Archetypes In Gilgamesh

Gilgamesh, a Sumerian epic, is one of the oldest recorded narratives, yet it still holds relevance today. The epic is composed of 12 stone tablets that were discovered in 1853, and the ancient text lives in a state of flux with many different translations existing today. The text first entered the world stage only once George Smith published the portion of the text that related to the flood from the Hebrew bible. (Mosley Para. 64) The central character, Gilgamesh king of Uruk, is two parts god and one part man. He is handsome, brave, and strong but he is also boastful and filled with pride. He cares very little for his people and “does not leave a girl to her mother” (I, 65). Although he is ultimately perceived as a hero, Gilgamesh has more

than a few flaws and is very dissimilar to the common hero. These flaws are most present at the beginning of the Epic when his very own people of Uruk pray to the gods to save them from their “shepherd” (I, 62).

However, the Epic is still relevant even today and one can still sympathize with many of the characters’ struggles and rally in their triumphs. Thus validating why it is still a central work in any literature classroom. By examining the roles of archetypes, the hero’s journey, and common motifs in the Epic of Gilgamesh we can understand it better.

According to Carl Jung archetypes are images and thoughts that have universal meanings across cultures that may show up in dreams, literature, art, or religion. Jung focused on four specific archetypes: persona, anima/animus, shadow, and self, but he thoroughly examined many archetypes. The most striking archetype is that of the hero who comes in many forms but in the end has to be relatable to the audience as a whole. Gilgamesh’s desire to be remembered though fame and live forever is something that has been seen throughout all cultures and time periods so it is most definitely relatable. Another of the most prominent archetypes in the story is the shadow archetype represented through Enkidu and Gilgamesh’s relationship.

When Gilgamesh and Enkidu fight it could be seen as Gilgamesh confronting his shadow due to the resulting change in both of their behaviors. Although the shadow is most often represented in a negative tone, Enkidu embodies Gilgamesh’s consciousness and can be seen as a part of a whole rather than an opposing force. Their fight could also symbolize the struggle between Gilgamesh’s divine and human self. They conclude the fight by kissing which truly signifies the peace and harmony that each them have reached. After the fight, Gilgamesh becomes more civilized and almost immediately wishes to go on a quest to defeat Humbaba in order to gain fame. This quick change in desires helps support the idea that Gilgamesh has significantly changed as a person even after a brief meeting with Enkidu. This is exactly what the gods intended when they created Enkidu as seen when they summon Aruru and tell her of “his [Gilgamesh’s] stormy heart, let that one [Enkidu] be equal, let them contend with each other, that Uruk may have peace” (I, 89-90). However, Enkidu had to change first before having an effect on Gilgamesh. The person who conducts this change is Shamhat who is the archetypal character of a maiden and a mother. She is like a mother archetype in the fact that she nurtures and teaches Enkidu proper morals. However, she is best represented as the maiden because she is able to domesticate Enkidu. Their relationship is strikingly similar to the tarot card for strength that depicts a maiden and lion. Enkidu is the lion that becomes tamed by the strong female character of the maiden. However, it is also important to note that the animals no longer see Enkidu as one of them after this transformation. According to Merritt Moseley, a professor at the University of North Carolina at Asheville Enkidu, “like Adam and Eve, has fallen into adulthood, become fully human through sex.” (pg. 69) Also Utnapishtim is another critical archetypal character in the story. His role is significant in guiding Gilgamesh to better understand life because he has reached the pinnacle of spiritual enlightenment and knowledge. He is most similar to the wise old hermit. Also he lives in a secluded location that can only be reached by those who are earnestly seeking them and the ones that are willing to climb the heights to wisdom. Para.
Another important aspect of this story is the hero’s journey that was depicted by Joseph Campbell. The journey as a whole focuses on the physical, emotional, and psychological transformations of the hero. Also there is an ordinary world and special world. The story begins in the ordinary world and usually returns there but there are 11 keys steps that occur. The ‘call to adventure’ is the first step and usually sets the story rolling by disrupting the comfort of the hero’s ordinary world. Then the hero typically ‘refuses the call’ unless he is a willing hero but the hesitation in accepting the call helps reflect the insecurities or danger with the special world. Next the hero has to ‘cross a threshold’ into the special world and after he crosses, there is no turning back. While in the special world the hero must go though test and discover his allies and enemies. Also the hero must take time to prepare for ‘the ordeal’ and this is known as the “approach to the inmost cave.’ After facing ‘the ordeal’ the hero finally receives his ‘reward’ that can be a physical objet or greater knowledge. Now begins the journey back to the original world also known as ‘the road back.’ On his way back to the ordinary world the hero must face his most dangerous meeting with death in what is known as the ‘resurrection.’ Finally, after conquering the final trial the hero is able to ‘return with the elixir’ which in the case of Gilgamesh is wisdom.
Although Gilgamesh does not fit the mold of the hero’s journey as well as other stories it still retains the basic path of the journey.

As a whole Gilgamesh’s ordinary world can be seen simply as the city of Uruk. This is where we find Gilgamesh at the beginning of the story and get to know him as a character. His ‘call to adventure’ occurs when he decides that Enkidu and himself must enter Humbaba’s forest. The ‘refusal of the call’ can best be seen when Gilgamesh has a dream that frightens him on their journey to Humbaba. However, Enkidu encourages Gilgamesh that the dream means they will defeat the giant and he has nothing to fear. When Gilgamesh enters Humbaba’s forest he has now entered the special world. Enkidu and Gilgamesh are able to defeat the giant and build a door out of one of his cedar trees. When they return to Uruk, Ishtar (the goddess of love) is spurned by Gilgamesh’s rejection of her so she convinces the other gods to send the Bull of Heaven to wreak havoc. After killing the Bull of Heaven the gods decide that Enkidu must die. All of these events could represent the ‘test, allies, and enemies’ phase of the hero’s journey. After Enkidu dies Gilgamesh is now faced with a new fear, which is death and seeks to become immortal. Gilgamesh is very deeply affected and dawns himself with furs in order to honor Enkidu. According to Dr. M. M. Nivargi an English professor at Mahatma College in India, “a person like Gilgamesh cannot face it [mortality] squarely

because everything he has done in his life has a certain intensity that is far greater than what a common person can experience” (pg. 82). Furthermore, this can be seen as another journey separate from the one previously taken. He goes through a tunnel that is used by the sun when it becomes night and must exit it before it before then. Once again Gilgamesh is entering another ‘crossing of the threshold’ into the special world. The Scorpion-man at the entrance of the passage of the sun can be seen as a ‘threshold guardian’ because he dictates who is able to enter into the cave. Also, this journey through the pitch black cave represents the ‘belly of the whale’ because he is racing against time to get to the other side otherwise he will die. After exiting the cave Gilgamesh comes upon a tavern and the tavern keeper, Siduri, finally tells him about the boatman Urshanabi. Urshanabi is very similar to Charon from Greek mythology who serves as the ferryman of Hades and carries souls of the newly deceased across the river Styx that divides the world of the living from the world of the dead. After finally reaching Utnapishtim he is given the task of remaining awake for seven days and fails. However, Utnapishtim’s wife convinces her husband to tell Gilgamesh where he can find a plant that rejuvenates the living. Unfortunately, soon after discovering the plant he decides to wait till he returns to Uruk to let one of his subjects test it but a snake devours it and the plant is lost. Gilgamesh fails to ‘return with the elixir’ but in a way his failure is what provides him with the maturity and wisdom to accept that death is a fate for every mortal man. In the end, Gilgamesh is happy with his accomplishments and in the mighty walls that surround his strong city of Uruk.
Throughout the story the role of women is key not only to the nature of the main male characters but the plot as a whole. The decisions and guidance of the female characters like Shamhat, Siduri, and Ninsun help guide and assist the male characters in a critical way. When Gilgamesh has questions regarding his dreams he seeks his mother’s wisdom to interpret them. Even though he is the ruler of Uruk he still values his mother’s advise, but in the end he decides to ignore her interpretation because it is not what he wants to hear. When Enkidu becomes civilized it is through Shamhat’s feminine influence. Also, if it was not for Siduri, the tavern barmaid, Gilgamesh would have never known how to reach Urshanabi and he would have been stuck in his quest. Therefore, the female characters have shown multiple times that they are key for the main characters to succeed. However, it could also be said that Ishtar is the culmination of a negative female influence and shows the destructiveness of a spurned lover.
Overall this Epic illustrates how death can give meaning to life and how through death living everyday to its fullest gains more meaning. In a way we can see how even the gods fail to grasp the importance of life and death due to their immortality. If Gilgamesh was indeed immortal, would he have shed a single tear for his dead friend or possibly become completely desensitized to a loved one’s death? If death gives meaning to life, then what meaning can life have for the deathless gods? Although the term ‘YOLO’ (you only live once) is often used ironically in today’s society it is the embodiment of the critical theme behind this story. In the end, Gilgamesh accepts his fate, but he also lives life to the fullest, which is something everyone should aspire to do.