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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==
{| style="width: 100%;"
|-
! style="text-align: left;" | Humans
! style="text-align: left;" | Gods
! style="text-align: left;" | Creatures
|- style="vertical-align: top;"
| style="width: 34%;" | {{bulleted list|[[/Gilgamesh/]]|[[/Enkidu/]]|[[/Ninsun/]]|[[/Shamhat/]]|[[/Siduri/]]|. . .}}
| style="width: 33%;" | {{bulleted list|[[/Enlil/]]|[[/Ishtar/]]|. . .}}
| style="width: 33%;" | {{bulleted list|[[/Humbaba/]]|[[/Bull of Heaven/]]|. . .}}
|}


== Historical Context ==
== Historical Context ==
 
''Gilgamesh'' is a primary epic, composed over a thousand years by cultural stories of the legendary king, Gilgamesh, who is thought to have historically ruled Uruk circa 2700 BCE. The oral stories were probably assembled by a poet and cast into the narrative form of the epic between 2000 and 1600 BCE and finally written on clay tablets in cuneiform during the reign of Assurbanipol in 668-627 BCE.{{cn}}
''Gilgamesh'' is a primary epic, composed over a thousand years by cultural stories of the legendary king, Gilgamesh, who is thought to have historically ruled Uruk circa 2700 BCE. The oral stories were probably assembled by a poet and cast into the narrative form of the epic between 2000 and 1600 BCE and finally written on clay tablets in cuneiform during the reign of Assurbanipol in 668-627 BCE.


== Gilgamesh as Epic ==
== Gilgamesh as Epic ==
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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 ==
In my eyes Enkidu is the real hero of the epic.On most of the sites I visited for research, I've found that majority of the people tend to downplay Enkidus role.Some call him a wild man made noble by the "great" Gilgamesh and others say he forced Gilgamesh into his adventures or misadventures. Even the gods looked at him as a sidekick and never equal to Gilgamesh, when deciding that he must die for the killing of the Bull of Heaven, and not Gilgamesh.
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.
The reason the Bull was killed was because Gilgamesh was mouthing off to Ishtar and like a true solider Enkidu had to step in a save Gilgamesh. On all the adventures and in all the battles Enkidu was all was the stronger warrior, but Gilgamesh would always receive the praise.Enkidu was brought in as a counterweight to Gilgamesh and ended up being his saviour.Enkidu saves the life of Gilgamesh many times and ends up giving his life for him.
 
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.


== Thematic Concerns ==
== Thematic Concerns ==
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=== Quest for Worldly Renown ===
=== Quest for Worldly Renown ===
Now that we are friends, we have to party. Enkidu soon gets bored in Uruk — “I am oppressed by idleness” (23) — and Gilgamesh suggests they go get medieval of some evil: Humbaba. This feat will also prove Gilgamesh a real hero by allowing stories to be told about his great feats of manhood:
Now that we are friends, we have to party. Enkidu soon gets bored in Uruk — “I am oppressed by idleness” (23) — and Gilgamesh suggests they go get medieval of some evil: Humbaba. This feat will also prove Gilgamesh a real hero by allowing stories to be told about his great feats of manhood:


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=== Humbaba ===
=== Humbaba ===
"Humbaba whose name is 'Hugeness,' a ferocious giant.  Enlil has appointed Humbaba to guard the forest and has armed him in sevenfold terrors, terrible to all flesh is Humbaba.  When he roars it is like the torrent of the storm, his breath is like fire, and his jaws are death itself.  He guards the cedars so well that when the wild heifer stirs in the forest, though she is sixty leagues distant, he hears her.  Humbaba is a great warrior, a battering ram.  Humbaba, the watchman of the forest never sleeps."  (The Norton Anthology, 23)
"Humbaba whose name is 'Hugeness,' a ferocious giant.  Enlil has appointed Humbaba to guard the forest and has armed him in sevenfold terrors, terrible to all flesh is Humbaba.  When he roars it is like the torrent of the storm, his breath is like fire, and his jaws are death itself.  He guards the cedars so well that when the wild heifer stirs in the forest, though she is sixty leagues distant, he hears her.  Humbaba is a great warrior, a battering ram.  Humbaba, the watchman of the forest never sleeps."  (The Norton Anthology, 23)


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=== Escape from Death ===
=== Escape from Death ===
After Enkidu’s death, Gilgamesh rips his clothes from his body and dons animal skins, symbolic of his repudiation of civilization and renown — that which caused the death of his friend. Gilgamesh’s subsequent journey is a psychological descent into his own psyche to discover his own meaning in a life that must end in death. His epic journey is pretty pathetic as far as epic journeys go: full of tantrums and failed tasks, Gilgamesh seems to return to Uruk empty-handed. Yet, he brings the story of his travel and carves it on the bricks that make up the foundation of Uruk, suggesting that civilization is ultimately built on stories: the written text is the key to progress, friendship, and immortality. Gilgamesh, then, becomes a scapegoat: he journeyed to meet Utnapishtim so his people did not have to. Though his journeys proved ostensibly unsuccessful, he returned humanized, ready to accept his place in the world and finally death when it would come.
After Enkidu’s death, Gilgamesh rips his clothes from his body and dons animal skins, symbolic of his repudiation of civilization and renown — that which caused the death of his friend. Gilgamesh’s subsequent journey is a psychological descent into his own psyche to discover his own meaning in a life that must end in death. His epic journey is pretty pathetic as far as epic journeys go: full of tantrums and failed tasks, Gilgamesh seems to return to Uruk empty-handed. Yet, he brings the story of his travel and carves it on the bricks that make up the foundation of Uruk, suggesting that civilization is ultimately built on stories: the written text is the key to progress, friendship, and immortality. Gilgamesh, then, becomes a scapegoat: he journeyed to meet Utnapishtim so his people did not have to. Though his journeys proved ostensibly unsuccessful, he returned humanized, ready to accept his place in the world and finally death when it would come.


''Gilgamesh'' leaves us with its moral: Do not abuse power, “deal justly with your servants in the palace, deal justly before the face of the Sun” (46). ''Gilgamesh'' is both “the darkness and the light of mankind” in that he brought suffering, but ultimately brought life to his people in the form of the story. What directions for life are contained within the epic? How many of these myths do we still live with today? These stories represent the good and the bad of humanity. What do we ultimately think of the stories, myths, codes for life that ''Gilgamesh'' ultimately passes on?
''Gilgamesh'' leaves us with its moral: Do not abuse power, “deal justly with your servants in the palace, deal justly before the face of the Sun” (46). ''Gilgamesh'' is both “the darkness and the light of mankind” in that he brought suffering, but ultimately brought life to his people in the form of the story. What directions for life are contained within the epic? How many of these myths do we still live with today? These stories represent the good and the bad of humanity. What do we ultimately think of the stories, myths, codes for life that ''Gilgamesh'' ultimately passes on?


== Importance of Food and Drink ==
=== Importance of Food and Drink ===


When we are first introduced to Enkindu, it is when “he was innocent of mankind, he knew nothing of the cultivated land” (19).  He also “ate grass in the hills with the gazelle and lurked with wild beasts at the water-holes” (19).  Though he is biologically human, he lives like a wild animal.  One aspect of his animalism is his eating habits.  The food we eat, the ways it is prepared and consumed, and the rituals of hospitality are all forms of culture and civilization.  In order for Enkindu to learn to be human, he must learn to eat as one.  When the shepherds originally present food to him the text states that, “Enkindu could only suck the milk of wild animals.  He fumbled and gaped, at a loss what to do or how he should eat the bread and drink the strong wine” (22).  Because he only knows how to eat as an animal, he is an animal.   
When we are first introduced to Enkindu, it is when “he was innocent of mankind, he knew nothing of the cultivated land” (19).  He also “ate grass in the hills with the gazelle and lurked with wild beasts at the water-holes” (19).  Though he is biologically human, he lives like a wild animal.  One aspect of his animalism is his eating habits.  The food we eat, the ways it is prepared and consumed, and the rituals of hospitality are all forms of culture and civilization.  In order for Enkindu to learn to be human, he must learn to eat as one.  When the shepherds originally present food to him the text states that, “Enkindu could only suck the milk of wild animals.  He fumbled and gaped, at a loss what to do or how he should eat the bread and drink the strong wine” (22).  Because he only knows how to eat as an animal, he is an animal.   
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== Attitudes Toward Women ==
== Attitudes Toward Women ==
Gilgamesh's view of women is that of a male chauvinist (according to today’s standards). Not only is he a male chauvinist, but he "is the epitome of a bad ruler: arrogant, oppressive, and brutal." (The Norton Anthology, 17)"His lust leaves no virgin to her lover, neither the warrior's daughter nor the wife of the noble; yet this is the shepherd of the city, wise, comely, and resolute." (The Norton Anthology, 19) The men of Uruk were not happy with his behavior. Even noble Enkidu is upset at the news that Gilgamesh was to take a bride’s virginity before her marriage to her groom.
Gilgamesh's view of women is that of a male chauvinist (according to today’s standards). Not only is he a male chauvinist, but he "is the epitome of a bad ruler: arrogant, oppressive, and brutal." (The Norton Anthology, 17)"His lust leaves no virgin to her lover, neither the warrior's daughter nor the wife of the noble; yet this is the shepherd of the city, wise, comely, and resolute." (The Norton Anthology, 19) The men of Uruk were not happy with his behavior. Even noble Enkidu is upset at the news that Gilgamesh was to take a bride’s virginity before her marriage to her groom.


When Ishtar see Gilgamesh's great beauty she exclaims in glory, "Come to me ''Gilgamesh'', and be my bridegroom; grant me seed of you body, let me be your bride and you shall be my husband."(The Norton Anthology, 30) “She tried to make Gilgamesh her husband, but he refused her and reminded her of her former lovers, whom she mercilessly killed or left injured.”  (Lindemans, Micha F. \ “Ishtar” \ www.pantheon.org \ July 25, 2004) He states that he doesn’t just want to be another piece of meat in her escapades of having sex with many men and leaving them.  So he declines.   
When Ishtar see Gilgamesh's great beauty she exclaims in glory, "Come to me ''Gilgamesh'', and be my bridegroom; grant me seed of you body, let me be your bride and you shall be my husband."(The Norton Anthology, 30) “She tried to make Gilgamesh her husband, but he refused her and reminded her of her former lovers, whom she mercilessly killed or left injured.”  (Lindemans, Micha F. \ “Ishtar” \ www.pantheon.org \ July 25, 2004) He states that he doesn’t just want to be another piece of meat in her escapades of having sex with many men and leaving them.  So he declines.   


Gilgamesh is a control freak and if he were to marry Ishtar, he would lose that control.  Also, Gilgamesh loves virgins and not loose women.  This is seen in the opening statments listed above.   
Gilgamesh is a control freak and if he were to marry Ishtar, he would lose that control.  Also, Gilgamesh loves virgins and not loose women.  This is seen in the opening statements listed above.   


As we look at attitudes toward women, we cannot just look at Gilgamesh as an individual but at the whole story.  The trapper's son was scared of Enkidu at first.  The trapper's son went to Gilgamesh and got a harlot, (loose woman), to take to the watering hole to seduce Enkidu so his peers, the animals, would repel against him.   
As we look at attitudes toward women, we cannot just look at Gilgamesh as an individual but at the whole story.  The trapper's son was scared of Enkidu at first.  The trapper's son went to Gilgamesh and got a harlot, (loose woman), to take to the watering hole to seduce Enkidu so his peers, the animals, would repel against him.   
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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 ==
* [http://litmuse.maconstate.edu/~glucas/archives/000360.shtml The Taming of Nature in <i>Gilgamesh</i>]
* [http://litmuse.maconstate.edu/~glucas/archives/000449.shtml Ecological Themes in <i>Gilgamesh</i>]
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]
* [http://novaonline.nv.cc.va.us/eli/eng251/gilgameshstudy.htm <i>Gilgamesh</i> Study Guide]
[[Category:World Literature]]


== Works Cited ==
== Works Cited ==
 
Also see the [[Epic of Gilgamesh/Bibliography|bibliography]].
{{Refbegin}}
* Blavatsky, H. P. “The Number Seven.” ''Theosophist'', (June, 1880.) 12 Feb. 2005 <http://theosophy.org/tlodocs/hpb/NumberSeven.htm>.  
* Blavatsky, H. P. “The Number Seven.” ''Theosophist'', (June, 1880.) 12 Feb. 2005 <http://theosophy.org/tlodocs/hpb/NumberSeven.htm>.  


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* ''The Norton Anthology of World Masterpieces''. 7th ed., New York:  W. W. Norton & Company, 1998.
* ''The Norton Anthology of World Masterpieces''. 7th ed., New York:  W. W. Norton & Company, 1998.
{{Refend}}
[[Category:BCE]]
[[Category:Literary]]
[[Category:Epic]]
[[Category:Ancient]]