Last name 1 First & Last Name Professor Martin ENGL-2332.WW1 14 March 2008 Refer to note in Example #7 The Striking Similarities between The Iliad and Gilgamesh Both the era and culture in which a writer or narrator produces his or her works strongly affects the composition, theme, style, and overall tone or plot of the piece. However, no single culture or era stands alone within a vacuum, and invariably both draws inspiration from as well as influences other societies and epochs, whether nearby or great distances, and perhaps ages, away. Two such pieces, Homer s Greek epic The Iliad, analyzed by William Sale in his piece The Iliad: Overview, and the ancient Sumerian epic Gilgamesh, explored by Tzvi Abusch in his article "The Development and Meaning of the Epic of Gilgamesh: An Interpretive Essay, stand separated by long forgotten centuries and vastly varied cultures, yet still feature many strikingly similar subjects, events, and characteristics. For instance, both epics include multiple Gods and Goddesses who appear to constantly meddle in the affairs of humans and strongly affect the events and outcome of the epic. Additionally, as pointed out by Miroslav Marcovich in the article From Ishtar to Aphrodite, many of the Deities within Gilgamesh share startling similarities with their accidental counterparts within The Iliad. Both epics also contain heroes who have more in common with the Gods than with ordinary mortals, and who act more out of self-interest or in the pursuit of glory and fame than for the good of humankind. Despite their self-centered personas, the heroes of each epic nonetheless hold camaraderie and friendship close to their hearts, and each epic s central character takes his strongest actions in response to the death of his closest friend. Finally, as discussed by Scott Pollard in his article Lyrical culture:
Last name 2 rethinking Western literature after reading 'The Book of Songs', grief, pity, and forgiveness take central roles within each epic, and each epic incorporates the premise of humankind, through the trials and tribulations of the epic, discovering the true meaning of humanity. The pervasive and often inescapable influence of the will and whim of Gods and goddesses stands as perhaps the most recognizable, and certainly the most persistent, parallel between the epics Gilgamesh and The Iliad. For instance, after learning of the impudent and altogether negligent manner in which Gilgamesh has chosen to lord over his kingdom, the Gods create Enkidu, whom they hope will not only occupy Gilgamesh, providing welcome relief to his subjects, but will also lead Gilgamesh to grow into a wiser and more accomplished ruler (Gilgamesh 13). The Gods of The Iliad exert similar influence over the fates of mortals, such as when Aphrodite saves Paris from certain death in combat (Marcovich). Furthermore, the God Hephaestus forges the armaments, and most famously a great and massive shield,/ [blazoned with] well-wrought emblems all across its surface (Homer XVII. 558-560), which allow Achilles to return to battle and avenge the death of Patroclus, killing Hector in the process. Although each culture possessed their own separate and distinct pantheons, many of the Gods and goddesses of Gilgamesh and The Iliad share a surprisingly copious number of personality traits and qualities with their counterparts. For example, the Sumerian goddess Ishtar and the Greek goddess Aphrodite, both goddesses of love and passion, hold many characteristics in common, such as the frequent association of doves with each goddess, and each toys extensively with the emotions and hearts of Gods and men alike (Marcovich). Each goddess also takes a central role in the catastrophic events of their respective epic. For example, Gilgamesh s refusal to take Ishtar as his wife, and her resultant rage over his refusal, indirectly leads to the tragic death of Enkidu (Gilgamesh 24-25). Aphrodite s gift of Helen to Paris led Zeus [to plant] a
Last name 3 killing doom within [them] both (Homer VI. 290), as well as serves as the catalyst for the Trojan War. The gods and goddesses in general also set the stage for each epic through their roles in the creation of the heroes Gilgamesh, Enkidu, and Achilles. Although not full-blooded Gods themselves, each epic shares the notion of semi-divine and superhuman champions who take the lead roles of the story and carry as much significance as their Divine progenitors. The formidable heroes of each epic achieve their status not merely by accident of birth, but through their courageous actions and achievements as well. Consequently, their less extraordinary compatriots honor them on terms almost equal to the Gods, and all but the most jealous of them admire their aggression, courage, and skills in combat (Abusch). The authors of each epic also spared no words of praise for the heroes of their stories. For example, the epic Gilgamesh begins by describing Gilgamesh as the man to whom all things were known; the king who knew the countries of the world. He was wise, he saw mysteries and knew secret things (Gilgamesh, 12). Almost invariably, however, the immense power possessed by such characters as Gilgamesh and Achilles instigates a certain degree of selfishness and egotism that, except in the case of close friends, leads them to think more about their own contentment or well-being than that of others. For example, Achilles initial passionate self-concern and quickness to anger reflect the heroic personality (Sale) common within all but a few of the heroes of these epics. Achilles thinks only of his own safety, as well as the insults that Agamemnon had heaped upon him by stealing Briseis as compensation for his own loss, when he chose to refrain from further battle. Similar considerations prompted Achilles to ask his mother, Thetis, to implore Zeus to help the Trojan cause,/ to pin the Achaeans back against their ships,/ trap them round the bay and mow them down (Homer I. 485-487). Likewise, Gilgamesh sets out on his crusade to defeat Humbaba not out of concern for those
Last name 4 whom Humbaba threatened, nor with the intent to rid the world of evil, but to etch his name in the place where the names of famous men are written (Gilgamesh 17) forever. Although Achilles and Gilgamesh may appear completely self centered and egotistical, they, along with most of the characters of the epics Gilgamesh and The Iliad, nevertheless felt a strong sense of camaraderie with and loyalty to their allies and friends. Despite the fact that the epics Gilgamesh and The Iliad, and all epics by their very nature, focus intensively upon the heroic actions of a select few, they each also station comradeship and friendship highly. For example, the appeal of Achilles friends, and his concealed albeit genuine love for them, convinces him to abandon his idea of leaving the battlefield for home, although he still refuses to engage in combat for the benefit of Agamemnon (Sale). Just as telling, both the Achaeans and the Trojans fight fiercely in attempts to recover the bodies of slain allies, and even risk their own lives in order to honor their fallen friends and provide them with a proper funeral (Homer XVI. 144-235). Gilgamesh also finds himself bolstered by his friend Enkidu and the two of them quickly become inseparable allies. Furthermore, Enkidu acts as a reserve of strength and courage for Gilgamesh, allowing him to continue on his journey when he would have otherwise faltered and to accomplish that which he otherwise would have failed to achieve (Abusch). As a further testament to the true strength of the bonds shared by the characters within the epics Gilgamesh and The Iliad, the most drastic and momentous action within each epic occurs in direct response to the death of a friend. Perhaps most dramatically, the death of Patroclus at Hector s hands thrusts Achilles back into the fray of battle, whose former rage towards Agamemnon now concentrates solely upon Hector. However, Achilles nonetheless fights only for vengeance, and upon satisfying his fury, he returns to his camp, with the stripped corpse of Hector in tow, to mourn for the fallen Patroclus (Sale). The core event within the epic Gilgamesh
Last name 5 also sets into motion upon the death of a beloved friend. Shortly after Gilgamesh and Enkidu return from their conquest against Humbaba, the Gods, once again exerting their inescapable will, punish Enkidu by inflicting him with a fatal illness as punishment for his indiscretions. The death of his thus far undefeatable friend, whom Gilgamesh saw as his equal in strength and prowess, incites Gilgamesh to confront his own mortality, and in essence acts as a catalyst for change turning the epic into a tale of growth (Abusch). Naturally, the death of loved ones inflames powerful emotions within all those involved, which leads to the next unifying theme within The Odyssey and Gilgamesh. Regardless of the prevalence of the themes of war and conquest within The Odyssey and Gilgamesh, emotion and philosophy also play a large role within each as well. In essence, the effect that the chaos and bloodshed of war has upon the individual soldier or hero supersedes the battle or war itself (Pollard). Beyond experiencing the horrors of combat and mourning for fallen friends and comrades, the anxiety and grief experienced by the family members of those who dance with death, sometimes succumbing and other times not, proves the most poignant. For example, Gilgamesh s mother, upon learning of her son s intentions regarding Humbaba, laments O Shamash, why did you give this restless heart to Gilgamesh my son; why did you give it? You have moved him and now he sets out on a long journey to travel an unknown road and fight a strange battle (Gilgamesh, 19). The family of Hector, within The Iliad, experiences similar anxiety due to Hector s adventurous and conquering spirit. However, they also encounter deep grief when their worst fears come true, and Hector s father, King Priam, must swallow his wrath and endure what no one on earth has ever done before (Homer XXIV. 590) in an attempt to reclaim his slaughtered son s corpse. By touching upon the topics of loss, sentiment, and sorrow, The Iliad and Gilgamesh transcend the mundane and physical and touch
Last name 6 upon the ethereal and philosophical. On the individual level, Gilgamesh undergoes a life changing transformation when he, and the reader along with him, questions mortality and learns to accept the final fate awaiting every mortal (Pollard). Achilles, too, experiences a transformational event when he accepts his destiny, conquers his temper, and expresses civility and compassion towards King Priam (Pollard). On the collective and spiritual level, humankind somehow discovers its humanity, the never precise balance between emotion and intellect (Pollard), both within the microcosm of the story as well as within the macrocosm of actual existence, through the revelatory and often poignant events of the epics Gilgamesh and The Odyssey. Although created within drastically differing cultural contexts, and separated by centuries of tumultuous and memory erasing time, Homer s epic poem The Iliad and the Sumerian epic Gilgamesh nonetheless share much in common. Whether universal human experiences, such as love for family and friends, or more abstract concepts, such as heroism and the inevitability of fate, each epic touches upon the core elements of humanity through story and allegory. Ultimately, the two epics that served as valuable tools of self-discovery and growth to the Ancients still stand just as likely to teach essential and meaningful lessons of life and providence in the present as they did in the past.
Last name 7 Works Cited Comment: MLA requirements have changed since this essay was written. Abusch, Tzvi. "The Development and Meaning of the Epic of Gilgamesh: An Interpretive Essay." Journal of the American Oriental Society 121 (4 Oct-Dec 2001): 614-622. Collin County Community College Lib., Plano, TX. 08 Mar 2008 <http://links.jstor.org/sici?sici=00030279%28200110%2f12%29121%3a4%3c614%3a TDAMOT%3E2.0.CO%3B2-X>. Gilgamesh. The Norton Anthology of World Literature Volume A. Ed. Sarah Lawall. New York: Norton, 2003. 12-41. Homer. The Iliad. The Norton Anthology of World Literature Volume A. Ed. Sarah Lawall. New York: Norton, 2003. 120-225. Marcovich, Miroslav. "From Ishtar to Aphrodite." Journal of Aesthetic Education 30.2 (Summer 1996): 43-59. Collin County Community College Lib., Plano, TX.8 Mar 2008 <http://links.jstor.org/sici?sici=0021-8510%28199622%2930 %3A2%3C43%3AFITA%3E2.0.CO%3B2-D>. Pollard, Scott. "Lyrical culture: rethinking Western literature after reading 'The Book of Songs.'." College Literature. 26.2 (Spring 1999): 151. Literature Resources from Gale. Gale. Collin County Community College Lib., Plano, TX. 08 Mar. 2008 <http://go.galegroup.com.library.ccccd.edu/ps/start.do?p=litrg&u=txshracd2497>. Sale, William Merritt. "The Iliad: Overview." Reference Guide to World Literature. Ed. Lesley Henderson. 2 nd ed. New York: St. James Press, 1995. Literature Resources from Gale. Gale. Collin County Community College Lib., Plano, TX. 08 Mar. 2008 <http://go.galegroup.com.library. ccccd.edu/ps/start.do?p=litrg&u=txshracd2497>.