his association with the world of death that Nergal acquired something of the lion’s nature, and even the very human goddess Ishtar might assume a lion’s head when she was unusually wroth, though this rests on a doubtful text. We may say, then, with fair degree of accuracy, that the theriomorphic forms of Babylonian religious art belong to demonology; and in this domain the Babylonian artist has shown the same powerful imagination as the Mycenaean: it is the former to whom we are indebted for the attractively alarming type of the scorpion-man. The phrase “unstable anthropomorphism” applies also to the religious literature, to the Sumerian-Babylonian hymns. The imagination of the poets in their highest exaltation was certainly anthropomorphic on the whole; the high divinities are conceived and presented with the corporeal, moral, and spiritual traits of glorified humanity. But often in the ecstasy of invocation the religious poets felt the human image too narrow and straightened for their struggling sense of the Infinite. Then the expression becomes mystic, and by virtue of a curious law that I indicated above, it avails itself of theriomorphic imagery.[55.2] I quoted the hymn {56} to the warrior Marduk that invokes him as “Black Bull of the deep, Lion of the Dark House.” Of still more interest is the invocation of Enlil, the earth-god of Sumer: “Overpowering ox, exalted overpowering ox, at thy word which created the world, O lord of lands, lord of the word of life, O Enlil, Father of Sumer, shepherd of the dark-haired people, thou who hast vision of thyself.”[56.1] Seven times the words “overpowering ox” are added in this mystic incantation. In another hymn Enlil is “the Bull that overwhelms”; Ea, “the Ram of Eridu.” But this is mystic symbolism, rather than a clear perception of divine personality; and we may say the same of such vaguely picturesque phrases as “Bel, the great mountain,” “Asur, the great rock,” an expression parallel to our “Rock of Ages.”[56.2]