By Gwendolyn Leick
The Dictionary of old close to jap Mythology covers assets from Mesopotamia, Syro-Palestine and Anatolia, from round 2800 to three hundred BC. It comprises entries on gods and goddesses, giving facts in their worship in temples, describing their 'character', as documented via the texts, and defining their roles in the physique of mythological narratives; synoptic entries on myths, giving where of foundation of major texts and a quick heritage in their transmission throughout the a while; and entries explaining using professional terminology, for things like different types of Sumerian texts or different types of mythological figures.
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Additional info for A Dictionary of Ancient Near Eastern Mythology
Gap] Somebody is predicting the actions of Baal after his return, how he will kill the sons of Aštart (those who rejoiced over his death) and how he will resume his seat of the throne of his dominion. Seven years pass uneventfully, then Mot (who is by now revived as well) sends a challenge to Baal. He orders one of Baal’s brothers to atone for the wrongs done to him by Anat. Baal pretends to do as bidden, but he intends to outwit Mot by offering him ‘brothers of Mot’ (also sons of El and Aštart—maybe boars, the usual sacrifice to chthonic gods in Ugarit).
Like her he was a healing deity. In a number of liturgical texts Damu is the subject of laments similar to those of Dumuzi. In these laments he is mourned by his mother and his sister (the physician Gunuru), as ‘the child who disappeared in the marshes or the river’. Jacobsen saw in Damu ‘the god of the sap that rises in trees and vegetation’. 15; Jacobsen 1975, 67, 85–6; Kramer 1982, 141–6; Alster, in Hecker, Sommerfeld 1986, 19–29 Demons (see figures 11, 12 and 13) are probably older than the gods, and many totemistic societies acknowledge the existence of non-human beings (‘spirits’) endowed with a force to influence the lives of people and animals.
The story is set in a mythical place called Dilmun (the actual Dilmun was a busy trading-post in the Persian Gulf). It is a potential, not yet ‘real’ world described by negative statements: the girls did not perform lustrations, sickness was non-existent, lions and wolves did not behave like lions and wolves and most notably there was no sweet water. The Mother-goddess, who appears in the story under different names or appellatives, asks Enki to procure some water. Enki first creates the rivers and canals.