Ashtart in the Mythological and Ritual Texts of Ugarit

Abstract

The goddess Ashtart is mentioned several times in the Ugaritic texts, but appears relatively rarely in the mythological texts. A. Caquot and M. Sznycer say that at Ugarit, Asthtart was a “colourless deity”. On the other side, “the singer of Ashtart” (šr. ‘ṯtrt), whom We can find in the administrative text (KTU² 4.168: 4) , is very unique in the ancient Near East. Why does the “colorless deity” in the mythological texts need her professional singer?We can find the entry ritual of Ashtart in several ritual texts (KTU² 1.43: 1-2 ; 1.91: 10; 1.148: 18). The goddess’s entry into the royal palace suggests the royal attention paid to her. It appears likely, from a comparison of the Ugaritic texts with the Mari evidence, that the entry ritual of Ashtart is a kind of kispu-festival. We can see that Ashtart is invoked in some incantational texts related to vanquishing venomous serpents (KTU² 1.100; 19b—20a; 1.107; 39b—40a).The Keret epic (KTU² 1.14: III: 41-42 ; VI: 26-28) and a mythical text (KTU² 1.92) show that Ashtart is beautiful but powerful, and she is a good skilled huntress. The Baal myth (KTU² 1.2: IV: 28-30) and a song to Ashtart (RIH 98/02) indicate that Ashtart has the overwhelming power to subdue hostile forces. We can also see that Ashtart is called together with the god Horon in the king Keret’s curse (KTU² 1.16: VI: 54-57).Ashtart is the protective goddess to kings of Ugarit, because of her power of breaking enemies. Ashtart is important for the protection of Ugaritic kings against their hostile forces. Because of her physical and magical power, the singer of Ashtart might be necessary for the rituals related to the protection of Ugaritic kings against their enemies and fears.