lower world in search of her youthful husband,--the
symbol of the sun on its approach to the summer solstice. While Ishtar
is in the lower world, all fertility ceases, in the fields, as well as
in the animal kingdom. At last Ishtar reappears, and nature is joyous
once more. In the Semitic Orient there are only two seasons:[1149]
winter, or the rainy season, and summer, or the dry season. The myth
was, therefore, a symbol of the great contrast that the two seasons
presented to one another. Under various forms and numerous disguises, we
find the myth among several branches of the Semites, as well as in Egypt
and among Aryans who came into contact with Semitic ideas.[1150] A
festival celebrated in honor of Tammuz by the Babylonians is one
expression of many that the myth received. The designation of the sixth
month as "the mission of Ishtar"[1151] is another. This myth was adapted
by the theologians to illustrate the doctrines that were developed
regarding the kind of existence led by the dead. The literary method
adopted is the same that characterizes the elaboration of the Adapa myth
and of the myths incorporated into the Gilgamesh epic. The story forms
the point of departure, but its original purport is set aside to a
greater or less degree, necessary modifications are introduced, and the
moral or lesson is distinctly indicated. In the case of the production
that we are about to consider, the story of Ishtar's visit to the nether
world is told--perhaps by a priest--to a person who seeks consolation. A
dear relative has departed this life, and a survivor,--a brother,
apparently,--is anxious to know whether the dead will ever come back
again. The situation reminds one of Gilgamesh seeking out Eabani,[1152]
with this difference: that, whereas Gilgamesh, aided by Nergal, is
accorded a sight of his friend, the ordinary mourner must content
himself with the answer given to him. But what Gilgamesh is not
permitted to hear,[1153] the mourner is told. A description is given him
of how the dead fare in Aralu.

The problem, however, is somewhat different in the story of the descent
of Ishtar, from the one propounded in the twelfth tablet of the
Gilgamesh epic. The question uppermost in the mind of the mourner is
"Will the dead return?" The condition of the dead, which is most
prominent in Gilgamesh's mind, is secondary. Both questions, however,
are answered, and both answers are hopelessly sad. The nether world is
joyless. Even t