Literary Techniques Used In Stephen Mitchell's The Epic Of Gilgamesh

The Epic of Gilgamesh, is the oldest story to ever be written. The story is presented in the Sumerian language on a set of eleven different tablets. The tablets have now been translated for the modern reader. Two of probably many versions of this epic tale can be read by the translations of either Stephen Mitchell or Maureen Kovacs. By putting Stephen Mitchell’s and Maureen Kovacs’ translations of Gilgamesh side by side, a similarity in use of metaphors, motifs, and repetition, is easily seen.
When first comparing the literary devices used in both translations of Gilgamesh, an easier one to spot is the use of metaphors. In Book Six, Ishtar has asked Gilgamesh to marry her. In Mitchell’s translation, Gilgamesh responds by saying “Why would I

want to be the lover of a broken oven that fails in the cold, a flimsy door that the wind blows through… a mouse that gnaws through its thin reed shelter” (Mitchell 132).

Gilgamesh is comparing Ishtar to these objects to make it clear about his feelings for her. When comparing Stephen Mitchell’s translation to Kovacs’ the same use of metaphors is used to describe Gilgamesh’s thoughts, “…an oven who…ice, a half-door that keeps out neither breeze nor blast…an elephant who devours its own covering” (Kovacs 29). Although the comparisons are very similar, the translation between a mouse and an elephant, is wildly different. Not only were metaphors used through Book Six though. In Tablet Eight of Kovacs’ translation Enkidu has just died, and Gilgamesh is mourning his friend. Gilgamesh’s feelings are, again, described through metaphor, “You, axe at my side, so trusty at my hand – you, sword at my waist, shield in front of

me” (Kovacs 49). The reader is able to understand how Gilgamesh felt about Enkidu; he was a strong man who protected Gilgamesh. Stephen Mitchell’s translation was very similar in the description of Gilgamesh’s feelings for his friend, “… you were the axe at my side in which my arm trusted… the shield I carried” (Mitchell 153). The handling of metaphors in both translations was used to describe Gilgamesh’s feelings on certain topics, giving the reader a deeper insight on who Gilgamesh really is.
In both translations of Gilgamesh, the Bull is used as an ongoing motif.

In Book One Mitchell and Kovacs depict Gilgamesh’s character by comparing him to a bull, “Trampling its citizens like a wild bull. He is king he does whatever he wants” (Mitchell 72), and “Like a wild bull he makes himself mighty, head raised” (Kovacs 2). The comparison between the bull and Gilgamesh creates a mighty characterization for Gilgamesh. The bringing of the bull into the narrative continues into Tablet Six. As stated in the above paragraph Ishtar asked to marry Gilgamesh, after he declined her offer Ishtar ran to her father in anger commanding, “Father, give me the Bull of Heaven, so he can kill Gilgamesh in his dwelling” (Kovacs 37). Later the Bull of Heaven is given to Ishtar, whom places it on Earth, “When the Bull snorted, the earth cracked open and a hundred warriors fell in and died” (Mitchell 137). The Bull of Heaven can kill a city, and just by being placed on earth it cracked it’s surface open. This is displayed in both versions of Gilgamesh, representing the thought of mightiness. The motif is used as a place for characterization to be built in both Mitchell’s and Kovacs’

translations.
Not only are metaphors and motifs used as literary devices in both versions of Gilgamesh, but also repetition. Repetition is used throughout both translations to give a stronger impact on the reader. In Book Four, Gilgamesh and Enkidu go on a journey so they can reach the Cedar Forest. The journey is depicted, “At four hundred miles they stopped to eat, at a thousand miles they pitched their camp. They had traveled for just three days and nights…” (Mitchell 105). This phrase is repeated a lot of times to represent the great amount of miles Gilgamesh and Enkidu traveled in only one day. The repetition in their journey continues throughout Maureen Kovacs’ translation as well. In between each day’s travels the two men would sleep, but Gilgamesh would wake up and say, “My friend, did you not call out to me? Why did I wake up? … Did a god pass by? … Enkidu, my friend I have had a dream” (Kovacs 17). The dreams usually turned out to be nightmares about going to the Cedar Forest but Enkidu would tell Gilgamesh they were good omens. It is inferred that the repetition of the dreams was used to show how dangerous it was to go to the Cedar Forest and kill the monster there. Repetition has also made its way into Tablet Eight. Gilgamesh is mourning his dead friend, Enkidu. A list is created in Kovacs’ translation representing how many people Gilgamesh thought should also mourn Enkidu, “May the Roads of Enkidu to the Cedar Forest mourn you…May the peoples who gave their blessing after us mourn you” (Kovacs 47). The same list is created in Mitchell’s translation, “May the paths that led you to the Cedar Forest mourn you constantly…may the elders of great-walled Uruk mourn you, who gave us their blessing when we departed” (Mitchell 151). The two translations incorporated repetition throughout each of their versions of the narrative.
Literary devices are used in narratives to create a bigger idea, theme. In the above paragraphs the idea of mightiness was brought forward quite a bit. Through the use of metaphors, motifs, and repetition this theme was established. When comparing both translations of Gilgamesh, it is found metaphors and motifs help describe characterization, and repetition helped put an emphasis on being robust. Even though the translations between Mitchell and Kovacs are not exactly identical the very similar little bits and pieces bring the two versions together and gets the main idea across.