In The Epic of Gilgamesh, Gilgamesh’s pursuit for immortality is marked by ignorance and selfish desire. Desire and ignorance, as The Buddha-karita of Asvaghosha suggests, pollutes man’s judgment resulting in his inability to break the cycle of birth and death. At the core of Gilgamesh’s desire resides his inability to accept the inevitability of death, making his rationality behind the pursuit of immortality ignorant and selfish. Implicitly, Gilgamesh’s corrupt desire for immortality conveys that Gilgamesh does not mature as a character.
Enkido’s arrival in The Epic of Gilgamesh forces Gilgamesh to reconsider his immaturity. Gilgamesh is introduced as “tall, magnificent and terrible” and as one “who crossed the ocean” (George i.37-40). As a “wild bull on rampage”, Gilgamesh’s tyrannical kingship is not challenged until an observer notices Enkido, a beast that “fills in the pits that I myself dig” and “stops me doing the work of the wild” (George i.30, 130-133). Because Enkido, “sets free” all the “beasts of the field”, he is presented as a wild creature that can “fill the pit” Gilgamesh digs and stop him from being a “wild bull on rampage” (George i.130-133). Later, Enkido is referred to as “the child of nature, the savage man from the midst of the wild”, conveying that his ‘savage’ origins (nature) are essential to clear civilization’s harmful influence on Gilgamesh (George i.178-179). While Enkido represents nature’s weapon to combat civilization’s mishaps, Enkido also portrays that even his pure soul is vulnerable to “Confusion, Gaiety, and Pride” and “Lust, Delight, and Thirst” (Cowell xiii.3). By seducing the “child of nature” and doing “for man the work of a woman”, Shamhat (or “Lust”) corrupts Enkido’s purity. “When wit...
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...uences. At this point, Gilgamesh grasps the finality of death but is unsettled with its impact on his own life. He questions, “Now what is this sleep that has seized you?” after Enkido dies (George viii.55-56). In seeing that Enkido, someone nearly as strong and mighty as Gilgamesh, die, Gilgamesh becomes aware that by being one-third human he is subject to the same fate. Thus, he embarks on his final journey: one that leads to disappointment, uncertainty, and regret.
In a different perspective, Gilgamesh’s pursuit for immortality is useless and thus reflects his inability to fully mature. The Buddha-karita supports the notion
Works Cited
Cowell, E. B. The Buddha-karita of Asvaghosha. N.p.: Oxford at the Clarendon, 1893. Print.
George, A. R. The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian. London: Penguin, 2003. Print.
Gilgamesh is a character that evolves throughout The Epic of Gilgamesh. The lord of wisdom, Gilgamesh realized he did not know everything. He humbled himself to lessons of life. As Gilgamesh progresses he becomes less interested in worldly pleasure and more in tune with the value of life and the reality of death. Gilgamesh evolves into a better king because he allows all his challenges in life to make him better and more humbled. Gilgamesh says before his death, “For myself I have gained nothing; not I, but the beast of the earth has joy of it now.” (Gil.
Gilgamesh’s most prominent characteristic is his bravery. This is exhibited when Gilgamesh and Enkidu decide to fight Humbaba in the Cedar Forest, one of the most feared beings in the world. “Enkidu said, ‘But how can any man/ dare to enter the Cedar Forest?” (pg. 92). Since Humbaba is so feared, no one dared to fight him. Gilgamesh also went on a quest to find immortality. After his beloved friend Enkidu dies, Gilgamesh decides to try and bring him back by finding immortality. This is an epic journey that humans could never accomplish. “This one who approaches--he must be a god.” (pg. 160). Though Gilgamesh is two-thirds divine, finding immortality is still an incredible feat, regardless of whether he became immortal or not. Not only did this journey require bravery, but it also
Gilgamesh goes on to seek eternal life. Death had never been a topic he had to deal with. Jacobsen explains, “death, fear of death, has become an ob...
The fear of death and the search for eternal life is a cultural universal. The ideology surrounding immortality transcends time and a plethora of cultures. The theme, immortality appears in stories from the Epic of Gilgamesh, which was composed by ancient Sumerians roughly around 600 B.C., to present day works of fiction in the twenty first century. Gilgamesh, a figure of celestial stature, allows his mortal side to whittle away his power after the death of Enkidu. Undeniably, defenseless before the validity of his own end, he leaves Uruk and begins a quest for Utnapishtim; the mortal man who withstood the great deluge and was granted immortality by the gods (Freeman 36). The search for immortality is a universal concept that has presented itself many times throughout the world; it is a concept that stands in hearts of mankind; The Epic of Gilgamesh illustrates humanity’s innate desire to break free from the constraints of the civilized world, while at the same time trying to find the meaning of existence; a theme that that is perpetrated many times throughout the epic. With that being said, The Epic of Gilgamesh is a story that should not be simply viewed as a text that was written by ancient human civilization thousands of years ago; it should be viewed as a text that highlights humanity’s struggle to overcome the limitations of mortality, and the acceptance of death. This is a theme
Gilgamesh is an example of someone who had many flaws and faced many struggles but, in the end, changed his attitude and became a better person. In the beginning of Gilgamesh, he is described as doing whatever he wants and being juvenile in a way. For example, in the text it says, “he was their shepherd, yet powerful, superb, knowledgeable and expert, Gilgamesh would not leave young girls alone, the daughters of warriors, the brides of young men.” With his second half, Enkidu, they entered into the first step in becoming a hero according to Campbell, the separation, by going on an adventure. At this point in the story, Gilgamesh is very arrogant. While traveling to Cedar Forest, Gilgamesh tells Enkidu, “let me go in front of you, and your voice call out: ‘Go close, don’t be afraid!’ If I should fall, I should have won fame. People will say, Gilgamesh grappled in combat with ferocious Humbaba… ensure fame that will last forever.” Next is stage two, the initiation, of the Campbell’s hero journey. Gilgamesh undergoes a trail to begin his transformation, he must fight the Bull of Heaven. Gilgamesh’s supportive side is starting to show when he tells Enkidu that they will win if they fight together. After killing the Bull of Heaven, Gilgamesh’s confident attitude is shown once again. The next trial he faces is the death of Enkidu. He starts to show emotion when he says, “for you Enkidu, I, like your mother, your father, will weep on your plains… I will lay you to rest on a bed of loving care… and I myself will neglect my appearance after your death.” At this point his character has been greedy and then he showed his fear and supportive side. The last stage in the hero’s journey is the return. Enkidu’s death sent Gilgamesh on an adventure to fight death. From this adventure he learned his biggest lesson from Utnapishtim. He learns to appreciate life, and
Enkidu and Gilgamesh were the main characters in the Epic of Gilgamesh. In the city of Uruk, King Gilgamesh was a merciless ruler, a strong man, and had long, beautiful hair. Under Gilgamesh’s rule, the people asked the gods to generate their tyrannical king’s competitor. To cease Gilgamesh from dominating people, Enkidu was developed. Enkidu was a hairy-bodied man raised by animals. He was prepared to accept the challenge. The two men were almost iden-tical in their courage and physical abilities. Gilgamesh had a vision ...
“You will never find that life for which you are looking. When the gods created man they allotted him death, but life they retained in their own keeping,” Siduri talking to Gilgamesh. (Gilgamesh 4). The epic of Gilgamesh has an abundance of parallels to the trial and tribulations of any human life. Gilgamesh’s story is humanities story of life, death, and realization. The awaking of Gilgamesh from a childish and secure reality connects my own life experiences to the epic tale.
At the beginning of Gilgamesh, the theme of acceptance of mortality emerges. Gilgamesh introduces the idea of mortality when he states, “Why are you worried about death? Only the gods are immortal anyway, Signed Gilgamesh. What men do is nothing, so fear is never justified.”(pg. 29) Here, Gilgamesh
The Epic of Gilgamesh is generally regarded as the greatest literature about tales of a great king. The Epic of Gilgamesh served to show us a lot of things. The time period of BCE is very blurry, and this story attempts to describe many different things in not only Sumerian beliefs, but also Sumerian's culture as a whole. Like many stories from BCE the truth itself is questionable, even though a lot of the information is fact. The factual information that Gilgamesh teaches us about Sumerian Civilization is that had had many craftsman and artistic skills, and also a strong belief in Gods.
This story teaches that death is an unavoidable and inevitable circumstance of mortal life, which is the most significant precept Gilgamesh learns. Gilgamesh is resentful that only the gods can exist eternally. Gilgamesh is frightened by the idea of his own destiny. Mesopotamian divinity proposes a perception of an afterlife; the deceased spend their period being dead in a netherworld. Death is inevitably entwined within the structure of creation. Life is also entwined, although mortals die, humanity maintains to live. The message that Gilgamesh returns with from his adventure is not primarily about death, but about life. Fragment of a tablet of The Epic of Gilgamesh is figure C down
Perhaps one of the main reasons the Epic of Gilgamesh is so popular and has lasted such a long time, is because it offers insight into the human concerns of people four thousand years ago, many of which are still relevant today. Some of these human concerns found in the book that are still applicable today include: the fear and concerns people have in relation to death, overwhelming desires to be immortal, and the impact a friendship has on a person’s life. It does not take a great deal of insight into The Epic of Gilgamesh for a person to locate these themes in the story, and even less introspection to relate to them.
In many literary works we see significant transitions in the hero's character as the story is developed. This is also true in the Epic of Gilgamesh with its hero, Gilgamesh. In this narrative poem, we get glimpses of who Gilgamesh is and what his purposes and goals are. We see Gilgamesh act in many different ways -- as an overbearing ruler resented by his people, a courageous and strong fighter, a deflated, depressed man, and finally as a man who seems content with what he's accomplished. Through all of these transitions, we see Gilgamesh's attitude toward life change. The goals he has for his own life alter dramatically, and it is in these goals that we see Gilgamesh's transition from being a shallow, ruthless ruler to being an introspective, content man.
The second significant change in Gilgamesh was caused by the loss of his brotherly companion, Enkidu. Gilgamesh couln't bear the loss of a love so powerful. Despite his astonishing power and leadership, something in his life was missing. Moreover, he wept for seven days and nights, thinking his friend would come back because of his weeping. It is in this stage of the epic that one can see the truly sympathetic and compassionate side of Gilgamesh. The grief in his heart had far surpassed the magnificent pride that he had previously displayed so boldly. Enkidu's death left Gilgamesh frightened and confused. However, the despair in his heart was so great that he could not rest; would he ever be at peace? Thus, he became terrified of his own death.
One of the main themes in the epic is that death is inevitable, which is shown through Enkidu's death. When Enkidu dies, Gilgamesh becomes very worried, because he realizes for the first time that everyone is going to die at some point in time. The fact that Enkidu is a close friend makes it even more visible to Gilgamesh that everyone is mortal. Then, along with this realization, comes the theme of denial. Gilgamesh does not want to accept the fact that he will die. He denies the truth, because he does not want to think about the truth or cope with the tragedy that has struck him. "And he-he does not lift his head. 'I touched his heart, it does not beat'" (Tablet VIII, Column II, 15-16). "'Me! Will I too not die like Enkidu? Sorrow was come into my belly. I fear death; I roam over the hills. I will seize the road; quickly I will go to the house of Utnapishtim, offspring of Ubaratutu. I approach the entrance of the mountain at night. Lions I see, and I am terrified. I lift my head to pray to the mood god Sin: For...a dream I go to the gods in prayer: ...preserve me!'" (Tablet IX, Column I, 3-12).
After Enkidu's death, Gilgamesh comes to the realization that one day he too will succumb to the same fate as his friend.