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Dumuzid or Dumuzi or Tammuz (; ; ), known to the as Dumuzid the Shepherd () and to the Canaanites as Adon (; Proto-Hebrew: 𐤀𐤃𐤍), is an ancient Mesopotamian and Levantine deity associated with agriculture and , who was also the first and primary consort of the goddess Inanna (later known as Ishtar). In Sumerian mythology, Dumuzid's sister was Geshtinanna, the goddess of agriculture, fertility, and dream interpretation. In the Sumerian King List, Dumuzid is listed as an Eridu Genesis king of the city of Bad-tibira and also an early king of the city of Uruk.
In Inanna's Descent into the Underworld, Inanna perceives that Dumuzid has failed to properly mourn her death and, when she returns from the Underworld, allows the gallu demons to drag him down to the Underworld as her replacement. Inanna later regrets this decision and decrees that Dumuzid will spend half of the year in the Underworld, but the other half of the year with her, while his sister Geshtinanna stays in the Underworld in his place, thus resulting in the cycle of the seasons. In the Sumerian poem Inanna Prefers the Farmer, Dumuzid competes against the farmer Enkimdu for Inanna's hand in marriage.
Gilgamesh references Tammuz in Tablet VI of the Epic of Gilgamesh as the love of Ishtar's youth, who was turned into an Coraciidae with a broken wing. Dumuzid was associated with fertility and vegetation and the hot, dry summers of Mesopotamia were believed to be caused by Dumuzid's yearly death. During the month in midsummer bearing his name, people all across Mesopotamia would engage in public, ritual mourning for him. The cult of Dumuzid later spread to the Levant and to Greece, where he became known under the West Semitic name Adonis.
Tammuz is mentioned by name in the Book of Ezekiel (e.g., Ezek. 8:14–15) and possibly alluded to in other passages from the Hebrew Bible. In late nineteenth and early twentieth century scholarship of religion, Tammuz was widely seen as a prime example of the archetype dying-and-rising god, but the discovery of the full Sumerian text of Inanna's Descent in the mid-twentieth century appeared to disprove the previous scholarly assumption that the narrative ended with Dumuzid's resurrection and instead revealed that it ended with Dumuzid's death. However, the rescue of Dumuzid from the underworld was later found in the text Return of Dumuzid, translated in 1963.
The custom of planting miniature gardens with fast-growing plants such as lettuce and fennel, which would then be placed out in the hot sun to sprout before withering in the heat, was a well-attested custom in ancient Greece associated with the festival of Adonia in honor of Adonis, the Greek version of Tammuz; some scholars have argued based on references in the Hebrew Bible that this custom may have been a continuation of an earlier oriental practice. The same women who mourned the death of Tammuz also prepared cakes for his consort Ishtar, the Queen of Heaven. These cakes would be baked in ashes and several clay cake molds discovered at Mari, Syria reveal that they were also at least sometimes shaped like naked women.
A vast number of erotic love poems celebrating the consummation of Inanna and Dumuzid have survived. Two excerpts from a representative example are translated below:
| English translation by Samuel Noah Kramer and Diane Wolkstein | |
The Sumerian poem The Dream of Dumuzid (ETCSL 1.4.3) begins with Dumuzid telling Geshtinanna about a frightening dream he has experienced. Then the galla demons arrive to drag Dumuzid down into the Underworld as Inanna's replacement. Dumuzid flees and hides. The galla demons brutally torture Geshtinanna in an attempt to force her to tell them where Dumuzid is hiding. Geshtinanna, however, refuses to tell them where her brother has gone. The galla go to Dumuzid's unnamed "friend", who betrays Dumuzid, telling the galla exactly where Dumuzid is hiding. The galla capture Dumuzid, but Utu, the god of the Sun, who is also Inanna's brother, rescues Dumuzid by transforming him into a gazelle. Eventually, the galla recapture Dumuzid and drag him down into the Underworld.
In the Sumerian poem The Return of Dumuzid, which begins where The Dream of Dumuzid ends, Geshtinanna laments continually for days and nights over Dumuzid's death, joined by Inanna, who has apparently experienced a change of heart, and Sirtir, Dumuzid's mother. The three goddesses mourn continually until a fly reveals to Inanna the location of her husband. Together, Inanna and Geshtinanna go to the place where the fly has told them they will find Dumuzid. They find him there and Inanna decrees that, from that point onwards, Dumuzid will spend half of the year with her sister Ereshkigal in the Underworld and the other half of the year in Heaven with her, while Geshtinanna takes his place in the Underworld.
Dumuzid and Geshtinanna begins with demons encouraging Inanna to conquer the Underworld. Instead, she hands Dumuzid over to them. They put Dumuzid's feet, hands, and neck in the stocks and torture him using hot pokers. They strip him naked, do "evil" to him, and cover his face with his own garment. Finally, Dumuzid prays to Utu for help. Utu transforms Dumuzid into a creature that is part eagle and part snake, allowing him to escape back to Geshtinanna. In the text known as The Most Bitter Cry, Dumuzid is chased by the "seven evil deputies of the netherworld" and, as he is running, he falls into a river. Near an apple tree on the other bank, he is dragged into the Underworld, where everything simultaneously "exists" and "does not exist", perhaps indicating that they exist in insubstantial or immaterial forms.
A collection of lamentations for Dumuzid entitled In the Desert by the Early Grass describes Damu, the "dead anointed one", being dragged down to the Underworld by demons, who blindfold him, tie him up, and forbid him from sleeping. Damu's mother tries to follow him into the Underworld, but Damu is now a disembodied spirit, "lying in" the winds, "in the lightnings and in tornadoes". Damu's mother is also unable to eat the food or drink the water in the Underworld, because it is "bad". Damu travels along the road of the Underworld and encounters various spirits. He meets the ghost of a small child, who tells him that it is lost; the ghost of a singer agrees to accompany the child. Damu asks the spirits to send a message to his mother, but they cannot because they are dead and the living cannot hear the dead's voices. Damu, however, manages to tell his mother to dig up his blood and chop it into pieces. Damu's mother gives the congealed blood to Damu's sister Amashilama, who is a leech. Amashilama mixes the congealed blood into a brew of beer, which Damu must drink in order to be restored to life. Damu, however, realizes that he is dead and declares that he is not in the "grass which shall grow for his mother again", nor in the "waters which will rise". Damu's mother blesses him and Amashilama dies to join him in the Underworld. She tells him that "the day that dawns for you will also dawn for me; the day you see, I shall also see", referring to the fact that day in the world above is night in the Underworld.
Anton Moortgat has interpreted Dumuzid as the antithesis of Gilgamesh: Gilgamesh refuses Ishtar's demand for him to become her lover, seeks immortality, and fails to find it; Dumuzid, by contrast, accepts Ishtar's offer and, as a result of her love, is able to spend half the year in Heaven, even though he is condemned to the Underworld for the other half. Mehmet-Ali Ataç further argues that the "Tammuz model" of immortality was far more prevalent in the ancient Near East than the "Gilgamesh model". In a chart of antediluvian generations in Babylonian and Biblical traditions, William Hallo associates Dumuzid with the composite half-man, half-fish counselor or culture hero (Apkallu) An-Enlilda, and suggests an equivalence between Dumuzid and Enoch in the Genealogy given in Genesis chapter 5.
Ezekiel's testimony is the only direct mention of Tammuz in the Hebrew Bible, but the cult of Tammuz may also be alluded to in :
Because thou hast forgotten the God of thy salvation, and hast not been mindful of the rock of thy strength, therefore shalt thou plant pleasant plants, and shalt set it with strange slips: In the day shalt thou make thy plant to grow, and in the morning shalt thou make thy seed to flourish: but the harvest shall be a heap in the day of grief and of desperate sorrow.
This passage may be describing the miniature gardens that women would plant in honor of Tammuz during his festival. , , and all denounce sacrifices made "in the gardens", which may also be connected to the cult of Tammuz. Another possible allusion to Tammuz occurs in : "Neither shall he regard the God of his fathers, nor the desire of women, nor regard any god: for he shall magnify himself above all." The subject of this passage is Antiochus IV Epiphanes and some scholars have interpreted the reference to the "one desired by women" in this passage as an indication that Antiochus may have persecuted the cult of Tammuz. There is no external evidence to support this reading, however, and it is much more probable that this epithet is merely a jibe at Antiochus's notorious cruelty towards all the women who fell in love with him.
The Hebrew Bible also contains references to Tammuz's consort Inanna-Ishtar. and mention "the Queen of Heaven", who is probably a syncretism of Inanna-Ishtar and the West Semitic goddess Astarte. The Song of Songs bears strong similarities to the Sumerian love poems involving Inanna and Dumuzid, particularly in its usage of natural symbolism to represent the lovers' physicality. ("Who is she that looketh forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners?") is almost certainly a reference to Inanna-Ishtar.
In Greece, the myth of Adonis was associated with the festival of the Adonia, which was celebrated by Greek women every year in midsummer. The festival, which was evidently already celebrated in Lesbos by Sappho's time, seems to have first become popular in Athens in the mid-fifth century BC. At the start of the festival, the women would plant a "garden of Adonis", a small garden planted inside a small basket or a shallow piece of broken pottery containing a variety of quick-growing plants, such as lettuce and fennel, or even quick-sprouting grains such as wheat and barley. The women would then climb ladders to the roofs of their houses, where they would place the gardens out under the heat of the summer sun. The plants would sprout in the sunlight, but wither quickly in the heat. Then the women would mourn and lament loudly over the death of Adonis, tearing their clothes and beating their breasts in a public display of grief. The third century BC poet Euphorion of Chalcis remarked in his Hyacinth that "Only Cocytus washed the wounds of Adonis".
During the sixth century AD, some early Christians in the Middle East borrowed elements from poems of Ishtar mourning over the death of Tammuz into their own retellings of the Virgin Mary mourning over the death of her son Jesus. The Syrian writers Jacob of Serugh and Romanos the Melodist both wrote laments in which the Virgin Mary describes her compassion for her son at the foot of the cross in deeply personal terms closely resembling Ishtar's laments over the death of Tammuz.
Tammuz is the month of July in Iraqi Arabic and Levantine Arabic (see Arabic names of calendar months), as well as in the Assyrian calendar and Jewish calendar, and references to Tammuz appear in Arabic literature from the 9th to 11th centuries AD.Fuller, 1864, pp. 200-201. In what purports to be a translation of an ancient Nabataean text by Qūthāmā the Babylonian, Ibn Wahshiyya (c. 9th-10th century AD), adds information on his own efforts to ascertain the identity of Tammuz, and his discovery of the full details of the legend of Tammuz in another Nabataean book: "How he summoned the king to worship the seven (planets) and the twelve (signs) and how the king put him to death several times in a cruel manner Tammuz coming to life again after each time, until at last he died; and behold! it was identical to the legend of St. George." Ibn Wahshiyya also adds that Tammuz lived in Babylonia before the coming of the and belonged to an ancient tribe called Ganbân. On rituals related to Tammuz in his time, he adds that the Sabaeans in Harran and Babylonia still lamented the loss of Tammuz every July, but that the origin of the worship had been lost. Ibn Wahshiyya's version of the Tammuz myth is also cited by Maimonides in his Guide for the Perplexed.
In the tenth century AD, the Arab traveler Ibn al-Nadim wrote in his Al-Fihrist that "All the Sabians of our time, those of Babylonia as well as those of Harran, lament and weep to this day over Tammuz at a festival which they, more particularly the women, hold in the month of the same name." Drawing from a work on Syriac calendar feast days, Al-Nadim describes a Tâ'ûz festival that took place in the middle of the month of Tammuz. Women bewailed the death of Tammuz at the hands of his master who was said to have "ground his bones in a mill and scattered them to the wind." Consequently, women would forgo the eating of ground foods during the festival time. The same festival is mentioned in the eleventh century by Ibn Athir, who recounts that it still took place every year at the appointed time along the banks of the Tigris river. Tammuz is still the name for the month of July in Iraqi Arabic.
Tammuz's categorization as a "dying-and-rising god" was based on the abbreviated Akkadian redaction of Inanna's Descent into the Underworld, which was missing the ending. Since numerous lamentations over the death of Dumuzid had already been translated, scholars filled in the missing ending by assuming that the reason for Ishtar's descent was because she was going to resurrect Dumuzid and that the text could therefore be assumed to end with Tammuz's resurrection. Then, in the middle of the twentieth century, the complete, unabridged, original Sumerian text of Inanna's Descent was finally translated, revealing that, instead of ending with Dumuzid's resurrection as had long been assumed, the text actually ended with Dumuzid's death.
The rescue of Dumuzid from the underworld was later found in the text Return of Dumuzid, translated in 1963. Biblical scholars Paul Eddy and Greg Boyd argued in 2007 that this text does not describe a triumph over death because Dumuzid must be replaced in the underworld by his sister, thus reinforcing the "inalterable power of the realm of the dead". However, other scholars have cited this as an example of a god who was previously dead and risen again.
As a dying-and-rising god
The late nineteenth-century Scottish Anthropology Sir James George Frazer wrote extensively about Tammuz in his monumental study of comparative religion The Golden Bough (the first edition of which was published in 1890) as well as in later works. Frazer claimed that Tammuz was just one example of the archetype of a "dying-and-rising god" found throughout all cultures. Frazer and others also saw Tammuz's Greek equivalent Adonis as a "dying-and-rising god". Origen discusses Adonis, whom he associates with Tammuz, in his Selecta in Ezechielem ( “Comments on Ezekiel”), noting that "they say that for a long time certain rites of initiation are conducted: first, that they weep for him, since he has died; second, that they rejoice for him because he has risen from the dead ( apo nekrôn anastanti)."
Literary references
The references to the cult of Tammuz preserved in the Bible and in Greco-Roman literature brought the story to the attention of western European writers. The story was popular in Early Modern England and appeared in a variety of works, including Walter Raleigh's History of the World (1614), George Sandys's Dictionarium Relation of a Journey (1615), and Charles Stephanus's Dictionarium Historicam (1553). These have all been suggested as sources for Tammuz's most famous appearance in English literature as a demon in Book I of John Milton's Paradise Lost, lines 446–457:
THAMMUZ came next behind,
Whose annual wound in LEBANON allur'd
The SYRIAN Damsels to lament his fate
In amorous dittyes all a Summers day,
While smooth ADONIS from his native Rock
Ran purple to the Sea, suppos'd with blood
Of THAMMUZ yearly wounded: the Love-tale
Infected SION'S daughters with like heat,
Whose wanton passions in the sacred Porch
EZEKIEL saw, when by the Vision led
His eye survey'd the dark Idolatries
Of alienated JUDAH.
And then each pigeon spread its milky van,
The bright car soared into the dawning sky
And like a cloud the aerial caravan
Passed over the Ægean silently,
Till the faint air was troubled with the song
From the wan mouths that call on bleeding Thammuz all night long
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See also
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