Daniel DeMaiolo Reading Journal 1 The Epic of Gilgamesh, one of the earliest recorded stories, depicts incredible

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1 The Epic of Gilgamesh, one of the earliest recorded stories, depicts incredible accounts of captivating heroes clashing with menacing monsters in seemingly inconceivable panoramas; however, beyond the tale that provides basic entertainment and themes of life, death, friendship, and immortality, does this epic satisfy and subsequently fit into the genre of mythology? By examining the working definition of mythology into elements of cultural significance, products of the creative imagination, insight and metaphysical speculation, accounts of cosmic origins and conclusions, exemplars of individual and collective virtues, and illustrations of practices, cultural beliefs, and rituals, a definitive categorization for The Epic of Gilgamesh can be conjured. Similar to Plato s Story of Atlantis, The Epic of Gilgamesh, a literary classic, has impacted ancient and modern cultures alike. First, the simple fact that three different cultures consisting of the Babylonians, the Akkadians, and the Sumerians all contributed to the epic depicts that the story carries enough importance to instill cultural significance in this region alone. It is a direct testament to the power of the universal themes of immortality, life, and inevitable death that allows this epic, known as one of the first written literary works (an art created by the Sumerians themselves) to not only become translated in three different ways, but also remain a prominent epic discussed in literary circles worldwide. Another way that The Epic of Gilgamesh imparts cultural significance on the readers is through the description of magnificent architecture such as when the narrator challenges readers to inspect the many buildings and sturdy walls that no one can equal (Kovacs, 3). Since the Sumerian culture was first known to have invented writing and architecture in particular, it might even be argued that the impregnable Trojan walls, whether in existence or strictly based on literary description, may have been

2 impacted by the depiction of Uruk. Finally, The Epic of Gilgamesh depicts one of the first civilizations fully specialized into different jobs. Because the Sumerians are first known to have devised a specialized civilization due to their population density, the epic s portrayal of various characters and their respective professions, such as Gilgamesh as king and Shamhat as temple priestess, paves the way for other cultures to divide their own societies into specific classifications. Although The Epic of Gilgamesh remains somewhat alien to modern cultures, the fact that it depicts a Sumerian society that set many precedents in writing, architecture, and universal themes of immortality and friendship illustrates its cultural significance in both future generations of literature and infrastructure advancement even if it remains unknown to the masses. After examining cultural significance, The Epic of Gilgamesh will be examined in terms of products of the creative imagination. First, the story illustrates several mythical beasts that include Humbaba with his roar is a Flood, his mouth is Fire, and his breath is Death, the Bull of Heaven whose snort caused a huge pit ultimately leading to the doom of 300 Uruk men, the Anzu, a being with the paws of a lion and the talons of an eagle, and the two scorpion-beings who inspire trembling terror (Kovacs, 19, 54, 64, 76). The epic also references several deities including Shamash, the sun god who raised up against Humbaba might tempests and in the morning let loaves of bread shower down and in the evening a rain of wheat, Enlil, the chief deity, Aruru, creator of Gilgamesh and Enkidu, and Princess Ishtar who destroyed many of her lovers including turning [one] into a wolf and another into a dwarf (44, 53, 100). Even some of the human characters are described with creative enthusiasm such as two-thirds of [Gilgamesh] is god, Enkidu was created when Aururu pinched off some clay and threw

3 it into the wilderness and then had his understanding broadened after six days and seven nights of intercourse with Shamhat, and Utanapishtim, survivor of a great Flood, was granted eternal life (4, 6, 9). In addition, locales such as the Waters of Death that spell instant doom to those that fall in and the House of Dust that contains royal crowns gathered in heaps [and] where those who enter do not come out... [they] do without light [and] dirt is their drink [while] their food is of clay, (Kovacs, 65). Finally, the story depicts mythical foliage including a cedar whose top scrapes the sky and a prickly plant of rejuvenation (46). Quite obviously, The Epic of Gilgamesh satisfies the condition of producing creative works of the imagination that exceed normalcy. Beyond the literal substance of the text, The Epic of Gilgamesh offers profound insight and metaphysical speculation. For example, many passages assume that the Sumerian pantheon decides the outcome of mankind and his/her eventual death as illustrated by Utanapishtim s Story of the Flood and his comments that they established Death and Life, but they did not make known the days of death (Kovacs, 94). The text also speculates that man has some, but little, control of his end. During Enkidu s dream in Tablet VII, he dreams of the House of Dust where Ereshkigal, the Queen of the Netherworld, and Beletseri, the Scribe of the Netherworld pronounces judgment from the Tablet of Destinies. This passage speculates that, upon death, men and women will face judgment in a metaphysical world known as the House of Dust. The theme continues on again in Tablet X when Utanapishtim offers more speculation into the metaphysical realm of death by saying, the image of Death cannot be depicted because no one can see death, no one can see the face of death, no one can hear the voice of death, yet there is savage death that snaps off mankind ultimately enforcing the idea that death indeed

4 lurks in a metaphysical world despite stealth (Kovacs, 91). Finally, the text also indicates that life is a one-shot deal when, despite having the ability to regain lost youth, Gilgamesh loses the mythical plant to a snake. Although The Epic of Gilgamesh is somewhat limited on speculations into the metaphysical world, the few examples of life, immortality, and man s eventual death supplies universal themes that can be found throughout human history, literature, and thoughts. Expanding upon the speculations into the metaphysical realm, The Epic of Gilgamesh also offers accounts of cosmic origins and endings. During Tablet I, the text cites it was you, Aruru, who created mankind indicating the birth of man; furthermore, the epic even dictates how man was created when Aururu pinched off some clay and threw it into the wilderness (Kovacs, 5-6). Later, in Tablet X, Utanapishtim explains that the gods established Death and Life, but they did not make known the days of death which explains the conception of man s lifespan (Kovacs, 94). In terms of cosmic endings, Utanapishtim s Story of the Flood illustrates the conclusion of the world in six days and seven nights that produced wind and flood and a storm [ultimately] flattening the land; moreover, The Epic of Gilgamesh explains that Ishtar caused the cosmic conclusion when she said evil things in the Assembly of the Gods (101). Although The Epic of Gilgamesh is somewhat deprived of offering an extensive account of cosmic origins and conclusions besides the creation of Enkidu and the destruction displayed in the Story of the Flood, the epic still satisfies this condition of the working definition. Beyond the many universal themes present in The Epic of Gilgamesh, the literature also provides an illustration of individual and collective values held by the

5 Sumerians. To convey their collective virtues, the Sumerians utilize the main heroes, Gilgamesh and Enkidu, to reflect the society. For example, Gilgamesh, unlike the shaggy Enkidu, is depicted as a muscular, beautiful, goring wild bull and is considered the protector of his people (Kovacs, 4). In contrast, Enkidu is described in a negative light as hairy and primitive. In the same fashion, the epic praises the virtues of civilization over nature when Shamhat, the temple harlot, describes the city as a place where people show off in skirted finery, where every day is a day for some festival, where the lyre and drum play continually, [and] where harlots stand about prettily exuding voluptuousness; moreover, the fact that Gilgamesh wins the contest against Enkidu illustrates society as more ideal than the wild (10). The epic also depicts immortality through one s actions in life as a virtue and poison in several respects. On one hand, the narrator s praises of Gilgamesh s valor to travel distant lands in search of eternal life further comments on how this society held persistence, courage, and adventure as ideal virtues; however, the same deeds that brought him fame and eternal memory also stripped him of a peaceful, luxurious life of luxury void of his various trials and punishments because of the defiant slaughter of the gods beasts. Utanapishtim s ridiculing of Gilgamesh best illustrates the virtue of humble piety when he declares, you have toiled without cease, and what have you got? Through toil you wear yourself out you fill your body with grief, your long lifetime you are bringing near (to a premature end) (92-93). Even near the end of the epic the virtue of enjoying life echoes when Gilgamesh still persists in trying to achieve immortality through the plant of rejuvenation only to have it stolen by a stealthy snake. Finally, the virtue of friendship and loyalty emerges as a key ingredient to success in Sumerian society. As best stated by Enkidu before the battle with Humbaba, a slippery

6 path is not feared by two people who help each other which is ultimately indicative of their conquest of Humbaba and, more importantly, the central theme that teamwork and friendship will allow allies to overcome any daunting task (42). Throughout The Epic of Gilgamesh, individual and collective virtues are on display. Finally, The Epic of Gilgamesh is examined in terms of illustrations of practices, cultural beliefs, and rituals. First, it is evident that temple priestesses, such as Shamhat, were sexually exploited to allow men to connect with the goddess of the Earth. This is also illustrated when Ninsun talks to Enkidu along with the sacred votaries of Gilgamesh (Kovacs 27). Another example of the culture includes the king having intercourse with the destined wife (17). Also, evidence that the Sumerians were a hoarding culture is illustrated by Utanapishtim saving the raining wheat and Gilgamesh, much to his dismay, waiting to use the plant of rejuvenation. Evidence is also provided that the Sumerians incorporated worshipping the gods such as when Ninsun washed herself with the purity plant and donned a robe worthy of her body and jewels worthy of her chest and both Enkidu and Gilgamesh dug a well facing Shamash each day of their journey in the Cedar Forest as well as when they ripped out the [Bull of Heaven s] heart and presented it to Shamash (26, 31, 55). It is also interesting to note that the Sumerians must have found six days and seven nights to be a significant duration in their culture as it appears several times including the duration of Enkidu and Shamhat s intercourse, the time it take Gilgamesh to finish grieving over Enkidu s death, the length of time the gods flooded the earth, the amount of time Utanapishtim was stuck on Mt. Nimush, and the amount of days Gilgamesh had to stay awake to earn immortality. Finally, it is extremely evident that the Sumerians believed dreams were a means of

7 communication with the gods and that such visions portrayed either a positive or ill future as when Gilgamesh dreams of Enkidu s creation, his fate in the Cedar Forest, and when Enkidu dreams of his own death. Because The Epic of Gilgamesh includes so many illustrations of practices, rituals, and cultural beliefs, it satisfies this part of the working definition of mythology. Although some readers may counter argue that this epic doesn t belong in the realm of mythology because many modern men and women have never heard of The Epic of Gilgamesh or read the contents therein, the analysis provided suggests that this epic creates cultural significance, produces works of the creative imagination, features speculation in the metaphysical world, depicts accounts of cosmic origins and endings, illustrates exemplars of individual and collective virtues, and represents practices, cultural beliefs, and rituals. In short, it not only satisfies the working definition of mythology, but it further captivates modern readers with a literary tale of the human condition that has stood the test of time.

8 Works Cited Kovacs, Maureen, trans The Epic of Gilgamesh. Standford: Standford U Press, Leonard, Scott. What is Myth? Online posting. Accessed 19 Jan

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The Epic of Gilgamesh The Great Man Who Did Not Want To Die by Helen Sader February 05, 2013 Gilgamesh and Enkidu slaying the monster Humbaba The Epic of Gilgamesh The Great Man Who Did Not Want To Die