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Inanna and Gilgamesh - the felling of the tree (3)

Inanna and Gilgamesh: the felling of the tree

By on 11 October 2022

Inanna and Gilgamesh: the felling of the tree

Inanna and Gilgamesh - the felling of the tree (3)

The next episode of Sumerian lore tells of Inanna and Gilgamesh cutting down the tree of the young goddess.

What has happened so far

The tree in the garden of the young goddess - occupied by dark creatures

The young goddess had to realize that the tree, which she herself had fetched from the river and planted in her garden, had been occupied by dark beings of power. In the roots nested the snake, which cannot be tamed, in the trunk Lilith, the dark maiden, had taken up her abode. And in the crown of the tree the lion eagle had built its nest and had already hatched young.

[Back to: Inanna, Lilith and the Tree (Episode 2).]

Inanna and Gilgamesh: the felling of the tree

(Original text and summaries)

One day - a new consciousness

When at dawn the birds began to sing
[...] Inanna called her brother Utu [and asked him for help].
Utu, the radiant warrior, Utu,
did not want to help his sister Inanna.

When at the second dawn the birds began to sing,
Inanna reached her brother Gilgamesh. [...]
Gilgamesh, the brave warrior Gilgamesh,
the hero of Uruk, stood by Inanna.

Gilgamesh and Inanna: the felling of the tree

Gilgamesh fastened his armor of 50 minas (over 200 kg) on his chest. He lifted his bronze axe, which weighed seven talents and seven minas (about 30 kg), and placed it on his shoulder. Thus he entered Inanna's garden.
He slew the snake, which could not be tamed. The Anzu bird flew into the mountains with its young; Lilith smashed her house and escaped to wild, uninhabited places.
Then Gilgamesh loosened the roots of the Huluppu tree; and the sons of the city, accompanying him, cut off the branches.

The Goddess and Her Hero King: Inanna and Gilgamesh

From the trunk of the tree he carved
a throne for his holy sister.
From thetrunk of the tree he carved a bed for Inanna.

From the roots of the tree, Inanna
createdPukku for her brother.
From thecrown of the tree, Inanna
createdMikku for Gilgamesh, the hero of Uruk.

No happy ending (yet)

But Gilgamesh lost Pukku and Mikku again. For his boastful use of "Pukku" brought bitterness, wailing and tears upon the mothers, sisters and young women of Uruk. Therefore, the earth opened, so that Pukku and Mikku were lost to the underworld. [1]


The young goddess wants to get rid of the scary creatures that occupy her tree. When her brother refuses to help her, she asks Gilgamesh for help. The young hero of Uruk enters her garden and cuts down the tree without further ado. Thereupon Inanna makes him her king. (But he does not stay with her).

Axe for cutting women as trees

Interpretations and explanations

Who is Gilgamesh?

Symbols and interpretations of the underlined words of Inanna and Gilgamesh

A new awareness: self-efficacy

  • The birds are singing: Joy and spring feelings
  • Daybreak - a new day, new awareness after the night, the depression: the young goddess becomes active and acts. She seeks help from her peers, first from her brother Utu.
  • Utu, Inanna's brother, the sun god - a positive animus figure. As Inanna's brother, he embodies her family on the one hand, and her masculine parts on the other, and lastly, as the sun god, he also represents a Christ figure ("dying and rising" of the sun).
  • Utu says no. - "It's not time yet." Probably also as a responsible person on behalf of the parents.
  • Second dawn - another step of awareness ("then I have to do it myself ..."): "I am an adult, I take matters into my own hands ..." - Will this come out well?
  • Gilgamesh, also called Inanna's brother, is genealogically her cousin. See immediately following in the text to "Who is Gilgamesh?
  • Uruk - city in Sumer: Inanna was its city deity. She was supposed to reach new greatness around 2300 and was probably moved into the center of mythology not least because of this (see also at the end of Part I).

Gilgamesh and Inanna: the felling of the tree

  • Armor of 50 minas - 50 for overcoming the dynamics of power: The number 50 Symbolizes the overcoming of the complete negative dynamic of power (the The Double Negative Dynamic). To overcome this, Inanna and her Gilgamesh will have a long way to go. Because for the time being Gilgamesh's chest (his heart) is behind a thick armor ...
  • Bronze axe of seven talents and seven minas - twice the seven: Seven as the number of creation doubled - male and female: each blow of the axe shapes the new creation, the initiation of daughter and son into woman and man.
  • Gilgamesh entered Inanna's garden and cut down the tree: first sexual intercourse (see in detail in the text).
  • He slew the serpent: He finishes off the "old inhabitants" of the tree. Gilgamesh makes short process and replaces thereby the old power (the family) by the new power (the pair relationship).
  • Lilith smashed her house: Inanna's dark side caused her tree to be cut down. It is her own fault, she should have been careful to whom she surrenders (s. The woman 3-in-1). But now the thing and with it also the mythology will take its course.
  • Gilgamesh loosened the roots of the tree - and with it Inanna's anchorage in her body.


The Goddess and Her Hero King: Inanna and Gilgamesh

  • Sons of the city who accompanied him cut branches: The young men do it after their king.
  • From the trunk: The trunk for the realm of the soul (s. The tree of life/world tree)
  • ... Inanna gets her throne - self-determination in her own life (more on this below).
  • ... and her bed: sexual self-determination: she has chosen her king (more on this below).
  • His "holy sister" - perhaps an initiated priestess of the goddess of love: as such, possibly the highest virgin in the land, daughter of the king; cf. the Gilgamesh epub (Ascent to the king). But "holy" she is for Gilgamesh also because the two together represent wholeness (unity of male and female) (cf. God, wholeness, 3-in-1, male and female).
  • Pukku from the roots - the staff, "scepter", phallic symbol: The roots belong to the realm of the body. The staff is a sign of dominion over the female body (for good or evil; see below).
  • Mikku from the crown of the tree: the ring or hoop for the female womb: the ring can be penetrated with the staff, which represents the other side of the spiritual power over the feminine (see below and Ring, staff and crown of horns and also The insignia of power).
  • Earth opened so that Pukku and Mikku were lost to the underworld: Unconsciousness. An abyss of libidinousness opens up when sexuality does not take place in a protected and legitimate framework.
Enki's son (=EnKiDu); Inanna's lover, her initiator, future king and searching hero.

1. inanna's cousin

In the Sumerian tradition Gilgamesh is Inanna's cousin (according to the god family tree in Kramer/Wolkenstein [1]).

2. EnKiDu(m) - EnKi's Son - Son of the God of Earth

Also in the mentioned family tree Giglamesh is listed as Enki's son. Symbolically, however, this can also mean that he is a savage as a "child of the earth" (of the god of the earth) (because EnKi, the god of the earth, can also be regarded as a shamanic nature god). In the Gilgamesh epic is told about the legendary friendship between king Gilgamesh and a savage named EnKiDu (=son of EnKi). From the more than 1000 years older Sumerian tradition, however, it is already clear that Gilgamesh himself is son or creature of EnKi, i.e. EnKi-Dum.

3. Inanna's initiator by cutting down her tree.

Gilgamesh deflowered Inanna, the goddess of love and city deity of Uruk, and she therefore made him her king. This statement is based on interpretations of the symbols in this section, especially the felling of Inanna's tree, as discussed later.

4. bull and king of Uruk (name from the Gilgamesh epic)

Inanna made Gilgamesh her chosen hero and lover and thus king of the city of Uruk.

5. the legendary king of the first written heroic saga of mankind

The Babylonian Gilgamesh epic, which originated at least 1000 years after the Sumerian tradition, tells the heroic saga of a king in search of eternal life.

6. a tribute to Sargon, the first world ruler with divine status?

The Gilgamesh epic probably has in mind the first world ruler Sargon of Akkad (c. 2300 BC), who had already attained divine status in Babylon. Since the Sumerian lore was first written down in Babylon (ca. 1800 BC), it can be assumed that the name Gilgamesh at this point is a later, Babylonian addition. In the Sumerian mythology the spouse of the goddess is otherwise called Dum(u)Zi (= son of life).

7. the name "Gilgamesh" from Ki-Gal-Mesh = "From the earth to the underworld to learn service"?

The symbolism of the Gilgamesh epic tells the way of conversion from the evil to the good king. Possibly the name Gilgamesh contains the syllables Ki/Gi=Earth; Ga(l)=Underworld and Mesh/Mash from the god Shamash. This name contains the syllable Shah (= ruler?) and the inversion (M)-ASH (servant?). The interpretation "from ruler to servant" fits to the context of the content, because Shamash is in the Gilgamesh epic as god an animus figure, which changes from the strong thunderous drive as heaven bull to the redeemer figure. (In the Gilgamesh epic many names can be deciphered on the basis of the syllables, so that from it exceedingly illuminating statements arise again and again).

The Felling of the Tree: Inanna's Deflowering by Gilgamesh

The felling of the tree is an encryption and symbolizes Inanna's deflowering. This is confirmed by the symbolism of the "gifts" that Inanna and Gilgamesh give each other.

Woman Tree Trunk

But why the picture of the felling of the tree?

Utilization for energy production and as a building material

A tree that is cut down is no longer alive. Its wood is used for various purposes such as building objects or heating.
In analogy to the relationship, during the first sexual intercourse, the virgin is "cut down" with her miracle-working power of pure love. Thereby the woman is made "usable", in that she is henceforth available to the partner as a source of life and spiritual life force and thus helps him to realize his dreams.

Basically: the tree as a symbol of life

The tree with roots, trunk and crown for body, soul and spirit

The young, slender tree that has grown out of and on the "mother earth" symbolizes on the one hand the life between heaven and earth, spirit and matter, father and mother, and on the other hand, this is now specifically about Inanna's life.

[S. The World Tree or Tree of Life.]

The secret of life in the womb of the woman

The Woman 3-in-1

The soul,/life of the woman is in her womb, for it is here that new life/soul can grow. By letting her lover into her womb, into her sanctuary, she gives him, in addition to her body (her outer shell), also her soul (her abdomen) as well as her spirit, her love (s. The woman, 3-in-1 and Sexual magnetism). In other words, she gives herself away with everything she is and has.

She is now attached to him. That means, even if he is only a "frog" (s. The Frog Prince), he is still her prince (because she has given herself completely to him). This is a secret that can be exploited and has been exploited over the millennia by women becoming dependent, oppressed and exploited. This is black magic (see Aladdin and the magic lamp).

Male and female and the creation of new reality.

Two opposing creative forces

The woman as the source of life force is a classical model rooted in the archetypal differentiation of energies. Male and female as the two primordial forces of creation. rooted. Both man and woman, however, have both male and female parts.

[S. Male and Female and the Creation of New Reality. ]

The masculine parts of the woman

A woman can also love herself and realize her own desires. But then she has integrated her masculine parts (strategy, creativity) (already attained wholeness (s. The integration of the animus).
The story of Inanna is about just this way of the woman and also the love to wholeness.

[S. God, wholeness, 3-in-1, male and female; Female wholeness 3-in-1: potential, reality and destiny and The Feminine Path from Heaven to Matter.]


Because she likes him, he has liked her. She has taken a liking to him and has fallen for him.
Thus, Inanna, who until then was a virgin and goddess of heaven, enters the next stage of life as an initiated woman and motherhood (fullness). 

The "gifts", the profit for Inanna and Gilgamesh

The symbolism of the "gifts" as the key to interpretation

The interpretation of the felling of the tree as the first sexual intercourse (initiation) is confirmed by the objects with which the couple presents each other.
Thus, Gilgamesh has made for Inanna the long desired throne and bed from the trunk of the tree, while she has fashioned for him PUKKU and MIKKU from the roots and from the crown.

Throne and bed for Inanna: self-determination in life and sexuality

The wedding throne for the reception of the beloved

Gilgamesh makes a throne and a bed for Inanna from the trunk of the tree, which stands for life and the soul. They stand for self-determination in life (throne) and in sexuality (bed), i.e. for conscious, self-responsible and thus "divine" action.
The throne could also be more specifically a wedding throne, on which the young goddess receives her lover and chosen hero king.

Pukku and Mikku for Gilgamesh: Ring and Staff for the Entrance into the Feminine

Penetration power of attorney

Gilgamesh receives PUKKU and MIKKU, which means ring and staff, as a sign of "kingship". They symbolize the phallus (staff) that enters the female womb (ring) and thus initiates new reality (through the outpouring of the seed, the word, the in-formation).

[S. Ring, staff and crown of horns.]

Pukku from the roots: staff or "scepter" as phallic symbol

The roots belong to the realm of the body. The staff is a sign of dominion over the female body (for good or evil). About Gilgamesh the tradition says that he brought much suffering over the women of Uruk with "Pukku". (By the "right of the first night; about it in detail in the Gilgamesh epic, prologue).

Mikku from the crown of the tree: the ring or hoop for the female womb

A ring can be symbolically penetrated with a staff. The ring or hoop represents the other side of the spiritual power over the feminine (s. Ring, staff and crown of horns and also The insignia of power).

Pukku and Mukku lost in the underworld

The tradition says that the earth opened and Pukku and Mikku were lost to the underworld. This is an image of sexuality having entered the realm of the unconscious, that is, the shadows and the urges.

Kingship in one's own life

With this act of sexual initiation, Inanna and Gilgamesh take ("divine") self-determination in life and they enter the adult world.

King and queen with branch (stele of Ur-Nammu)

In addition this picture: King and queen, stele of Ur- Nammu

The image above shows a seated royal couple in front of a vase with cut branches . The man as king holds the ring and staff with the ribbon in his hand. These are connected by a ribbon (which hangs loosely) as a sign of a binding union.

The crown of horns for the fullness of life

The couple in the picture above wears the crown of horns. As a sign that man and woman / king and queen are initiated, it probably symbolizes a cornucopia in connection with the fertility of life.
In the next section, Inanna will put on this same crown of horns, hailing Shugurra and also her miracle-working vulva.
In the translation of the Gilgamesh epic the term "king's cap" is used.

Later, a ring or hoop on the head of the chosen ruler served as a sign of his election and Power of attorney.

The Entrance into the Common Sanctuary and the Anointing

Pukku and Mikku for entering the female sanctuary

Pukku from the roots ("mother") and Mikku from the crown ("father") of the tree stand for the authority to enter into the female, the matter. Thereby the unity of male and female, the union in the womb of the woman, is the common sanctuary. It must not be dishonored, because it is the source of life and new living reality (see e.g. in the fairy tale The iron man and the gold well.)

[S. The anointing - authority over matter and The Shrine and the Path to Wholeness.]

The ruler himself as the anointed limb

Later, the ring or hoop was placed on the head of the chosen ruler, who in this case represents himself the "anointed limb" (the staff) from which the seed (of the Word) emanates.
Thus, the spiritual authority of the king to rule the people, and thus the great feminine , was always accompanied by symbolic signs of his authority .

[ S. Ring, staff and crown of horns and orb, scepter and crown as insignia of power].]

The Anointing and the Anti-Anointed One, the Oppressor

Time and again, however, rulers have usurped the love of women or of the whole people by imposing their will by force, without paying attention to the "anointing". By seizing the feminine in this way, they acted as rapists and in the spirit of the anti-anointed, the "Antichrist.

[ S. Christ / Messiah, the Anointed One and the Anti-Christ. ]

Gilgamesh and Inanna - a divine royal couple

These symbols speak a clear language and say that the two have slept together. Thus, Inanna has made Gilgamesh king over her hidden kingdom. For through the act of sexual union, he has gained her body and the miracle-working power of her love. Thus, Gilgamesh is now Inanna's chosen hero-king and she is his goddess. 

The Virgin - Miracle Working Love and Potential, The Woman as Goddess and the Man as Her Hero King and The Woman 3-in-1: Body/Soul/Spirit).

But ... What happened? - Sex without family approval

Protection of women through commitment?

All the devotion of the woman - and the man?

Because the woman gives herself away completely during sexual intercourse, with body, soul and spirit (love; see above and The woman 3-in-1), it is important that this happens in a protected setting, so that the man cannot simply take, consume and sneak away again.

Thus, the question:

Was this "land" (Inanna as a wonderful woman with her body) really promised to Gilgamesh as her future king? Did the union of the two also happen with the consent of the family and within the framework of higher orders?

Big Brother's No and the Higher Order

Utu, the Sun God

That the union was not legitimate and approved is expressed in the "no" of the big brother, Utu, who also represents the family.
Utu is besides in the Sumerian mythology the sun god and represents with it a Christ figure (the sun which "dies" in the evening and "rises" again in the morning). Therefore it is to be assumed that he has also higher orders and the well-being of the little sister in view with the commandment.

The tradition already hints at it here, which will be elaborated later:
There was no secure framework for the sexual union....

Gilgamesh and the creation of a deed thing

So while the big brother said "No!", the other "brother", Gilgamesh, didn't take long. Without further ado, he entered Inanna's garden and cut down her tree.
It boils down to the fact that Gilgamesh, the son of the EnKi (= EnKiDu), was a "savage" who had nothing to lose and therefore also grabbed without consideration.

[S. The Garden of Eden, Paradise: in Sumer! and Inanna's Tree in the Garden of Eden (1).

The Babylonian Epic of Gilgamesh: Creation of the Collective Fact of Power

Subjugation of the great feminine, the living matter

Accordingly, the later Gilgamesh epic also expands the king's "exploits" in a collective sense. The new message is this: The man who stops at nothing, who rebels against higher orders, father and mother (for love and destiny), conquers even heaven. (But this is only the superficial side of the truth. The deeper layers testify that fate is stronger and justice has the last word. However, love includes mercy and grants a new chance).

[S. Introduction to the Babylonian Epic of Gilgamesh.]

Burney relief (the queen of the night, edited)

Lilith or the Queen of the Night: Power through Eroticism

In the Burney relief, a nude woman holds up a ring and staff (in contrast to the above depiction of the stele of Ur-Nammu). She entices with the prospect of sexual intercourse and in this way exercises power through eroticism. This has earned her the name "Queen of the Night" for Lilith, the dark virgin Lilith.

Lilith and the intoxication of eroticism

However, the tradition emphasizes in this context:

The tree was cut down (prematurely) because it was "occupied" by alien beings of power.

In the intoxication of her erotic power, Inanna is identified with Lilith, the dark maiden, who has seized her tree of life. (p. next episode Inanna and the Intoxication of the Father; Episode 4.)

Or put another way: The apple does not fall far from the tree ...

Fate repeats itself

Thus, the undesirable fate has now repeated itself in her life. According to the motto: "The apple does not fall far from the tree" the same happens to her as to her ancestors, her mother or grandmother and the women: She gets entangled in a dynamic of power, so that frustration will not be absent.

[S. Women as trees and their felling; I am Lilith, the dark virgin and The poisoned apple - abuse as a collective reality.]

Eroticism, drive and power as incriminating factors and "original sin

Inanna's tree in the grip of power

In the trunk Lilith, the dark virgin, had taken her dwelling (power through eroticism). And in the roots the serpent, which cannot be tamed, had taken up residence (the drive). Above all, in the crown of the tree, the lion eagle had built its nest (s. Inanna, Lilith, the Tree and the Power, Episode 2).

These beings symbolize all power through robbery and violence and thus figuratively represent burdens in the form of imprints and hereditary traits that have been passed on to the daughter through her parents (see The Great Original Sin and the Curse).

Dispositions and the integration of the shadow

The beings of power belong to the unconscious (s. The conscious and the unconscious and The drive). This means that as long as they are not recognized and integrated, they act with destructive energy to the Shadow work.

The integration of the shadow is a mature achievement, which actually comes only in the middle of life (s. How do I concretely integrate my shadow?). Inanna will then also start this way only in the middle years, when her children are grown up (see Inanna's way through the underworld). First she has to see if a relationship with Gilgamesh will develop at all.

Lilith as Adam's first wife and Inanna as Eve

By allowing herself to be persuaded by the young man to have sexual intercourse without a protective framework for the relationship, Inanna is also the spiritual model for the later biblical Eve. Interestingly, according to Jewish tradition, Lilith was Adam's first wife. She also symbolizes his anima (the inner image of woman as seductress). The consequence is fatal: reduced to this role, love is in danger of dying. This is the curse of power.

 [S. Podcast by Nadine Kulis with Anne on Lilith and these posts:
I am Lilith, the dark virgin (free text); The Bible's account of the Fall and the mystery of the serpent; The two trees in paradise and the forbidden fruit and The great original sin and the curse.]

Inanna has indeed perceived the beings of power. But instead of dealing with these shadowy figures and overcoming them, she rejects them, fights against them and for this very reason is caught up by her own shadow. This is the curse.

Inanna and Gilgamesh as a modern narrative 

Anna and Gil

Lately, I've been dreaming a lot. One of the dreams was like this:

The big brother

There was a snake that had lined up next to my bed and was spitting at me. I got up, went to my brother Udo and said:
- I have a snake in my room - help me! Make it go away!

Udo went upstairs and came back with a flower pot. In the earth was the snake, it was now very small and sleepy ... strange ...

Back in the garden

And the next night in a dream I was again in that garden with the tree and the terrible creatures:

Dhere again was the woman walking through the garden. But now a big strong man, a real hero in shining armor, was at her side. Muscular and fierce he looked, with shoulder-length hair.

Help from the strong hero: the felling of the tree

He was obviously a warrior, for he wore strong, shining armor and a massive axe on his shoulder.
Without hesitation, he went straight for the tree and then ... blow after blow ... he slashed at the tree. The tree swayed.
Lilith, the woman with the green eyes in the trunk, looked out in horror and hissed at the woman:
You yourself are responsible for this!

Furious, she lashed out and smashed her house before making a run for it.
The lion eagle also screeched loudly. He drew a few more circles in the air, gathered his plump, fluttering young, and was gone.

Boom! The tree fell!

The snake now looked out from the roots. It was huge and its eyes ... Again I almost felt sick when I looked into the slits of its poison-green eyes. I thought: Now the warrior will drop the axe ... And he did: He dropped his heavy axe ... a thunderclap! - on the head of the snake! The head of the monster was off! Then the hero loosened the roots of the tree with his axe, and other young men joined him, who also cut branches.


Next I saw the woman in a bright, shimmering dress sitting on a chair or better on a kind of throne made of black, shiny wood. It was elevated with powerful armrests. The hero stood before her in a crimson cloak. She raised her arms and solemnly handed him a braided ring from the branches and a curved staff from the roots. The staff and the ring were connected by a red and blue ribbon. Then she knelt down before the hero...
Next to it stood a bed - also made of the same black, shiny wood.

It was a special ... a sacred atmosphere. 


The big brother

I awoke still feeling intoxicated by the dream.

Later, in the afternoon, I received a phone from Gil. Since the party, we had started seeing each other.
This had not escaped my brother Udo. He came to my room to talk to me privately, as he said:
- I noticed that you are in contact with this Gil. You've been seen with him. You're seeing him a bit much - too much ... for my taste! - Somehow I don't trust this guy ...

That's when I got mad at him:
- Are you snooping on me now?! You know what?! I'm not interested in your opinion! Did mom put you on me as a nanny, or what? And anyway, how can you say that?! You don't even know Gil!

Even before he could answer, I drove at him:
- And anyway: I CAN TAKE VERY GOOD CARE OF MYSELF! You look after yourself and your affairs.

With that, I left the room and slammed the door behind me.

The strong hero

A few days later, Gil invited me to his home. First he served us a Prosecco. I was impressed by his beautiful apartment with a view over the city and was especially impressed by him! He was so charming and accommodating. Moreover, he had cooked heavenly for me, opened a good wine. We ate, laughed, had a good chat.

I could talk to him about everything that was bothering me:
- Mom is annoying. I think she's frustrated and always has to take her frustration out on me. And she always wants to be the prettiest - and sexy, too. I find it a bit embarrassing that she still has ambitions at her age, it seems.
She also has a new boyfriend now, and he annoys me. He keeps trying to grope me. Luckily he's not with us that much. - But that he really works that hard... somehow I don't believe it. I don't even want to know what else he does to pass the time! - I never knew my father. Mom says he died during a mountain hike. That was a long time ago, she says, and then changes the subject.
That's probably why Udo thinks he has to play father-substitute. He is Mama's favorite. With him, she lets everything pass, she trusts him with everything!

Gil had his honey-brown eyes fixed on me, listening with interest and nodding affirmatively. I had the feeling that he understood me.

The felling of the tree

After dinner, I was already quite tipsy, so he dished up another whiskey. We sat on the sofa, ate chocolate and listened to music ... Gil came closer and closer. He put his arm around me, kissed me - intoxicating. Already his hand was on my thigh. I felt dizzy.
- You are simply stunning!, he breathed in my ear: I have never met a woman like you! You are a goddess! Do you know that?

In the intoxication of magic

My body responded to him, it was like a fire, it was magic! He began to tamper with my blouse ... and then ... with deft hands ... on and on ... He was unstoppable! I tentatively tried to resist, but he said in a hoarse voice:
- Come on! Don't make such a fuss. You want it too ... you're a real woman ... and what a woman! You're driving me crazy!

Then he penetrated me ... And suddenly it was all over. He helped me back into my clothes:
- I'm taking you home now! he said quickly: It's already late.

The hangover after intoxication

 Indeed! It was already almost twelve o'clock! Udo was still up. He seemed annoyed:
- So late?? Where have you been?! -
- None of your business!, I hissed at him and disappeared into my room.

When I called Gil the next day, I couldn't reach him. The next day, I finally got him on the phone. He seemed far away, was talking a lot and said that he was completely stressed out at the moment, - on business, as he pointed out.
I was shocked, because he was like the other way around, short-tempered and absent, not to say dismissive. He quickly ended the conversation by saying that he had no time to talk now. I was perplexed.

He also answered my text message only briefly: He would contact me as soon as he had more air. - What does that mean?
I was deeply insecure. Should I contact him? Days went by that seemed like an eternity. I was angry and more and more disappointed!


After a few weeks, Udo spoke to me again:
- Well, how's it going with Gil?, he wanted to know.

Without waiting for my answer, he continued:
- I heard him bragging about his women's stories the other day, your name came up as well ...

He looked at me inquiringly. I blushed and hissed at him:
- Mind your own business! He raised his eyebrows:
- Oh well, the apple doesn't fall far from the tree, he said and shrugged his shoulders.
How am I supposed to understand that? Was that supposed to be a reference to Mom? Her relationships with men ...? - I'm certainly not like YOU!

A little later I met Gil by chance in the evening in the exit - with another! I grabbed him and confronted him. At first he shirked:
- Aach, she's just a colleague ... But then he added: - But while we're at it ... Listen! We had it really cool together ... But I'm not up for a steady relationship!


It was as if the floor was pulled out from under my feet.
I am disappointed! Gil has disappointed me so much!!!

He now goes full on macho. The women are totally into him, he must have noticed that, yes, they adore him! - They literally throw themselves at his feet. Of course, he can not resist ...

But I feel like shit... I feel cheated, yes, screwed! Such a coward! Such an immature blockhead and inconsiderate egotist!!! It's not ok at all how he dealt with me!

Late insight

But I have only myself to blame! If only I had listened to Udo!

What am I supposed to do now?? - I need to talk to someone, to someone who can help me, who can perhaps also set Gil's head straight ...

Enrico, Mom's brother, comes to mind. He works as a therapist, I think. - And he's Gil's godfather, if I'm not mistaken. I want to get in touch with him.

Fight for love

A chance for the relationship?

What Inanna did not take into account was that she risked her life and her whole existence with this act!
The relationship stands on shaky ground, that becomes clear on the basis of the further history. Thus Gilgamesh proves to be a bad "king" at first by not staying with her.

But: reason for hope

But there is still reason for hope. Because Inanna is a goddess! That means, she is a strong and self-effective woman, who will not remain in the victim role for a long time, but will rise to conscious action.

In the further course of the mythology, what has happened is now worked through and a way is sought for the young goddess and her love.


[1] WOLKSTEIN, DIANE / KRAMER SAMUEL NOAH. Inanna, Queen of Heaven and Earth. Her Stories and Hymns from Sumer. New York 1983, p. 143, with reference to the entire history of the Huluppu tree by S.N. Kramer in "The Sumerians: Their History, Culture an Character", University of Chicago Press 1963, pp. 199 - 205.

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