Epic of Gilgamesh

Template:Mesopotamian myth (heroes) The Epic of Gilgamesh is an ancient poem from Mesopotamia (present day Iraq, as well as southeast Turkey, Syria, and southwest Iran) and is among the earliest known works of literature. Scholars believe that it originated as a series of Sumerian legends and poems about the mythological hero-king Gilgamesh, which were gathered into a longer Akkadian epic much later. The most complete version existing today is preserved on 12 clay tablets from the library collection of 7th-century BC Assyrian king Ashurbanipal. It was originally titled He who Saw the Deep (Sha naqba īmuru) or Surpassing All Other Kings (Shūtur eli sharrī). Gilgamesh was probably a real ruler in the late Early Dynastic II period (ca. 27th century BC). Its really long and freakin' boring.

The story revolves around a relationship between Gilgamesh and his close companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances.

The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst of his quest foreshadow the end result: "The life that you are seeking you will never find. When the gods created man they allotted to him death, but life they retained in their own keeping." Gilgamesh, however, was celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishti. The story is widely read in translation, and the protagonist, Gilgamesh, has become an icon of popular culture.

History

The Deluge tablet of the Gilgamesh epic in Akkadian

Many original and distinct sources exist over a 2,000-year timeframe, but only the oldest and those from a late period have yielded significant enough finds to enable a coherent intro-translation. Therefore, the old Sumerian poems, and a later Akkadian version, which is now referred to as the standard edition, are the most frequently referenced. The standard edition is the basis of modern translations, and the old version only supplements the standard version when the lacunae–or gaps in the cuneiform tablet–are great.

Note that although revised versions based on newly discovered information have been published, the epic is not complete.

The earliest Sumerian versions of the epic date from as early as the Third Dynasty of Ur (2150-2000 BC) (Dalley 1989: 41-42). The earliest Akkadian versions are dated to the early second millennium (Dalley 1989: 45). The "standard" Akkadian version, consisting of 12 tablets, was edited by Sin-liqe-unninni sometime between 1300 and 1000 BC and was found in the library of Ashurbanipal in Nineveh.

The Epic of Gilgamesh is widely known today. The first modern translation of the epic was published in the early 1870s by George Smith. More recent translations into English include one undertaken with the assistance of the American novelist John Gardner, and John Maier, published in 1984. In 2001, Benjamin Foster produced a reading in the Norton Critical Edition Series that fills in many of the blanks of the standard edition with previous material.

The most definitive translation is contained in a two-volume critical work by Andrew George. This represents the fullest treatment of the standard edition material. George discusses at length the archaeological state of the material, provides a tablet-by-tablet exegesis, and furnishes a dual language side-by-side translation. This translation was also published in a general reader edition under the Penguin Classics imprint in 2000. In 2004, Stephen Mitchell released a controversial edition, which is his interpretation of previous scholarly translations into what he calls "a new English version", published by FreePress, a division of Simon and Schuster. The first direct Arabic translation from the original tablets was in the 1960s by the Iraqi archeologist Taha Baqir.

The discovery of artifacts (ca. 2600 BC) associated with Enmebaragesi of Kish, who is mentioned in the legends as the father of one of Gilgamesh's adversaries, has lent credibility to the historical existence of Gilgamesh (Dalley 1989: 40-41).

Versions of the epic

Standard Akkadian version

The standard version was discovered by Austen Henry Layard in the library of Ashurbanipal in Nineveh in 1849. It was written in standard Babylonian, a dialect of Akkadian that was only used for literary purposes. This version was compiled by Sin-liqe-unninni sometime between 1300 and 1000 BC out of older legends.

The standard version and earlier old Babylonian version are differentiated based on the opening words, or incipit. The older version begins with the words "Surpassing all other kings", while the standard version's incipit is "He who saw the deep" (ša nagbu amāru). The Akkadian word nagbu, "deep", is probably to be interpreted here as referring to "unknown mysteries". However, Andrew George believes that it refers to the specific knowledge that Gilgamesh brought back from his meeting with Uta-Napishti (Utnapishtim): he gains knowledge of the realm of Ea, whose cosmic realm is seen as the fountain of wisdom (George 1999: L [pg. 50 of the introduction]). In general, interpreters feel that Gilgamesh was given knowledge of how to worship the gods, of why death was ordained for human beings, of what makes a good king, and of the true nature of how to live a good life. Utnapishtim, the hero of the Flood myth, tells his story to Gilgamesh, which is related to the Babylonian Epic of Atrahasis.

The 12th tablet is appended to the epic representing a sequel to the original 11, and was most probably added at a later date. This tablet has commonly been omitted until recent years. It has the startling narrative inconsistency of introducing Enkidu alive, and bears seemingly little relation to the well-crafted and finished 11-tablet epic; indeed, the epic is framed around a ring structure in which the beginning lines of the epic are quoted at the end of the 11th tablet to give it at the same time circularity and finality. Tablet 12 is actually a near copy of an earlier Sumerian tale, a prequel, in which Gilgamesh sends Enkidu to retrieve some objects of his from the Underworld, but Enkidu dies and returns in the form of a spirit to relate the nature of the Underworld to Gilgamesh–an event which seems to many superfluous given Enkidu's dream of the underworld in Tablet VII.

Content of the standard version tablets

Tablet one

The story starts with the introduction of Gilgamesh, king of Uruk. Gilgamesh, two-thirds god and one-third man, oppresses the city's citizens who cry out to the gods for help. For the young women of Uruk this oppression takes the form of a droit de seigneur–or "lord's right"–to newly married brides on their wedding night. For the young men it is conjectured that Gilgamesh exhausted them through games, tests of strength, or perhaps forced labour on building projects. The gods respond to the citizens' plea for intervention by creating an equal to Gilgamesh who will distract him from these objectionable activities. They create a primitive man, Enkidu, who is covered in hair and lives in the wild with the animals. His seduction by Shamhat, a temple prostitute, is the first step in his civilization, and she proposes to take him back to Uruk. Gilgamesh, meanwhile, has been having dreams that relate to the imminent arrival of a new companion.

Tablet two

Shamhat brings Enkidu to the shepherds' camp where he is introduced to a human diet and becomes the camp's night watchman. Learning from a passing stranger about Gilgamesh's treatment of new brides, Enkidu is incensed and travels to Uruk to intervene at a wedding. When Gilgamesh attempts to visit the wedding chamber, Enkidu blocks his way and they fight. After a fierce battle, Enkidu acknowledges Gilgamesh's superior strength, the fight ends, and they become friends. Gilgamesh proposes that they journey together to the Cedar Forest to slay the monstrous demi-god Humbaba, in order to gain fame and renown. Despite warnings from both Enkidu and the council of elders, Gilgamesh will not be deterred.

Tablet three

The elders give Gilgamesh advice for his journey. Gilgamesh visits his mother, the goddess Ninsun, who seeks the support and protection of the sun-god Shamash for the two adventurers. Ninsun adopts Enkidu as her son, Gilgamesh leaves instructions for governing Uruk in his absence, and they embark on their quest.

Tablet four

Gilgamesh and Enkidu journey to the Cedar Forest. Every few days they make camp on a hill or mountain to perform a dream ritual. Gilgamesh has five terrifying dreams that involve falling mountains, thunderstorms, wild bulls, and a thunderbird that breathes fire. Despite similarities between the dream images and earlier descriptions of Humbaba, Enkidu interprets all of the dreams as good omens, denying that any of the frightening images represent the forest guardian. As they approach the cedar mountain they hear Humbaba bellowing and have to encourage each other not to be afraid.

Tablet five

The heroes enter the cedar forrest and their fears return. Humbaba, the ogre-guardian of the Cedar Forest, insults and threatens them. He accuses Enkidu of betrayal, then vows to disembowel Gilgamesh and feed his flesh to the birds. Gilgamesh is afraid, but with some encouraging words from Enkidu the battle commences. The mountains quake with the tumult and the sky turns black. The god Shamash sends his 13 winds to bind Humbaba and he is captured. The monster pleads for his life, and Gilgamesh pities him. Enkidu, however, is enraged and asks Gilgamesh to kill the beast. Humbaba curses them both and Gilgamesh dispatches him with a blow to the neck. The two heroes cut down many cedars, including a gigantic tree that Enkidu plans to fashion into a door for the temple of Enlil. They build a raft and return home along the Euphrates with the giant tree and the head of Humbaba.

Tablet six

Gilgamesh rejects the advances of the goddess Ishtar because of her mistreatment of previous lovers like Dumuzi. Ishtar asks her father Anu to send the "Bull of Heaven" to avenge her. When Anu rejects her complaints, Ishtar threatens to raise the dead who will "outnumber the living" and "devour them". Anu becomes frightened and gives in. The bull of heaven (apparently the constellation Taurus) is led to Uruk by Ishtar, and causes widespread devastation. It dries up the reed beds and marshes, then dramatically lowers the level of the Euphrates river. It opens up huge pits in the ground that swallow 300 men. Enkidu and Gilgamesh attack and slay the beast without any divine assistance and offer up its heart to Shamash. When Ishtar cries out in agony, Enkidu hurls one of the bull's hindquarters at her. The city of Uruk celebrates, but Enkidu has an ominous dream.

Tablet seven

In Enkidu's dream, the gods decide that one of the heroes must die for slaying the Bull of Heaven and Humbaba. Despite the protestations of Shamash, Enkidu is marked for death. Enkidu considers the great door he fashioned for Enlil's temple, and curses it. He also curses Shamhat and the trapper for removing him from the wild. Then Shamash speaks from heaven, reminding Enkidu of how Shamhat fed and clothed him, and introduced him to Gilgamesh. Gilgamesh will bestow great honors upon him at his funeral, and will later wander the wild consumed with grief. Enkidu regrets his curses and blesses Shamhat, temporarily calmed. In a second dream, however, he sees himself being taken captive to the Netherworld by a terrifying Angel of Death. The underworld is a "house of dust" and darkness whose inhabitants eat clay and are clothed in bird feathers, supervised by terrifying beings. For twelve days, Enkidu's condition worsens. Finally, after a last lament that he could not meet a heroic death in battle, he dies.

Tablet eight

Gilgamesh delivers a long lamentation for Enkidu, in which he calls upon forests, mountains, fields, rivers, wild animals, and all of Uruk to mourn for his friend. Recalling their adventures together, Gilgamesh tears at his hair and clothes in grief. He commissions a funerary statue and provides valuable grave gifts from his treasury to ensure a favourable reception for Enkidu in the realm of the dead. A great banquet is held where the treasures are ceremonially offered to the gods of the Netherworld. There is a possible reference to the damming of a river before the text breaks off, which might suggest a riverbed burial as in the corresponding Sumerian poem, The Death of Gilgamesh.

Tablet nine

Gilgamesh sets out to avoid Enkidu's fate and makes a perilous journey to visit Utnapishtim (the Faraway, a Mesopotamian counterpart of Noah) and his wife. They are the only humans to have survived the Great Flood, being granted immortality by the gods. Gilgamesh hopes to find them and learn the secret of immortality. The ageless Utnapishtim and his wife now reside in a beautiful country in another world, and Gilgamesh travels far to the east, crossing great rivers, oceans, and mountain passes and encountering many dangers along the way. Eventually he comes to the twin peaks of Mount Mashu at the end of the earth, the gate of which is guarded by two terrible scorpion-beings. They allow him to proceed after Gilgamesh convinces them to let him pass, and he travels for many hours in complete darkness through the tunnel where the sun travels every night. The world at the end of the tunnel is a bright, wonderland land full of jewel-laden trees.

Tablet ten

Gilgamesh meets the alewife Siduri, who first believes Gilgamesh is a murderer from his dishevelled appearance, and tells her the purpose of his journey. Siduri attempts to dissuade him from his quest but sends him to Urshanabi, the ferryman, to help him cross the sea to Utnapishtim. Urshanabi is in the company of stone-giants. Gilgamesh considers them hostile and kills them. When he tells Urshanabi his story and asks for help, he is told that he just killed the only creatures able to cross the Waters of Death. The Waters of Death, analogous to the River Styx of Greek mythology, are deadly to the touch, so Urshanabi asks him to cut 120 trees and fashion them into punting poles. Finally, they reach the island of Utnapishtim. Utnapishtim sees that there is someone else in the boat and asks Gilgamesh who he is. Gilgamesh tells him his story and asks for help, but Utnapishtim reprimands him because fighting the common fate of humans is futile and diminishes life's joys.

Tablet eleven

(Note) The earliest Sumerian Gilgamesh stories date from as early as the Third Dynasty of Ur (2100 BCE-2000 BC).[4] The earliest Akkadian versions are dated to ca. 2000-1500 BC.[5] The five extant Sumerian Gilgamesh stories do not include a separate account of his journey to Utnapishtim (Ziusudra in Sumerian), but they do refer to it. In a list of Gilgamesh's accomplishments, found in the story of his death, we read of his journey to meet Ziusudra and the cultic knowledge that he brought back to the people of Uruk. There is also a short description of the flood in the same context, as the gods debate whether to grant Gilgamesh eternal life like they did for Ziusudra. The "standard" Akkadian version, of course, included a complete flood story and was edited by Sin-liqe-unninni sometime between 1300 BC and 1000 BC.[6] (see Gilgamesh flood myth for references).

Gilgamesh argues that Utnapishtim is not different from him and asks him his story, and why he has a different fate. Utnapishtim tells him about the great flood. His story is a summary of the story of Atrahasis (see also Gilgamesh flood myth) but skips the previous plagues sent by the gods. He reluctantly offers Gilgamesh a chance for immortality, but questions why the gods would give the same honor as himself, the flood hero, to Gilgamesh and challenges Gilgamesh to stay awake for six days and seven nights first. However, just when Utnapishtim finishes his words Gilgamesh falls asleep. Utnapishtim ridicules the sleeping Gilgamesh in the presence of his wife and tells her to bake a loaf of bread for every day he is asleep so that Gilgamesh cannot deny his failure. When Gilgamesh, after seven days, discovers his failure, Utnapishtim reprimands him and sends him back to Uruk with Urshanabi.

The moment that they leave, Utnapishtim's wife asks her husband to have mercy on Gilgamesh for his long journey. Utnapishtim tells Gilgamesh of a boxthorn-like plant at the very bottom of the ocean that will make him young again. Gilgamesh obtains the plant by binding stones to his feet so he can walk the bottom of the sea. He does not trust the plant and plans to test it on an old man's back when he returns to Uruk. Unfortunately he places the plant on the shore of a lake while he bathes, and it is stolen by a serpent. Gilgamesh weeps at the futility of his efforts, having now lost all chance of immortality. He then returns to Uruk, where the sight of its massive walls prompts him to praise this enduring work to Urshanabi.

Tablet twelve

Note that the content of this last tablet is not connected with previous ones, and appears to be written by a different author at a much later date than the previous tablets.

Gilgamesh complains to Enkidu that various objects he possessed (the tablet is unclear exactly what–different translations include a drum and a ball) fell in the underworld. Enkidu offers to bring them back. Delighted, Gilgamesh tells Enkidu what he must and must not do in the underworld in order to come back. Enkidu does everything he was told not to do. The underworld keeps him. Gilgamesh prays to the gods to give him his friend back. Enlil and Suen don’t bother to reply but Ea and Shamash decide to help. Shamash cracks a hole in the earth and Enkidu's ghost jumps out of it. The tablet ends with Gilgamesh questioning Enkidu about what he has seen in the underworld.

Old-Babylonian versions

All tablets except for the second and third are from different origins than the above, so this summary is made up out of different versions.

1. Tablet missing
2. Gilgamesh tells his mother Ninsun about two nightmares he had. His mother explains that they mean that a friend will come to Uruk. In the meanwhile Enkidu and his woman (here called Shamshatum) are making love. She civilizes him in company of the shepherds by offering him human food. Enkidu helps the shepherd by guarding the sheep. They go to Uruk to marry but Gilgamesh wants to use his privileges to sleep with Shamshatum first. Enkidu and Gilgamesh battle but Gilgamesh breaks off the fight. Enkidu praises Gilgamesh as a special person.
3. The tablet is broken here but it seems that Gilgamesh has offered the plan to go the Pine Forest to cut trees and kill Humbaba. Enkidu protests, he knows Humbaba and is aware of his power. Gilgamesh talks Enkidu into it with some words of encouragement but Enkidu remains reluctant. They start preparation and call for the elders. The elders also protest but after Gilgamesh talks to them they wish him good luck.
4. 1(?) tablet missing
5. Fragments from the two different versions/tablets that tell how Enkidu encourages Gilgamesh to slay Humbaba. When Gilgamesh does so they cut some trees and find the dwellings of the Annunaki. Enkidu cuts a door of wood for Enlil and let it float down the Euphrates.
6. Tablets missing
7. Gilgamesh argues with Shamash the futility of his quest. The tablet is damaged. We then find Gilgamesh talking with Siduri about his quest and his travel to Ut-Napishtim (here called Uta-na’ishtim). Siduri also questions his goals. Another hole in the text. Gilgamesh has smashed the stone creatures and talks to the ferryman Urshanabi (here called Sur-sunabu). After a short discussion Sur-sunabu asks Gilgamesh to cut 300 oars so that they may cross the waters of dead without the stone creatures. The rest of the tablet is damaged.
8. Tablet(s)

Sumerian version

There are five extant Gilgamesh poems in Sumerian. These circulated independently, rather than in the form of a unified epic. Note that the names of some of the main characters in these poems differ slightly from later Akkadian names, and that there are some differences in the underlying stories (e.g. in Sumerian Enkidu is simply Gilgamesh's servant) :

1. Bilgamesh and Huwawa (version A translation, version B translation) (Corresponds to the Cedar Forest episode (tablets 3-5) in the Akkadian version.)
2. Bilgamesh and the Bull of Heaven (translation) (Corresponds to the Bull of Heaven episode (tablet 6) in the Akkadian version. The Bull's voracious appetite causes drought and hardship in the land.)
3. Bilgamesh and Aga (translation) (Gilgamesh vs. Aga of Kish, no correspondence with the Akkadian version.)
4. Bilgamesh, Enkidu and the Netherworld (translation) (Corresponds to tablet 12 in the Akkadian version.)
5. The Death of Bilgamesh (translation) (This is the story of Gilgamesh's, rather than Enkidu's death).

Influence on later literature

Further information: Panbabylonism

According to the Greek scholar Ioannis Kakridis, there are a large number of parallel verses as well as themes or episodes which indicate a substantial influence of the Epic of Gilgamesh on the Odyssey, the Greek epic poem ascribed to Homer.

Matthias Henze suggests that the story of Nebuchadnezzar's madness in the biblical book of Daniel draws on the epic of Gilgamesh. He argues that the author of Daniel uses elements from the description of primitive, uncivilized Enkidu to paint a sarcastic and mocking portrait of the king of Babylon .

The Alexander the Great myth in Islamic and Syrian cultures is also considered to be influenced by the Gilgamesh story. Alexander wanders through a region of darkness and terror in search of the water of life. He faces strange encounters, reaches the water but, like Gilgamesh, fails to become immortal. He also comes to the spot at which the sun rises from the Earth.

In popular culture

Main article: Gilgamesh in popular culture

The Epic of Gilgamesh and its characters have been featured in popular culture across all media.

See also

Template:Fix bunching Template:Fix bunching

• List of artifacts significant to the Bible
• Sumerian literature
• Babylonian literature
• Atra-Hasis
• Sumerian creation myth
• Deluge (mythology)
• Gilgamesh flood myth
• Ramayana
• The Tale of Genji
• The Odyssey

Bibliography

Editions

• Dalley, Stephanie, trans. (1991). Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. England: Oxford University Press. ISBN 0192817892.{{cite book}}: CS1 maint: multiple names: authors list (link)
• George, Andrew R., trans. & edit. (2003). The Babylonian Gilgamesh Epic: Critical Edition and Cuneiform Texts. England: Oxford University Press. ISBN 0198149220.{{cite book}}: CS1 maint: multiple names: authors list (link)
• George, Andrew R., trans. & edit. (1999, reprinted with corrections 2003). The Epic of Gilgamesh. Penguin Books. ISBN 0-14-044919-1. {{cite book}}: Check date values in: |year= (help)CS1 maint: multiple names: authors list (link) CS1 maint: year (link)
• Foster, Benjamin R., trans. & edit. (2001). The Epic of Gilgamesh. New York: W.W. Norton & Company. ISBN 0-393-97516-9.{{cite book}}: CS1 maint: multiple names: authors list (link)
• Kovacs, Maureen Gallery, transl. with intro. (1985,1989). The Epic of Gilgamesh. Stanford University Press: Stanford, California. ISBN 0-8047-1711-7. {{cite book}}: Check date values in: |year= (help)CS1 maint: multiple names: authors list (link) CS1 maint: year (link) Glossary, Appendices, Appendix (Chapter XII=Tablet XII). A line-by-line translation (Chapters I-XI).
• Jackson, Danny (1997). The Epic of Gilgamesh. Wauconda, IL: Bolchazy-Carducci Publishers. ISBN 0-86516-352-9.
• Mason, Herbert (2003). Gilgamesh: A Verse Narrative. Boston: Mariner Books. ISBN 978-0618275649. First published in 1970 by Houghton Mifflin; Mentor Books paperback published 1972.
• Mitchell, Stephen (2004). Gilgamesh: A New English Version. New York: Free Press. ISBN 0-7432-6164-X. {{cite book}}: |author= has generic name (help)
• Sandars, N. K. (2006). The Epic of Gilgamesh (Penguin Epics). ISBN 0141026286 - re-print of the Penguin Classic translation (in prose) by N. K. Sandars 1960 (ISBN 014044100X) without the introduction.
• Parpola, Simo, with Mikko Luuko, and Kalle Fabritius (1997). The Standard Babylonian, Epic of Gilgamesh. The Neo-Assyrian Text Corpus Project. ISBN 951-45-7760-4 (Volume 1) in the original Akkadian cuneiform and transliteration; commentary and glossary are in English. {{cite book}}: Check |isbn= value: invalid character (help)CS1 maint: multiple names: authors list (link)
• Ferry, David (1993). Gilgamesh: A New Rendering in English Verse. New York: Farrar, Straus and Giroux. ISBN 0374523835.

Other

• Damrosch, David (2007). The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh. United States of America: Henry Holt and Co. p. 315. ISBN 0-80508-029-5.
• Jacobsen, Thorkild (1976). The Treasures of Darkness, A History of Mesopotamian Religion. New Haven, Connecticut: Yale University Press. ISBN 0-300-01844-4.
• Tigay, Jeffrey H. (1982). The Evolution of the Gilgamesh Epic. Philadelphia, Pennsylvania: University of Pennsylvania Press. ISBN 0812278054.
• West, Martin Litchfield (1997). The East Face of Helicon: West Asiatic Elements in Greek Poetry and Myth. New York, New York: Clarendon Press. ISBN 0-19-815042-3.

External links

• Translations of the legends of Gilgamesh in the Sumerian language can be found in Black, J.A., Cunningham, G., Fluckiger-Hawker, E, Robson, E., and Zólyomi, G., The Electronic Text Corpus of Sumerian Literature, Oxford 1998-.
  • Gilgamesh and Huwawa, version A
  • Gilgamesh and Huwawa, version B
  • Gilgamesh and the Bull of Heaven
  • Gilgamesh and Aga
  • Gilgamesh, Enkidu and the nether world
  • The death of Gilgamesh
• The Project Gutenberg eBook, An Old Babylonian Version of the Gilgamesh Epic, by Anonymous, Edited by Morris Jastrow, Translated by Albert T. Clay
• Epic of Gilgamesh, summary by M. McGoodwin
• Gilgamesh by Richard Hooker (wsu.edu)
• The Epic of Gilgamesh: A Spiritual Biography
• Lectures on the Gilgamesh epic by Clay Burell. A very personal but interesting approach.
• Dencio, D. [1], Clio History Journal, 2007.