Epic of Gilgamesh - Revision history

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2021-08-25T21:16:10Z

Updates.

Admin: Admin moved page Gilgamesh to Epic of Gilgamesh: Correcting the move.

2021-08-25T21:12:46Z

Admin moved page Gilgamesh to Epic of Gilgamesh: Correcting the move.

← Older revision	Revision as of 17:12, 25 August 2021
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Admin: Reverted edits by Admin (talk) to last revision by Kroyal

2021-08-25T21:12:17Z

Reverted edits by Admin (talk) to last revision by Kroyal

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Admin: Redirected page to Epic of Gilgamesh

2021-08-25T11:26:46Z

Redirected page to Epic of Gilgamesh

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Kroyal: added enlil

2006-06-28T00:41:55Z

added enlil

← Older revision		Revision as of 20:41, 27 June 2006
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	* [[Anu]]		* [[Anu]]
	* [[Ishtar]]		* [[Ishtar]]
			* [[Enlil]]

	== Historical Context ==		== Historical Context ==

Kroyal: added ishtar

2006-06-24T21:44:03Z

added ishtar

← Older revision		Revision as of 17:44, 24 June 2006
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	* [[Enkidu]]		* [[Enkidu]]
	* [[Anu]]		* [[Anu]]
			* [[Ishtar]]

	== Historical Context ==		== Historical Context ==

Kroyal: added characters

2006-06-24T21:12:51Z

added characters

← Older revision		Revision as of 17:12, 24 June 2006
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	[[Image:Gilgamesh.jpg\|thumb\|Gilgamesh]] While composed nearly five thousand years ago (2500-1500 BCE), ''Gilgamesh'' seems very as contemporary in its thematic concerns as it is alien in many of its cultural practices. Many of these themes emerge from a lost mythological tradition and a culture that is equally non-extant, the bonds of friendship, fear of death, and the quest for worldly renown still strike chords with us even in the twenty-first century.		[[Image:Gilgamesh.jpg\|thumb\|Gilgamesh]] While composed nearly five thousand years ago (2500-1500 BCE), ''Gilgamesh'' seems very as contemporary in its thematic concerns as it is alien in many of its cultural practices. Many of these themes emerge from a lost mythological tradition and a culture that is equally non-extant, the bonds of friendship, fear of death, and the quest for worldly renown still strike chords with us even in the twenty-first century.

			==Characters==
			* [[Gilgamesh]]
			* [[Enkidu]]
			* [[Anu]]

	== Historical Context ==		== Historical Context ==

142.68.104.56: Useless information, in fact not "information" at all, besides being horribly written

2005-10-15T23:44:54Z

Useless information, in fact not "information" at all, besides being horribly written

← Older revision		Revision as of 19:44, 15 October 2005
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	The military’s 21-gun salute is centered on the number seven. The use of this symbol is traced to early warriors demonstrating peaceful intentions and was used universally. The act varied with time, place, and the weapon being used. Originally warships fired a seven-gun salute. The number seven was probably used because of astrological and Biblical importance. There were seven planets identified and the moon changed phases every seven days. ''The Bible'' states that God rested on the seventh day after Creation, every seventh year was sabbatical and that the seven times seventh year ushered in the Jubilee year. (Headquarters, Military District of Washington)		The military’s 21-gun salute is centered on the number seven. The use of this symbol is traced to early warriors demonstrating peaceful intentions and was used universally. The act varied with time, place, and the weapon being used. Originally warships fired a seven-gun salute. The number seven was probably used because of astrological and Biblical importance. There were seven planets identified and the moon changed phases every seven days. ''The Bible'' states that God rested on the seventh day after Creation, every seventh year was sabbatical and that the seven times seventh year ushered in the Jubilee year. (Headquarters, Military District of Washington)

	~~== Gilgamesh Variations ==~~

	There are many different Gilgamesh interpretations. Some representations of the story have Gilgamesh as an old man. This is incorrect, the reason behind that is whoever wrote that interpretation did not read the original. This is unfortunate because if Gilgamesh was read in the wrong interpretation; a novice reader would not understand one of the major themes of humility throughout Gilgamesh.

	== External Links ==		== External Links ==

Hvyas: /* Gilgamesh as Epic */

2005-04-16T23:33:58Z

Gilgamesh as Epic

← Older revision		Revision as of 19:33, 16 April 2005
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	No, because the term epic is usually applied to exceptionally long poems that are narrated by someone else. ''Gilgamesh'' has three entries that one may consider to be poems. On page 34 ''Gilgamesh'' cries out to the counsellors of Uruk in what I would call a short prayer. On page 43 Ea speaks to Enlil about his misdeeds, the words that are indented have the characteristics of an epic poem. Ea words center on Enlil whose deeds can control the fate of human mankind.		No, because the term epic is usually applied to exceptionally long poems that are narrated by someone else. ''Gilgamesh'' has three entries that one may consider to be poems. On page 34 ''Gilgamesh'' cries out to the counsellors of Uruk in what I would call a short prayer. On page 43 Ea speaks to Enlil about his misdeeds, the words that are indented have the characteristics of an epic poem. Ea words center on Enlil whose deeds can control the fate of human mankind.

	Then again yes, ''Gilgamesh'' could be called a Primary Epic. The story of Gilgamesh has several episodes that are legendary. The first sentence of the story states, "''Gilgamesh'' is a poem of unparalleled antiquity, the first great heroic narrative of world literature" (Norton). A "[[Epic_Poetry#Primary_Epic\|primary epic]]" "focuses on the personal concept of heroism, and the self-fulfillment and identity of the individual hero." Gilgamesh was definitely out for self-fulfillment.		Then again yes, ''Gilgamesh'' could be called a Primary Epic. The story of Gilgamesh has several episodes that are legendary. The first sentence of the story states, "''Gilgamesh'' is a poem of unparalleled antiquity, the first great heroic narrative of world literature" (Norton). A "[[Epic_Poetry#Primary_Epic\|primary epic]]" "focuses on the personal concept of heroism, and the self-fulfillment and identity of the individual hero." Gilgamesh was definitely out for self-fulfillment. The ''Epic of Gilgamesh'' contains everything we can expect from a great epic literature. It portrays fantastic geographies, exotic characters, exhausting quests, heroic battles with monsters, supernatural beings and natural forces. Most important of all, it is an outstanding story of a great epic hero who is compelled to meet his destiny and who rises to every challenge with courage and determination.

	== The Role of Enkidu ==		== The Role of Enkidu ==

Glucas: /* The Role of Enkidu */

2005-03-29T21:45:46Z

The Role of Enkidu

← Older revision		Revision as of 17:45, 29 March 2005
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	== The Role of Enkidu ==		== The Role of Enkidu ==
	When the god Anu heard the city of Uruk lamenting the cruelty of their king, he responded by demanding of the goddess of creation: “You made him, O Aruru, now create his equal; let it be as like him as his own reflection, his second self, stormy heart for stormy heart” (19). Thus [[~~Enkindu~~]] was created to counterbalance the despotic Gilgamesh: whereas Gilgamesh was two thirds god and one third man, ~~Enkindu~~ was two thirds beast and one third man. ~~Enkindu~~ also acts as a reflection to Gilgamesh in that both must learn what it means to be human. In order to do this, each must distance himself from his animal or godly instincts. As for ~~Enkindu~~, Jager states that “the wild man who is about to enter the human city must…forego living in a state of absolute unity with a savage and untamed nature.” ~~Enkindu~~ must break the bond between himself and the wilderness in order to be cultured and civilized. Similarly, Jager notes that “The king seeking to humanly inhabit his realm must forego treating that realm as a mere physical extension of himself to which he has completely unrestricted access.” Gilgamesh, like a weaning child, must recognize the break between himself as a ruler and the kingdom he reigns over. Both must learn how to properly inhabit the human realm before they can be considered human.		When the god Anu heard the city of Uruk lamenting the cruelty of their king, he responded by demanding of the goddess of creation: “You made him, O Aruru, now create his equal; let it be as like him as his own reflection, his second self, stormy heart for stormy heart” (19). Thus [[Enkidu]] was created to counterbalance the despotic Gilgamesh: whereas Gilgamesh was two thirds god and one third man, Enkidu was two thirds beast and one third man. Enkidu also acts as a reflection to Gilgamesh in that both must learn what it means to be human. In order to do this, each must distance himself from his animal or godly instincts. As for Enkidu, Jager states that “the wild man who is about to enter the human city must…forego living in a state of absolute unity with a savage and untamed nature.” Enkidu must break the bond between himself and the wilderness in order to be cultured and civilized. Similarly, Jager notes that “The king seeking to humanly inhabit his realm must forego treating that realm as a mere physical extension of himself to which he has completely unrestricted access.” Gilgamesh, like a weaning child, must recognize the break between himself as a ruler and the kingdom he reigns over. Both must learn how to properly inhabit the human realm before they can be considered human.

	== Thematic Concerns ==		== Thematic Concerns ==