By Judika Illes
World-class spell collector, fortune teller, psychic practitioner, spirit employee in addition to autonomous pupil, author, and instructor, Judika Illes deals a accomplished encyclopedia of the sacred, helpful mystics, saints, and sages from a large variety of spiritual traditions who can, while venerated, produce miracles for the reader. Illes, writer of The Encyclopedia of 5000 Spells and The Encyclopedia of Spirits, surpasses herself during this peerlessly expansive advisor for all attracted to folklore, mythology, and background, in addition to these trying to find information approximately gaining access to the facility of saints. Illes’s The Encyclopedia of Mystics, Saints, & Sages is the main complete, available, and potent consultant on hand at any place.
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Similarly, Shamhat’s brazen display of her sexual charms incites desire in the wild man. Such provocative entrapment may cast Shamhat herself as a kind of hunter. ” Shamhat, however, is not the aggressor in the Gilgamesh epic; she is not a deceitful hooker soliciting a client for her own gain. Shamhat is only the lure used by the trapper to entice the wild man, a pawn in this contest between men. Her erotic allure (kuzbu) is powerful in its attraction, but it is nonetheless only an invitation, an availability, rather than a coercive force.
36 DESIRE, DISCORD, AND DEATH alkam-ma GilgΩmeå lu æΩºir atta inbÏka yâåi qâåu qÏåam-ma atta l„ mutÏ-ma anΩku l„ aååatka “Come to me, Gilgamesh, (for) you are a lover! Give, O give me freely of your ‘fruit’! ” The narrator’s confirmation of Gilgamesh’s attractiveness (dumqu) in line 6 makes the absence of any description of Ishtar’s allure even more conspicuous. “Fruit,” inb„, is a common figurative expression for sexual appeal and vigor in Akkadian erotic literature, apparently based on the metaphor of fruit’s luscious qualities (see Lambert 1987b:27–31).
His passions embraced (and enveloped) her: For six days and seven nights Enkidu was aroused and copulated with Shamhat. Jerrold Cooper (1997:92) describes this scene as a “male fantasy of sexual initiation” in which Shamhat simply spreads her legs to be 24 DESIRE, DISCORD, AND DEATH mounted by Enkidu, who behaves like a bull in rut. There is no foreplay or erotic dialogue and the woman’s compliance with masculine lust is simply assumed as the action moves directly to genital intercourse. The scene’s poetic vocabulary is sexually explicit without being erotic in character.