The Ages of Uraš

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Quoted materials from books, interviews, and communications by Anton Parks:
Copyright 2006-2009 Anton Parks
Otherwise Copyright 2009-2012 Gerry Zeitlin


Enki in the Land of the Dead

The beings known by their created people as "gods" can never be accorded the status of "dead". This is because they have always inculcated a dependency on themselves for salvation of some kind, such that if they were seen as having ceased to exist, their people would be left tossed to the winds.

The process continues even today: the human matrix is engendered with the religious complex that allows it to live in tranquility, while actually in chains of extreme limitation.

But the gods do disappear somehow. In the case of Enki-Éa, we will find that there is one Sumerian tablet that describes his metaphorical disappearance.

Parks strongly supports the analogy linking the personages of Enki and Osiris, and uses this analogy to "decode" this Sumerian tablet with the help of the Egyptian funerary ideology. He also emphasizes that Enki-Osiris was not actually assassinated in Kalam (Sumer) (which is why the event is not generally described on Mesopotamian tablets) but rather in Kemet (Egypt). Parks also follows the traces of Enki's sister Ereškigal (as named in the Mesopotamian tablets) and her younger sister Ninanna (Inanna). Their interwoven shadows lead us into the depths beneath the Giza plateau.

Enki and Osiris were objects of mystical cults relating to the stability of the soul and resurrection in their respective temples. The priests used artifacts to give the illusion that they lived eternally.

Funerary rites were numerous in Egypt because death was not maligned there as it was in Mesopotamia. The ritualized defunct, image of Osiris and Horus, transcended death to perpetuate the Osirian myth and reequilibrate the universe. Death was but a state that served the transmutation of the soul.

But in Mesopotamia, death was terribly feared. To mention it directly could provoke it. And so the Sumerians preferred to use phrases such as "he/she has gone to his/her destiny" or "his/her destiny has seized him/her".

Parks states that this difference is consistent with the fact that Egypt was more inspired by forces said to be "of the light" (Osiris-Enki / Kadištu) while Mesopotamia was under the influence of forces associated with "darkness" (Seth-Enlil / Anunnaki).

Separating Egypt and Mesopotamia is a vast desert plain, known to the Sumerians as the Edin. It was under the sovereignty of Seth-Enlil, the Great Šàtam (territorial administrator). Seth (Šeteš), the mythological Egyptian god of the deserts, dwelled in the red earth, the desert and the foreign land known as "Dešeret" (Dšr.t"), a term which in the Sumerian KUR, equally designates "the foreign countries".

"Kur" had two distinct significations to the Sumerians. First, the mountain where the "gods" resided, inaccessible to mortals, universal and vivifying. This would be the primordial domain, the Kharsag of the Gina'abul-Anunna in the Taurus mountains.

The second sense was the world beyond, the country of the dead generally situated under the earth's crust, between the primordial waters of the Abzu and the inhabited world above. We know that it does not appear in this case to be the hollow earth, the Abzu, but more the subtle dimension or lower frequencies connected to the underworld where certain Gina'abul had established their domain. This domain, unknowable to common mortals, generally symbolized to the Sumerians the kingdom of the dead.

Parks lists numerous points concerning the KUR from Françoise Bruschweiler's 1987 study "Inanna". These relate to its connections with life and death for gods of various levels and their relationship with intermediaries between humanity, the higher categories of deities, the demons and other malevolent spirits, and the heroic means used to force access.

He is therefore not surprised to find mention of the KUR on various clay tablets dealing with domains of Anunnaki and humans, trespasses, and the possession and uses of Gúrkur ("sphere of KUR") and Gùrkur ("who transports toward the KUR").

Note

The great majority of the village chiefs, that is to say initiates, who reside on the Giza plateau know perfectly well that the site is riddled with galleries that form an absolutely gigantic subterranean network. They themselves moreover know of the placement of certain tunnels completely unknown to the authorities and to the Egyptian Supreme Council of Antiquities. Any person who establishes a measure of contact with these individuals can verify this.

The term "GIGAL" is not translatable into Egyptian; the village chiefs are well conscious of this and maintain that this very ancient term does not come from Egypt at all. It recalls rather the Latin terms Giganteus (gigantic) and Gigantes (giants), that is to say "monstrous" beings - the sons or children of the earth (serpent genies) called "Sata" in Egyptian - who wished to scale Olympus to dethrone the king of the gods.

But the "foreign country" of Ereškigal (Isis) was no other than the royal kingdom in which were practiced the funerary cults. Totally unfamiliar to the Mesopotamians, and with which the Anunnaki of Kalam (Sumer) were in conflict, was the plateau of Giza, the place of the "foreign gods". This was named "Gigal" in Egypt; well in any case this what the natives call it who live on the millennial plateau.

17th-century engraving showing cutaway view of a subterranean network under the Giza plateau. Thus this has been known about for a long time. The network is named "Gigal" by the natives of the millennial plateau. The schematisation of the labyrinths on the ground shows that the utilization of the lower Giza plateau as an initiatory platform was known in the highest antiquity. "Sphinx Mystagoga" by Athanase Kircher, 1676.
The Sumerian tablet to which we referred above is one of the twelve on which is inscribed "The Epic of Gilgamesh" - in particular the twelfth one, which is a sort of epilogue. We suggest the reader who may be unfamiliar with these tablets review a summary, such as the Wikipedia entry Epic of Gilgamesh. But keep in mind that few seem to grasp the time frame in which the events described might actually have taken place. We are given a time for the tablets themselves at around 27th century BCE and that is supposed to be that.

Moreover, "Enkidu", a wild man who stands for Enki, was created in the time of the reign of a king Gilgamesh for his diversion and education.

So we ignore that; our interest is in what is said about the underworld into which Enkidu is sent to search for some lost playthings belonging to Gilgamesh. And this is, to the Sumerians, "the Land of the Dead".

A few notes as we begin to launch into this:

The "poem" is careless as to the order of events. It has, for example, the creation of humanity occurring before the repartitioning of the globe between the "gods"! But passing over that, we note that the characters present are always An, Enlíl, Enki, Ninmah (Ninhursag), or Ereškigal when she replaces Ninmah-Ninhursag.

Except that at the time of the "repartition", she replaces not Ninmah but Enki. And why? Because he is no longer among the living. He sails in the Land of the Dead, an infernal land, foreign to the eyes of the Sumerians.

He sails on a boat in the unfathomable land of the deceased... according to the Sumerian text. Specialists pay little attention to the term KUR, whose meaning differs according to terms and circumstances. Here they take it to mean the subterranean and aquatic world of Enki.

But this contrasts with the rocky world of Ereškigal (Egyptian Isis). Parks thinks of the Egyptian Book of Two Ways (see The Coffin Text - The Book of Two Ways), an initiatic itinerary that precisely maps the underworld necropolis of Restau (or Ro-Setau), in which the two roads lead to the tomb of Osiris and to the Great Pyramid.

Continuing with this, Parks gives the strict Egyptian definition of "Restau" as "entrance to the galleries or corridors", while translating the Sumerian vocable rather differently. See "Restau" in our Decoder.

The Latin restauro leads to French restaurer and English restore: to repair, reestablish. Parks mentions that the antediluvian sanctuary placed under the Giza pyramids was reused by the "Egyptian gods" as an underground base, and later to accomplish funerary rites of the ancient Pharaohs to restore the body and soul of the Egyptian sovereigns, successors of Osiris and of Horus.

At this point Parks intricately quotes modern and ancient texts, developing the concepts that the waterway navigated by the defunct ruler's solar barque, and described by the Egyptians, is named Urenes, meaning "gigantic" or "very vast"; it appears to be a subterranean Nile whose dimensions correspond to those of Egypt itself. See its Sumerian decomposition in our Decoder.

KIGAL

Sumerian (Mesopotamian) Akkadian Egyptian
Kigal: Great Earth / Place (Ensemble of Dimensions), can be decomposed to...
GI7-GAL (good and noble)
GI6-GAL (great and sombre): Why Mesopotamian tablets say the place where Ereškigal lives is filled with darkness 		Kigal or Kigallu
(base, uncultivated land, underground, infernal) 		Sumerian Kigal >> Gigal
Network under Giza Plateau
Access to Duat Network

As we have seen, Parks gets mileage from examining the meanings of Sumerian or Sumero-Akkadian vocalizations of Egyptian terms... as with Kemet (see Decoder) where he sheds light on a funerary cult totally unexplored and feared in Sumer.

The Seventh Tablet of Gilgamesh evokes the idea that the Mesopotamians had of this strange and infernal land. It is that of a dream that Enkidu, the companion of Gilgamesh, had when he was at the point of access to this unknown country.

Enkidu's origins were in Africa, where he lived in harmony with the animals before coupling with a priestess of Uruk, the city of Inanna and Gilgamesh. The priestess transmitted to Enkidu her "breath of life", causing Enkidu to become "like a god". This transformation permitted him to mingle with the civilized world, to affront Gilgamesh, and become his friend for life with multiple adventures.

The Seventh Tablet of Gilgamesh depicts an Enkidu precipitated by external forces toward the great mysterious place of abundant doorways, tunnels, and initiator priests. Enkidu met the kings of the past, the sovereigns who had directed the land. They seemed to correspond to pharaohs, whose steps many times went underground to the Gigal to be initiated.

....

At this point it becomes obvious that the Enkidu character is a sort of early human, and Parks' analysis becomes dependent on the reader's familiarity with early human races.

Much information was given on earlier pages on the manner in which these races were produced. See for example Siensišár, Workers, and Twilight of the Heroes. However we are not clear on how one of their these early humans might have come to be wandering around as Enkidu. We hope eventually to be able to develop this theme (Enki in the Land of the Dead) further.



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