanskrit "Mitra" are believed to come from an Indo-Iranian word mitra meaning "contract, agreement, covenant
Apām Napāt is sometimes, described as a fire-god who originates in water, Apąm Napāt in Avestan mean "grandson of waters"Apąm Napāt is given the title of Ahura (Lord) which otherwise is accorded only to Ahura Mazdā himself and to Mithra
We worship the High Lord (bərəzantəm ahurəm), kingly, shining, Son of the Waters, who has swift horses, the hero who gives help when called upon. (It is) he who created men, he who shaped men, the god amid the waters, who being prayed to is swiftest of all to hear.”
Aesir/ Sanskrit ásu "life force"
In surviving tales, the origins of many of the Æsir are unexplained. Originally, there are just three: Odin and his brothers Vili and Vé.
The names of the first three Æsir in Norse mythology, Vili, Vé and Odin all refer to spiritual or mental state, vili to conscious will or desire, vé to the sacred or numinous and óðr to the manic or ecstatic.
Vili was Odin's brother, known as the God of Wisdom
.Vili and Vé were two lesser-known siblings of Odin in the Norse pantheon. According to Snorri's Prose Edda, the three brothers were responsible for slaying Ymir (the primal giant) and constructing the cosmos from his remains.[ The trio of gods also were credited with the creation of the first humans
When the sons of Borr [Odin, Vili, and Vé] were walking along the sea-strand, they found two trees, and took up the trees and shaped men of them: the first gave them spirit and life; the second, wit and feeling; the third, form, speech, hearing, and sight. They gave them clothing and names: the male was called Askr, and the female Embla, and of them was mankind begotten, which received a dwelling-place under Midgard
The reason i would always look to an Indo-European basis for the essential principles of the Eucharistic sacrifice lies at the formative basis of those Pantheons;
The Trinity with the immortal radiant wisom as the first principle, the covenant as the second principle, the ecstatic or fire within the waters as the third principle, all bound as one.
“From the Great Above Inanna opened her ear to the Great Below.”
In Sumerian, the word for ear and wisdom are the same. For example, Enki, the God of Wisdom, is said to have his ear “wide open” -- an unfiltered receptivity! This implies that Inanna's primary reason for “going to hell” was to seek wisdom and understanding. But in order to make such a spiritual journey, she first had to give up her earthly powers and possessions. They don’t allow a lot of luggage on the road to hell.
Preparing for the Descent into the Underworld
In the myth, she abandoned heaven and earth to descend to the underworld, her office of holy priestess, her temples in the seven principal cities where she was worshipped. She gave up her earthly powers and possessions -- an essential willingness required of any soul undertaking such a journey, of any soul following such a path of initiation.
Inanna also recognized the need to protect herself. She gathered together seven of The Me, attributes of civilization which she transformed into such feminine allure as crown, jewelry, and a royal robe. These were intended serve as her protections. They included her crown, earrings of small lapis beads, a double strand of beads about her neck, her breastplate called “Come, man, come”, her golden hip girdle, the lapis measuring rod and line, and her royal breechcloth.
Each of these adornments were worn at the level of each Kundalini chakra!
Finally, she instructed her faithful servant, Ninshubur, what to do in case she did not return -- to lament her loss, beat the drum for her, and go to the cities -- to the temples where Enlil (her father’s father), Nanna (her father) and Enki (her mother’s father) were, and ask for their help.
Ninshubur’s name means “Queen of the East” -- she was handmaid or vizier to Inanna. Other myths, such as “Inanna and the God of Wisdom” (Enki), also describe Ninshubur as she comes to the rescue of Inanna, warding off the fierce emissaries sent by Enki. There Inanna describes Ninshubur as: Once Queen of the East, now faithful servant of the holy shrine of Uruk, “Water has not touched your hand, water has not touched your foot. My sukkal who gives me wise advice, My warrior who fights by my side.”
As Inanna's “faithful servant”, “she seems to embody that small part of us that stays above ground while the soul descends, the still conscious and functioning aspect of the psyche which can witness the events below and above and feel concern for the fate of the soul.” Ninshubur may be a “model of woman's deepest reflective-of-the-Self, priestess function, one which operates as simple executrix of the Self's commands, often when the soul is most threatened.”  Ninshubur seems to have no life of her own, no specificity beyond her capacity to serve. No ego, she simply carries out precisely and competently whatever Inanna asks of her. And yet it is Ninshubur who saves Inanna’s life. Ultimately, initiation and/or descending into the underworld is not something to be undertaken without divine guidance and support.
Ereshkigal’s reaction to Inanna's intended visit
When Neti described Inanna at the outer gate -- in all her glory and wearing the garments of her power, light, and movement -- as well as her wish to enter the underworld, Ereshkigal is not at all pleased. Inasmuch as Inanna’s light, glory, and movement had been, to some extent, achieved at Ereshkigal’s expense, the Queen on the Underworld is enraged at Inanna’s appearance.
The Queen of the Underworld can be thought of as the neglected side of Inanna, that part of Inanna that was unloving, unloved, abandoned, instinctual, and full of rage, greed, and desperate loneliness. Ereshkigal’s one great craving was for her own sexual satisfaction, and which was not being fulfilled.
Ereshkigal “is paradoxical: both the vessel and the stake. She is the [kundalini] root of all, where energy is inert and consciousness coiled asleep. She is the place where potential life lies motionless -- but in the pangs of birth; beneath all language and its distinction, yet judging and acting.” 
In the Descent myth, “Ereshkigal is described first as enraged, due to Inanna’s invasion of her realm; secondly, as actively destructive; third, as suffering; and finally as grateful and generous.” “There is a quality of primal rage about her. She is full of fury, greed, the fear of loss, and even of self spite.” “And she sends her gatekeeper to deal with the intruder, a male to defend her.” “These images suggest that chaotic defensive furies, such as rage, greed, and even the unleashing of the animus, are inevitable aspects of the archetypal underworld. They are the ways the unconscious reacts to unwelcome visitation.” 
Ereshkigal, in some respects, is Lilith. “She ruthlessly destroys all that is not our true individuality or appropriate life path. She will not lead us to our goal by revealing what it is but rather by eliminating everything that it is not. The black aspect of Lilith closes all the wrong doors that face us.” “The black Lilith in us will accept nothing less than our true individuality, not in the sense of separateness, but in the sense of who we intrinsically are. When we are secure in acknowledging and expressing our true self, we don’t falsify ourselves in order to be accepted by others.” 
Ereshkigal'‘ instructions to Neti represent the fact that she wants Inanna to experience what it is to be rejected, to enter the royal chamber “bowed low”.
Seven stages of the Descent
The removal of Inanna’s crown, the first of her protective Me -- symbolically deprives her of her godhood, her connection with heaven. The small lapis beads from her ears -- her sense of magic and ability to manifest. The double strand of beads about her neck -- her rapture of illumination. Her golden breastplate called “Come, man, come!” -- her emotional heart. Her ringed hip girdle -- her ego. From her hand the lapis measuring rod and line -- her will. Her garment of ladyship (breechcloth) -- her sex role. Each represents, in order, the Kundalini chakras. Inanna is thus forced to give up her earthly attributes, her roles as queen, holy priestess, and woman. Her royal power, her priestly office, her sexual powers are of no avail in the underworld.
Naked and bowed low, Innana entered the throne room.
The Annuna, the judges of the underworld, surround her and pass judgment against her, the judgment of the external against each of us. Ereshkigal then fastens on Inanna the eye of death, speaks against her the word of wrath, and utters against her the cry of guilt. She strikes her. “Inanna was turned into a corpse, a piece of rotting meat, and was hung from a hook on the wall.” Obviously, on our own, even with preparations, we’re dead meat!
Ninshubur seeks help.
Ninshubur waits three days. Inanna was considered to be daughter of the moon -- thus these three days may be the “Dark of the Moon”. Ninshubur set up a public lament, beating the drum, circling the temples, tearing at her eyes, mouth and thighs, and dressing in sackcloth. Grief expressed! She pleads before Inanna’s paternal grandfather, Enlil, and Inanna’s father, Nanna. She cries that they not let their bright silver be covered with dust, their precious lapis broken into stone, and their fragrant boxwood cut into wood.
They reply angrily, that Inanna “got what she deserved!” And that she could not return, that the rules of the underworld could not be broken. Both are angry their daughter should pursue a different direction from theirs. Each in turn, refused to help.
But in pleading before Enki, Inanna’s mother’s father and the God of Wisdom, there is a different response. Enki has compassion for his daughter who is in difficulty. Not only does the God of Wisdom value the journey Inanna has undertaken, but he does not forget that his grand daughter’s existence is vital to humankind. In reacting to what has happened, Enki moves with feeling. He improvises to create what the moment needs. He empathizes with Inanna.
Enki knows the nature of the underworld and its rule by a jealous, anguished Ereshkigal. He also has the power to create and facilitate. He creates from the dirt under his fingernails the kurgarra and galatur -- instinctual, asexual creatures who Enki endows with the artistic and empathetic talent of being professional mourners, capable of mirroring the lonely queen’s emotions. “They are humble, nonheroic creatures, without definition or even the need to be separately defined, without any sense of what we would call ego-needs. These little asexual creatures represent the attitude necessary to draw a blessing from the dark goddess.” 
Enki also instructs his creations on how to enter the underworld and how to deal with Ereshkigal. He tells them how to recover Inanna from death.
When the kurgarra and galatur arrive, Ereshkigal is moaning “with the cries of a woman about to give birth.” She complains both for her “inside” and her “outside”. Having willed Inanna’s death, she can scarcely bear it, for Inanna is the other side of herself. Ereshkigal was also needing rebirth from the night time aspects of the feminine -- the powerful, raging sexuality and the deep wounds accumulated from life’s rejections -- and which sought solace in physical union only.
The kurgarra and galatur moan with Ereshkigal, appeasing her anguish by the echo of their concern. “They affirm her in her suffering. They have been taught by Enki to trust the life force even when it sounds its misery. Complaining is one voice of the dark goddess. It is a way of expressing life, valid and deep in the feminine soul. It does not, first and foremost, seek alleviation, but simply to state the existence of things as they are felt to be to a sensitive and vulnerable being. It is one of the bases of the feeling function, not to be seen and judged from the stoic-heroic superego perspective as foolish and passive whining, but just as autonomous fact -- ‘that’s the way it is.’ Enki’s wisdom teaches us that suffering is part of reverencing.” 
Ereshkigal is so touched by the attention they offer to her in her pain that she extends herself and offers gifts of fertility and growth. Following Enki’s instructions, however, the creatures refuse these gifts and ultimately ask for Ereshkigal most wants to give and that which is most difficult for her to give. They ask her to release part of her personal anguish, her despair and anger, which is embodied in the glorious Goddess of Love. They ask for the rotting body of Inanna.
When Ereshkigal agrees to release her nemesis, and thus part of her pain, the kurgarra and galatur sprinkle the food and water of life on Inanna’s corpse. And Inanna arose.
Ascending from the Underworld
The Annuna must maintain the rules of the underworld, but they must also deal with the fact that Inanna has been reborn in the underworld. Their tactic is to tell Inanna that she must provide someone in her place. In essence, Inanna cannot be allowed to again forget her neglected, abandoned “sister” -- that part of herself that is Ereshkigal. A passageway has been created from the Great Above, the conscious, to the Great Below, the unconscious, and it must be kept open. Thus the galla, the demons of the underworld, those who cannot be bribed, are assigned to accompany Inanna as she leaves.
@ times from 1z subject observations it seems many try to make the connection of how can another CREATOR Creation(s) be what they may be to humans or were taught to be to humans if they are Created like "we" this is a logical argument.
But when considering more to reality both physical and astral ethereal metaphysical add more advanced energies interacting with advancing-developing energies, its not hard to see how some developing viewed the Advanced the way the did or do, especially considering if there were direct interactions with netherworld underworld inhabitants with above ground inhabitants. Both energies existing and seeing from different perspectives potentially.
1 You have searched me, Lord,
and you know me.
2 You know when I sit and when I rise;
you perceive my thoughts from afar.
3 You discern my going out and my lying down;
you are familiar with all my ways.
4 Before a word is on my tongue
you, Lord, know it completely.
5 You hem me in behind and before,
and you lay your hand upon me.
6 Such knowledge is too wonderful for me,
too lofty for me to attain.
7 Where can I go from your Spirit?
Where can I flee from your presence?
8 If I go up to the heavens, you are there;
if I make my bed in the depths, you are there.
9 If I rise on the wings of the dawn,
if I settle on the far side of the sea,
10 even there your hand will guide me,
your right hand will hold me fast.
11 If I say, “Surely the darkness will hide me
and the light become night around me,”
12 even the darkness will not be dark to you;
the night will shine like the day,
for darkness is as light to you.
13 For you created my inmost being;
you knit me together in my mother’s womb.
14 I praise you because I am fearfully and wonderfully made;
your works are wonderful,
I know that full well.
15 My frame was not hidden from you
when I was made in the secret place,
when I was woven together in the depths of the earth.
16 Your eyes saw my unformed body;
all the days ordained for me were written in your book
before one of them came to be.
17 How precious to me are your thoughts,[a] God!
How vast is the sum of them!
18 Were I to count them,
they would outnumber the grains of sand—
when I awake, I am still with you.
19 If only you, God, would slay the wicked!
Away from me, you who are bloodthirsty!
20 They speak of you with evil intent;
your adversaries misuse your name.
21 Do I not hate those who hate you, Lord,
and abhor those who are in rebellion against you?
22 I have nothing but hatred for them;
I count them my enemies.
23 Search me, God, and know my heart;
test me and know my anxious thoughts.
24 See if there is any offensive way in me,
and lead me in the way everlasting.