Epic of Gilgamesh is an epic poem from Mesopotamia and is among the earliest known works of literature. Scholars believe that it originated as a series of Sumerian legends and poems about the protagonist of the story, Gilgamesh king of Uruk, which were fashioned 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. The epic was originally titled in Akkadian Sha naqba īmuru ("He who Saw the Deep") or Shūtur eli sharrī ("Surpassing All Other Kings"), the opening words in the different respective versions.
The story revolves around a relationship between Gilgamesh and his adopted brother, 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. The advice given to Gilgamesh by Siduri (the "woman of the vine"), in the older Babylonian text, has become the most widely known excerpt from the Epic and may represent the oldest known advice in recorded literature: "Gilgamesh, whither are you wandering? Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands. Gilgamesh, fill you belly, day and night make merry, let days be full of joy, dance and make music day and night. And wear fresh clothes, and wash your head and bathe. Look at the child that is holding your hand, and let your wife delight in your embrace. These things alone are the concern of men." Interestingly, Siduri's famous advice only exists in the older Babylonian text, being removed from the later Akkadian version of the epic. The removal of Siduri's advice may represent the earliest known form of censorship. Gilgamesh is celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishtim. The story is widely read in many translations, and the protagonist, Gilgamesh, has become an icon of popular culture.
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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.[1]
The earliest Sumerian poems are now considered to be distinct stories rather than constituting a single epic.[2]:45 They date from as early as the Third Dynasty of Ur (2150-2000 BC).[2]:41-42 The earliest Akkadian versions are dated to the early second millennium[2]:45, most likely in the eighteenth or seventeenth century BC, when one or more authors used existing literary material to form the epic of Gilgamesh.[3] 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 was discovered by Hormuzd Rassam in 1853 and is widely known today. The first modern translation of the epic was published in the early 1870s by George Smith.[4] 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[5] 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.[2]:40-41
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 nagba īmuru). 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.[6] 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.
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. He is spotted by a trapper, as he has been uprooting traps and thus ruining the trapper's livelihood. The trapper tells Gilgamesh of the man and seduces Enkidu with a skilled harlot. His seduction by Shamhat, a temple prostitute, is the first step in his civilization, and she proposes to take him back to Uruk after making love for seven days. Gilgamesh, meanwhile, has been having dreams that relate to the imminent arrival of a new companion.
Shamhash 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 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.
Enkidu was afraid to embark on the quest to the cedar forest to kill Humbaba with Gilgamesh. He advised Gilgamesh against it but Gilgamesh made up his mind that he was going to kill Humbaba and nothing was going to stop him. Gilgamesh and Enkidu made a vow to always protect each other so because of this vow Enkidu didnt want to let his friend and brother down. Gilgamesh calmed Enkidu down by saying that "There is nothing we should fear"[7] Before they left, the elders of Uruk had to give them their blessings even though they knew that this quest was dangerous and there was a possibility that both of them would not make it back alive. Seeing that their king Gilgamesh and Enkidu were so confident and passionate about defeating Humbaba they had no choice but to back them up.[8] After they left Uruk, they visited Ninsun, Gilgamesh's mother was also afraid for her sons. (She had adopted Enkidu as her son as well; she prayed for both their returns.[9]
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 figures 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.
The heroes enter the cedar forest 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 gate for the temple of Enlil. They build a raft and return home along the Euphrates with the giant tree and the head of Humbaba.
Gilgamesh rejects the advances of the goddess Ishtar because of her mistreatment of previous lovers like Dumuzi. Ishtar asks her father Anu to send Gugalanna 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 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.
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.
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 opens with Gilgamesh grieving for Enkidu and roaming the wild clothed in animal skins. Fearful of his own death, his object is to find the legendary Utnapishtim ("the Faraway"), and learn the secret of eternal life. Among the few survivors of the Great Flood, Utnapishtim and his wife are the only humans to have been granted immortality by the gods. Early in his travels, Gilgamesh crosses a mountain pass at night and encounters a pride of lions. He prays for protection to the moon god Sin before sleeping. Then, waking from an encouraging dream, he slays the lions and takes their skins for clothing. Eventually, after a long and perilous journey, Gilgamesh comes to the twin peaks of Mount Mashu at the ends of the earth. The entrance, which no man has ever crossed, is guarded by two terrible scorpion-men. After questioning him and recognising his semi-divine nature, they allow Gilgamesh to pass and travel through the mountains along the Road of the Sun. He follows it for twelve "double hours" in complete darkness. Managing to complete the trip before the sun catches up to him, Gilgamesh arrives in a garden paradise full of jewel-laden trees.
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 300 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.
Gilgamesh observes that Utnapishtim seems no different from himself, and asks him how he obtained immortality. Utnapishtim tells an ancient story of how the gods decide to send a great flood. The god Ea, however, warns him to build a boat and save himself. Precise dimensions are given, and it is sealed with pitch and bitumen. Utnapishtim's family go aboard, along with his craftsmen and 'all the animals of the field'. Next, a violent storm arises that causes the terrified gods to retreat to the heavens. Ishtar laments the wholesale destruction of humanity and the other gods weep beside her. The storm lasts six days and seven nights, after which 'all the human beings [have] turned to clay'. Utnapishtim, looking out, also weeps in response to the overwhelming destruction. The boat lodges on a mountain and, after seven more days, he releases a dove, a swallow, and a raven. When the latter fails to return, he opens the ark and releases its inhabitants. Utnapishtim offers sacrifice to the gods who smell the sweet savor and gather around. Belitili vows that, just as she will never forget the brilliant necklace that hangs around her neck, she will always remember this time. After she condemns the chief god Enlil for instigating the flood without thinking, he suddenly arrives, angry that anyone has survived. Then Ea speaks up and castigates him for sending a disproportionate punishment. Enlil, apparently contrite, blesses Utnapishtim and his wife, and rewards them with eternal life. This story is based on the flood myth that concludes the Epic of Atrahasis (see also Gilgamesh flood myth).
The main point seems to be that Utnapishtim was granted eternal life in unique, never to be repeated circumstances. As if to demonstrate this point, Utnapishtim challenges Gilgamesh to stay awake for six days and seven nights. However, as soon as Utnapishtim finishes speaking Gilgamesh falls asleep. Utnapishtim instructs his wife to bake a loaf of bread for every day he is asleep so that Gilgamesh cannot deny his failure. Gilgamesh, who wants to overcome death, cannot even conquer sleep! After instructing his ferryman to wash Gilgamesh and clothe him in royal robes, Utnapishtim sends the pair back to Uruk.
As they are leaving, Utnapishtim's wife asks her husband to offer a parting gift. 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 on the bottom of the sea. He recovers the plant and plans to test it on an old man when he returns to Uruk. Unfortunately, when Gilgamesh stops to bathe it is stolen by a serpent that sheds its skin as it departs. 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.
This tablet is to a large extent an Akkadian translation of an earlier Sumerian poem, Gilgamesh and the Netherworld (also known as "Gilgamesh, Enkidu, and the Netherworld" and variants), although it has been suggested that it is based on an unknown version of that story.[2]:42 The contents of this last tablet are inconsistent with previous ones: Enkidu is still alive, despite having been killed off earlier in the epic. Because of this, its lack of integration with the other tablets, and the fact that it is almost a copy of an earlier version, it has been referred to as an 'inorganic appendage' to the epic.[10] Alternatively, it has been suggested that "its purpose, though crudely handled, is to explain to Gilgamesh (and the reader) the various fates of the dead in the Afterlife" as "an awkward attempt to bring closure",[11] a connection between the Gilgamesh in the epic and the Gilgamesh as King of the Netherworld in Mesopotamian religion,[12] or even "a dramatic capstone whereby the twelve-tablet epic ends on one and the same theme, that of "seeing" (= understanding, discovery, etc.), with which it began."[13]
Gilgamesh complains to Enkidu that various objects he possessed (the tablet is unclear exactly what — different translations include a drum and a ball) fell into 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.
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.
There are five extant Gilgamesh poems in Sumerian. These probably 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 significant differences in the underlying stories (e.g. in Sumerian, Enkidu is simply Gilgamesh's servant):
Various themes, plot elements, and characters in the Epic of Gilgamesh can also be found in the Hebrew Bible in the stories of Adam and Eve in the Garden of Eden (both stories involve a serpent) and the story of Noah and the Flood.
The parallels between the stories of Enkidu/Shamhat and Adam/Eve have been long recognized by scholars.[14] In both, a man is created from the earth in the image of God (Anu in Gilgamesh). He lives in a natural setting with animals for companions. A woman is introduced who tempts him and there are specific references to sexual relations.[15] The woman feeds the man, they clothe themselves to cover their nakedness, and become "wise" and "like god". Eventually, they leave to enter into a new phase of existence, unable to return to their former state.
Most scholars accept the priority of the Mesopotamian flood story. Andrew R. George, known for his translations of the epic, notes that "...the Flood episode in Gen. 6-8 matches the older Babylonian myth so well in plot, and particularly, in details, few doubt that Noah's story is descended from a Mesopotamian account".[16] What is particularly noticeable, according to another scholar, is the way the Genesis flood story follows the Gilgamesh flood tale "point by point and in the same order", even when the logic of the story permits other alternatives.[17]
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.[18]
A number of scholars also propose influence on the book of Ecclesiastes.[19] The speech of Sidhuri in an old Babylonian version of the epic is so similar to Ecclesiastes 9:7-10 that direct literary influence is a genuine possibility. A similar case involves a saying about the strength of a triple stranded rope, apparently unique to Gilgamesh and Ecclesiastes (4:12).
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.[20]
The Alexander the Great myth in Islamic and Syrian cultures is also considered to be influenced by the Gilgamesh story.[21][22] 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.
The Epic of Gilgamesh has directly inspired almost a hundred manifestations of literature, art, music, and popular culture, as identified by Theodore Ziolkowski in the book Gilgamesh Among Us: Modern Encounters With the Ancient Epic (2011).[23][24] It was only during and after the First World War that the first reliable translations of the epic appeared that reached a wide audience, and it was only after the Second World War that the epic of Gilgamesh began to make itself felt more broadly in a variety of genres.[24]