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Epic of Gilgamesh: Difference between revisions
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== Gilgamesh as Epic == | == Gilgamesh as Epic == | ||
Can ''Gilgamesh'' be called an Epic? Yes and No. | |||
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 | 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 Role of Enkidu == | == The Role of Enkidu == | ||
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When Enkidu first came into the city, Gilgamesh, though not the groom, was about to go in and ravish a new bride. “Enkidu stands in front of the door of the marital chamber and blocks Gilgamesh's way. They fight furiously until Gilgamesh wins the upper hand; Enkidu concedes Gilgamesh's superiority and the two embrace and become devoted friends (Hooker, Tablet 2)”. Some believe that Gilgamesh and Enkidu were lovers, but Lishtar noted that, “…it is not implied in the text that Gilgamesh and Enkidu were lovers in the physical sense. They were though the best friends possible in all worlds, and this is a grace beyond measure (Lishtar)”. This is simply a tale, but ”the modern ideas and interpretations have been applied to it. This is not all bad because it helps relate to this ancient text, but when it comes down to it, it is not likely that this story is about sexuality (''Gilgamesh'').” Many friendships that start off with turmoil, wind up being the closest. Their friendship was genuine. Enkidu does seem to enjoy the camaraderie that he shares with Gilgamesh and when they enter the forest to cut down the cedar tress, he is the one who stands up to Humbaba, the great demon. “Enkidu shouts at Humbaba that the two of them are much stronger than the demon (Hooker, Tablet 5)”. “This is the real meaning of the bond between Enkidu and Gilgamesh, ideal self and bright shadow that stands by wherever we are (Lishtar).” This also occurs in one’s friendships today. One person seems to relish in the glory and the other may be just along for the ride or be the one who gets things done behind the scenes--not everyone wants to be king! | When Enkidu first came into the city, Gilgamesh, though not the groom, was about to go in and ravish a new bride. “Enkidu stands in front of the door of the marital chamber and blocks Gilgamesh's way. They fight furiously until Gilgamesh wins the upper hand; Enkidu concedes Gilgamesh's superiority and the two embrace and become devoted friends (Hooker, Tablet 2)”. Some believe that Gilgamesh and Enkidu were lovers, but Lishtar noted that, “…it is not implied in the text that Gilgamesh and Enkidu were lovers in the physical sense. They were though the best friends possible in all worlds, and this is a grace beyond measure (Lishtar)”. This is simply a tale, but ”the modern ideas and interpretations have been applied to it. This is not all bad because it helps relate to this ancient text, but when it comes down to it, it is not likely that this story is about sexuality (''Gilgamesh'').” Many friendships that start off with turmoil, wind up being the closest. Their friendship was genuine. Enkidu does seem to enjoy the camaraderie that he shares with Gilgamesh and when they enter the forest to cut down the cedar tress, he is the one who stands up to Humbaba, the great demon. “Enkidu shouts at Humbaba that the two of them are much stronger than the demon (Hooker, Tablet 5)”. “This is the real meaning of the bond between Enkidu and Gilgamesh, ideal self and bright shadow that stands by wherever we are (Lishtar).” This also occurs in one’s friendships today. One person seems to relish in the glory and the other may be just along for the ride or be the one who gets things done behind the scenes--not everyone wants to be king! | ||
=== Quest for Worldly Renown === | === Quest for Worldly Renown === | ||
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"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) | ||
Humbaba was also know as Huwawa. Humbaba is a monster in the epic of Gilgamesh who guards the cedar forest in the Lebanon mountains. He is a giant being and is sometimes shown with lion's claws, long hair, and a monstrous, hairy face. Humbaba is killed by the hero Gilgamesh and his friend Enkidu who journey to the forest to cut down cedar trees. (http://www.mesopotamia.co.uk/gods/explore/humbaba.html, 2005) | Humbaba was also know as Huwawa. Humbaba is a monster in the epic of Gilgamesh who guards the cedar forest in the Lebanon mountains. He is a giant being and is sometimes shown with lion's claws, long hair, and a monstrous, hairy face. Humbaba is killed by the hero Gilgamesh and his friend Enkidu who journey to the forest to cut down cedar trees. (http://www.mesopotamia.co.uk/gods/explore/humbaba.html, 2005) | ||
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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. | ||
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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 == | == Gilgamesh Variations == | ||
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[[Category:World Literature]] | [[Category:World Literature]] | ||
== | == Works Cited == | ||
* Blavatsky, H. P. “The Number Seven.” ''Theosophist'', (June, 1880.) 12 Feb. 2005 <http://theosophy.org/tlodocs/hpb/NumberSeven.htm>. | |||
* “Gilgamesh.” [http://www.auburn.edu/~lundbmc/#Conclusion Conclusion]. 16 February, 2004. | |||
* Harris, Andrew. “Seven.” (6 July 1999). 12 Feb.2005 http://www.vic.australis.com.au/hazz/number007.html | |||
* Headquarters, Military District of Washington, ''Fact Sheet: Gun Salutes'', May 1969. | |||
* Hooker, Richard. “Mesopotamia – Gilagamesh.” World Civilizations. Washington State University. Updated 6, July 1999. Tablets 1, 2, 5. 16 February, 2005. <http://www.wsu.edu/~dee/MESO/GILG.HTM> | |||
* Jager, Bernd. “Eating as natural event and as intersubjective phenomenon: Towards a phenomenology of eating." ''Journal of Phenomenological Psychology.'' Spring 1999, Vol. 30 Issue 1: 66-118. EBSCOhost. GALILEO. 6 Feb. 2005 <http://www.galileo.usg.edu/>. | |||
* Lewis, Thomas M. N. and Madeline Kneberg. “Tribes that Slumber Indians of the Tennessee Region.” Knoxville, Tennessee: The University of Tennessee Press,tenth printing (1994). | |||
* Lishtar. “Gilagamesh and Enkidu – The Soul Siblings.” Gateways to Babylon. Updated 26 August, 1999. 16 February, 2005. <http://www.gatewaystobabylon.com/gods/partnerships/gilgaenk1.html>. | |||
* Mooney, James. ''History, Myths, and Sacred Formulas of the Cherokees''. Asheville, North Carolina, 1992. | |||
* Sahibzada, Mehnaz. “The Symbolism of the Number Seven in Islamic Culture and Rituals.” 15 Feb. 2005 http://www.wadsworth.com/religion_d/special_features/symbols/islamic.html | |||
* ''The Norton Anthology of World Masterpieces''. 7th ed., New York: W. W. Norton & Company, 1998. | |||