have not a precise bearing on the life of a king, they paint in a lively way the vicissitudes of the life of the people.** These lions, leopards, or gigantic uruses with which Grilgames and his faithful Eabani carry on so fierce a warfare, are not, as is sometimes said, mythological animals. * Cf. vol. i. pp. 160, 161 of this History for analogous ideas among the Egyptians as to the condition of the dead who were neglected by their relatives: the Egyptian double had to live on the same refuse as the Chaldaean soul. ** G. Smith, identifying Gilgames with Nimrod, believes, on the other hand, that Nimrod was a real king, who reigned in Mesopotamia about 2250 B.C.; the poem contains, according to him, episodes, more or less embellished, in the life of the sovereign. Similar monsters, it was believed, appeared from time to time in the marshes of Chaldaea, and gave proof of their existence to the inhabitants of neighbouring villages by such ravages as real lions and tigers commit in India or the Sahara. It was the duty of chiefs on the border lands of the Euphrates, as on the banks of the Nile, as among all peoples still sunk in semi-barbarism, to go forth to the attack of these beasts single-handed, and to sacrifice themselves one after the other, until one of them more fortunate or stronger than the rest should triumph over these mischievous brutes. The kings of Babylon and Nineveh in later times converted into a pleasure that which had been an official duty of their early predecessors: Gilgames had not yet arrived at that stage, and the seriousness, not to speak of the fear, with which he entered on the fight with such beasts, is an evidence of the early date of the portions of his history which are concerned with his hunting exploits. The scenes are represented on the seals of princes who reigned prior to the year 3000 B.C., and the work of the ancient engraver harmonizes so perfectly with the description of the comparatively modern scribe that it seems like an anticipated illustration of the latter; the engravings represent so persistently and with so little variation the images of the monsters, and those of Gilgames and his faithful Eabani, that the corresponding episodes in the poem must have already existed as we know them, if not in form, at least in their main drift. Other portions of the poem are more recent, and it would seem that the expedition against Khumbaba contains allusions to the Elamite* invasions from which Chaldaea had suffered so much towards the XXth century before our era. The traditions which we possess of the times following the Deluge, embody, like the adventures of Gilganes, very ancient elements, which the scribes or narrators wove together in a more or less skilful manner around the name of some king or divinity.