ARALLU. – Among the Mesopotamians it was equivalent to the Sheol of the Hebrews and the Ades of the Greeks; a nether abode called irsiti la tari, “the land from which one does not return.”
The realm of the dead had its entrance to the west, in the desert. Before entering it, one had to cross (after judgment) the river Habur. The Mesopotamian Charon is called Humud-tabal, “bring quickly out”; he has the head of a bird of prey and four hands and legs.
Arallu, or the infernal city, is enclosed within seven double walls. Each wall has a double gate, guarded by vigilant sentinels who allow no one to enter unless he first conforms to the rules in force for the abode of the dead, established by the goddess or queen of the shadowy realm, Allatu or Ereškigal. Every shade, before entering this autonomous kingdom, must present itself to the first guardian, and only when he has received permission from the goddess Ereškigal are the bolts drawn, the locks and gates opened, and access granted. From the account of the descent of the goddess Ištar into the underworld it appears that a man, emerging naked from his mother’s womb, must leave part of his garments at each of the seven gates of Arallu in order to appear naked before the lady of the shadowy realm. The goddess Ištar, indeed, when entering the dwelling of the dead, leaves at each gate a portion of her garments and jewels.
The goddess seeks to penetrate: “into the house of darkness, the abode of Irkalle, – into the house from which there is no exit, – into the path whose access has no return, – into the house where the entrant is deprived of light, – where dust is food and mire is sustenance, – they (the inhabitants) see no light, dwell in darkness, – they are clad like birds, with a garment of wings.”
This discouraging description, despite theological hints of judgment and future recompense, explains the skepticism of the Mesopotamians regarding the afterlife and how their practical desires were reduced to obtaining from the deity a long life in this world.