>>14464062

(Please read from the start)

Let’s continue where I left off with Inanna on page 1 265:

“Syncretism and influence on other deities

In addition to the full conflation of Inanna and Ishtar during the reign of Sargon, she was syncretised with a large number of deities to a varying degree. Many god lists compiled by ancient scribes contained entire "Inanna group" sections enumerating similar goddesses, and tablet IV of the monumental god list An-Anum (7 tablets total) is known as the "Ishtar tablet" due to most of its contents being Ishtar's equivalents, titles and attendants. Some modern researchers use the term Ishtar-type to define specific figures of this variety. Some texts contained references to "all the Ishtars" of a given area.”

>> This made me laugh: the “Ishtar type” ^_^ It’s funny. Well, I guess here the Ishtar type has a double meaning: Antelope Clan warriors and the Sebetti ruler of the Antelope Clan. It can easily refer to both. The more I read about Inanna, the more I think the Evil Lady was the head of the Antelope Clan.

“In later periods Ishtar's name was sometimes used as a generic term ("goddess") in Babylonia, while a logographic writing of Inanna was used to spell the title Bēltu, leading to further conflations. A possible example of such use of the name is also known from Elam.

Specific examples

• Ashtart: in cities like Mari and Ebla, the Eastern and Western Semitic forms of the name were regarded as basically interchangeable. However, the western goddess evidently lacked the astral character of Mesopotamian Ishtar. Ugaritic god lists and ritual texts equate the local Ashtart with both Ishtar and Hurrian Ishara.

• Ishara: due to association with Ishtar, the Syrian goddess Ishara started to be regarded as a "lady of love" like her (and Nanaya) in Mesopotamia. In Alalakh, Ašnakkum (Chagar Bazar) and Tigunāni the logographic writing IŠTAR could refer to Ishara. However in Hurro-Hittite context she was associated with Allani instead and functioned as a goddess of oaths.

• Nanaya: a goddess uniquely closely linked to Inanna, as according to assyriologist Frans Wiggermann her name was originally an epithet of Inanna (possibly serving as an appelative, "My Inanna!"). Nanaya was associated with erotic love, but she eventually developed a warlike aspect of her own too ("Nanaya Euršaba"). In Larsa Inanna's functions were effectively split between three separate figures and she was worshiped as part of a trinity consisting out of herself, Nanaya (as a love goddess) and Ninsianna (as an astral goddess). Inanna/Ishtar and Nanaya were often accidentally or intentionally conflated in poetry.

• Ninegal: while she was initially an independent figure, starting with Old Babylonian period in some texts "Ninegal" is used as a title of Inanna, and in god lists she was a part of the "Inanna group" usually alongside Ninsianna. An example of the usage of "Ninegal" as an epithet can be found in the text designated as Hymn to Inana as Ninegala (Inana D) in the ETCSL.”

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>>14472482

(Please read from the start)

• “Ninsianna: a Venus deity of varying gender. Ninsianna is referred to as male by Rim-Sin of Larsa (who specifically used the phrase "my king") and in texts from Sippar, Ur, and Girsu, but as "Ishtar of the stars" in god lists and astronomical texts, which also applied Ishtar's epithets related to her role as a personification of Venus to this deity. In some locations Ninsianna was also known as a female deity, "red queen of heaven."

• Pinikir: originally an Elamite goddess, recognised in Mesopotamia, and as a result among Hurrians and Hittites, as an equivalent of Ishtar due to similar functions. She was identified specifically as her astral aspect (Ninsianna) in god lists. In a Hittite ritual she was identified by the logogram dIŠTAR and Shamash, Suen and Ningal were referred to as her family; Enki and Ishtar's sukkal were invoked in it as well. In Elam she was a goddess of love and sex and a heavenly deity ("mistress of heaven"). Due to syncretism with Ishtar and Ninsianna Pinikir was referred to as both a female and male deity in Hurro-Hittite sources.

• Šauška: her name was frequently written with the logogram logogram dIŠTAR in Hurrian and Hittite sources, while Mesopotamian texts recognised her under the name "Ishtar of Subartu." Some elements peculiar to her were associated with the Assyrian hyposthasis of Ishtar, Ishtar of Nineveh, in later times. Her handmaidens Ninatta and Kulitta were incorporated into the circle of deities believed to serve Ishtar in her temple in Ashur.”

>> There are more, much more than the deity list provided to anons, all various epithets and names given to one and single goddess and most if not all come from later periods = mutated forms.

“Obsolete theories

Some researchers in the past attempted to connect Ishtar to the minor goddess Ashratu, the Babylonian reflection of West Semitic Athirat (Asherah), associated with Amurru; as demonstrated by Steve A. Wiggins this theory was baseless, as the sole piece of evidence that they were ever conflated or even just confused with each other was the fact Ishtar and Ashratu shared an epithet - however the same epithet was also applied to Marduk, Ninurta, Nergal, and Suen, and no further evidence can be found in sources such as god lists. There is also no evidence that Athtart (Ashtart), the Ugaritic cognate of Ishtar, was ever confused or conflated with Athirat by the Amorites.

Sumerian mythology

Origin myths

The poem of Enki and the World Order (ETCSL 1.1.3) begins by describing the god Enki and his establishment of the cosmic organization of the universe. Towards the end of the poem, Inanna comes to Enki and complains that he has assigned a domain and special powers to all of the other gods except for her. She declares that she has been treated unfairly. Enki responds by telling her that she already has a domain and that he does not need to assign her one.”

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>>14472487

(Please read from the start)

>> These myths are to be handled carefully because I think they are a projection and not to be taken word to word. Here, I think it’s projecting/reflecting the dissatisfaction of the Evil Lady with what she’s got to rule as a Sebetti queen. As the daughter of the King of kings (most probably) she was given a crown, a people and a land to rule upon. But she wasn’t satisfied with what she got and she wanted a bigger piece of the cake, sort of speak.

This dissatisfaction caused a “crack” in the bonds/relationship between her and her royal parents, mostly the King of kings. And I think this “crack” was exploited = taken advantage of by the Evil One to get her on his side and turn her evil like him. He simply played on this sensitive string and amplified it all. In turn this explains her hunger for power and why she wanted to conquer the kingdoms of the other Sebetti rulers.

There is something else behind the curtain in this as well. This also suggests that she felt inferior towards her other siblings whom got “biggers” shares of the cakes. In other words, she felt her father was unfair because he gave her siblings bigger and better kingdoms than he gave to her. Does this mean the other male Sebetti kings were her brothers as well? It’s possible.

“The myth of "Inanna and the Huluppu Tree", found in the preamble to the epic of Gilgamesh, Enkidu, and the Netherworld (ETCSL 1.8.1.4), centers around a young Inanna, not yet stable in her power. It begins with a huluppu tree, which Kramer identifies as possibly a willow, growing on the banks of the river Euphrates. Inanna moves the tree to her garden in Uruk with the intention to carve it into a throne once it is fully grown. The tree grows and matures, but the serpent "who knows no charm", the Anzû-bird, and Lilitu (Ki-Sikil-Lil-La-Ke in Sumerian), seen by some as the Sumerian forerunner to the Lilith of Jewish folklore, all take up residence within the tree, causing Inanna to cry with sorrow. The hero Gilgamesh, who, in this story, is portrayed as her brother, comes along and slays the serpent, causing the Anzû-bird and Lilitu to flee. Gilgamesh's companions chop down the tree and carve its wood into a bed and a throne, which they give to Inanna, who fashions a pikku and a mikku (probably a drum and drumsticks respectively, although the exact identifications are uncertain), which she gives to Gilgamesh as a reward for his heroism.”

>> As said before, these stories/myths shouldn’t be taken word to word. Inanna didn’t need to carve = make herself a new throne, she already had a kingdom. Since she was dissatisfied with what her Father gave her, this points that she was thinking of taking “another” throne, another Sebetti ruler throne. Reminds you of the disgusting series called Games of throne, right?

I don’t think the “tree” represents a real tree with green leaves and roots. I think it either represents a place = geographic location or it represents a building, like a palace or temple.

The Serpent was killed by Gilgamesh projecting the death of the Evil One. He resided in the “tree” for some time….so does this mean he was at a very specific location or was he in the Royal Palace of the King of kings? Loads to think about here.

Lilitu in the text COULD mean her = the Evil Lady. Remember, that night, there was a baquet at the Royal Palace and everyone attended. But somehow the Evil Lady managed to flee and stay away from the explosion which triggered the Cataclysm – she was far away in her “ship” along with others (her vassals and followers most probably), along with other survivors, when the Cataclysm started and she shrieked in pain when she realized what happened. The banquet explains why everyone seems to have been in one location = that location is most probably the Royal Palace. So the “tree” might be a building = the Royal Palace of the King of kings. I will be talking about this later on.

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Pray for the victims of another blast. Pray for the people whom are suffering.