Inanna and Dumuzi get it on

Another voice note for my Mythology and Literature class, on the goddess Inanna’s choice of a mate, and the meaning of their meeting. Lightly edited, like the last one. If you’d rather listen than read, here you are:

“The Courtship of Inanna and Dumuzi”

A thought first more generally about what myth is, what our relationship to myth is.

It’s tempting to think of myth as something other people in other times have done and made, in order to give order and structure to their world. We might think that, given now to a scientific worldview, to empirical procedures for understanding how human beings work, how human societies work, how the cosmos at large works, on the greatest possible scale of stars and galaxies, the minutest possible scale of subatomic particles, that we’re no longer doing mythology – that mythology is something that we can see from the outside, from a remove, and gaze upon with interest, maybe some amusement, maybe a bit of condescension or admiration or nostalgia, depending on our disposition.

I want to suggest to you a different perspective though. That perspective begins from the notion that it’s only other people’s myths that look like myths. Your own myths don’t look like myths to you, they look like axioms. Let me note for you a couple of things that are very much part of our worldview, and that, if we see them from bit of a remove, may look more myth-like than we have been given to think.

The past. The future. Neither the past nor the future has any objective existence. Nowhere will you find the past, not even the instant that just passed. Nowhere will you find and be able to present the future; it does not exist anywhere. The past and the future are constructs of human mind. Our belief in them is so foundational that most of the rest of our beliefs depend upon them to even make sense at all.

I submit to you, the past and future, along a linear timeline as we conceive of them, are mythic, in that they are foundational, and they are collaborative constructs – nobody can make a myth on their own – collaborative constructs of our cultural imagination. And one mark that it’s myth is that we recoil from the suggestion that it’s “just a myth.”

So, if a myth is a world-arranging story, and the figures in the myths we’re looking at are animate, they’re characters, how then do we think about this reading for today, “The Courtship of Inanna and Dumuzi”? It’s more than just a boy and a girl meeting, flirting, fighting, and then getting it on. That’s just the surface.

We can ask what it is in the world of the Sumerians that this myth has the power to arrange, to put in order. Inanna is the goddess of love, of war, though I don’t think she’s prominent in that function here, of love and fecundity and increase. Also she has at her disposal the me, the gifts or powers of civilization. Dumuzi is the god of the vegetation, of the spring, of rebirth. He’s the classical dying-and-rising god; and in some contexts he was also the god of shepherds, a pastoral god, which explains his epithet, “the shepherd.” So what does it mean that the goddess of increase, herself, and the god of vegetation, himself, are getting it on?

Well, we can look at the terms in which their getting-it-on is expressed. You may have noticed the abundance of nature imagery, of agricultural metaphor. Fortunately this is just audio, so you can’t see me blushing as I read. Inanna is speaking:

My vulva, the horn,
The boat of Heaven,
Is full of eagerness like the young moon.
My untilled land lies fallow.

So there’s the agricultural dimension.

As for me, Inanna,
Who will plow my vulva,
Who will plow my high field?
Who will plow my wet ground?

It’s all thoroughly subsumed to this agricultural metaphor, of the sexual act as an act of well, farming, of planting seed that will then grow. The word “semen” is from the Latin word for “seed,” by the way. A little further on, we’re hearing from the narrator again:

At the king’s lap stood the rising cedar.
Plants grew high by their side.
Grains grew high by their side.
Gardens flourished luxuriantly.

Dumuzi and Inanna - cropped
Lovers embracing. Clay plaque, Mesopotamia, Isin-Larsa-Old Babylonian period, ca. 2000-1600 BCE. Baked clay. Basel, Erlenmeyer Collection.

Almost as if their sexual union either causes new abundance and growth in the natural world, or is one in the same as the abundance of spring, new growth, in the natural world – the world of nature that surrounds them, and the agricultural world, the fields that sustain the cities of Mesopotamia, the fields in which the natural world has been domesticated, put to human use. The fruit of their union is the whole of the green earth.

Putting natural increase in terms of sexual union allows human beings to participate in natural and cosmic processes, and not just to participate in them, but in fact to influence them. The world-arranging story that is a myth has a place in it for the human teller of the story. And in fact one thing to watch for as we encounter the myths of a number of different cultures over this course is, what kind of place does the myth give to the human participants? Are human beings made focal and central, or are they one presence co-equal among many? The Haida term for human being, according to Robert Bringhurst, the translator of Ghandl, whom we’ll be reading some weeks from now, is “ordinary surface bird.” Puncturing perhaps human pretensions to a special role in the cosmos.

A passage from a book called The Intellectual Adventure of Ancient Man, on ceremonial observances around Inanna and Dumuzi’s marriage, I think sheds further light on the role this myth played in the cultural life of at least one of the Sumerian city-states. This is about the city of Isin:

[The City] celebrated yearly the marriage of the goddess Inanna to the god Dumuzi or Tammuz…. Since the goddess is an incarnation of the fertility of nature, and her husband, the shepherd-god Dumuzi, incarnates the creative powers of spring, it is understandable that this annual union of god and goddess signifies and is the reawakening of nature in spring.

Notice that dual verb – it signifies the reawakening of nature in spring, it also is the reawakening of nature in spring. The author, Thorkild Jacobsen, continues:

In the marriage of these deities the fertility and the creative powers of nature themselves become manifest. But why, we may ask, should human servants of the gods, the human ruler and – so it seems – a priestess, transcend their human status, take on the identity of the deities Dumuzi and Inanna, and go through their marriage? For this is what took place in the rites.

You got that? Every year, early spring, the king of the city takes on the role of Dumuzi, the high priestess of the temple takes on the role of Inanna, and in a ritual I believe most of whose details are lost to us, they, in those roles as god and goddess, consummated the marriage that ensured the return of natural abundance in spring.

Why does it make sense to them to do this? Jacobsen speculates:

The answer to that question lies back … in a remote prehistoric age when the gods were not yet anthropomorphic rulers of states and cities but were still directly the phenomena of nature. In those days man’s attitude was not merely one of passive obedience; it called for active intervention, as it does among many [quote unquote] primitives today. It is one of the tenets of mythopoetic logic that similarity and identity merge: “to be like” is as good as “to be.” Therefore, by being like, by enacting the role of, a force in nature, a god, man could in the cult enter into and clothe himself with the identity of these powers, with the identity of the gods, and through his own actions … cause the powers involved to act as he would have them act. By identifying himself with Dumuzi, the king is Dumuzi; and similarly the priestess is Inanna – our texts clearly state this. Their marriage is the marriage of the creative powers of spring. Thus through a willed act of man is achieved a divine union wherein is the all-pervading, life-giving re-creative potency upon which depends, as our texts tell us, “the life of all lands.” (198–99)

Okay, that’s a lot. All that is to say, the sexy bits are not just to make readers or listeners hot and bothered. They have a profound cosmological function: they make human beings participants in the generative powers of nature and the cosmos.

The image atop, left to right, like in a news photo, where protestors are:

Inanna, winged, with arrows for shoulders
Utu, sun god, he comes bladed out of the hill
Enki, god of the fresh waters, his shoulders running with fish
Isimud, Enki’s vizier, two-faced

Pound read myth as if it were the morning paper (Don Revell). Remember papers? The colour in it, Inanna’s joy, is from a pot I left on the hot stove & it cooked dry.

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I write draw teach blog in and from the Pacific Northwest of America.

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