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Synopsis of the legend of Gilgamesh
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Recommended: Synopsis of the legend of Gilgamesh
Images of biblical women have been used for centuries but some are much more controversial than others. One of the most infamous women associated with the bible is only directly mentioned in the bible once. Lilith is a woman whose story stems from Babylonian myths, demonology, and was the answer to a conflict in the Jewish creation story. She first appears in the folklore and more importantly the story of Gilgamesh, her story has grown into a femme fatale. The effect of social constructs on the interpretation of femme fatale archetypes such as Lilith are evident in the comparison of Lilith’s mythological beginnings to sexualized representation in Gabriel Rossetti’s painting Lady Lilith 1886. This transformation can be understood through analyzing the mythology surrounding Lilith, application of Jungian female archetypes, and the examination of art associated with Lilith.
Lilith is a character whose origin is rooted in Babylonian demonology. She has been used to represent multiple different themes ranging from a seductress, Heroine, and even a murderer. These entire stories stem from the epic poem Gilgamesh and the Huluppu-Tree, found on a Sumerian tablet that is dated around 2000 B.C.E. Gilgamesh is a vain hero who seeks eternal life. In one of his adventures he rushes to assist Inanna the goddess of erotic love, and war. Inanna’s precious willow (Huluppu) tree had been possessed with spirits, one a dragon who lay at the base, a Zu-bird who had placed her young in the branches of the tree, and near by the demon Lilith had built her house. Gilgamesh, adorned in heavy armor, slays the dragon which scares the Zu-bird into flying to the mountains, and terrifies Lilith the flee into the desert.
Lilith is briefly...
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Works Cited
Cotterell, Arthur. The Encyclopedia of Mythology. London: Lorenz, 1996. Print.
"Epic of Gilgamesh." Epic of Gilgamesh. N.p., n.d. Web. 03 Nov. 2013.
Dante Gabriel Rossetti, “Body’s Beauty” in The House of Life: A Sonnet-Sequence (Cambridge, MA: Harvard Univ. Press, 1928), p. 183
"Judaism 101." Judaism 101. N.p., n.d. Web. 03 Nov. 2013.
"King James Bible Online." KING JAMES BIBLE ONLINE. N.p., n.d. Web. 03 Nov. 2013
Samuel N. Kramer, Gilgamesh and the Huluppu-Tree: A Reconstructed Sumerian Text, The Oriental Institute of the University of Chicago Assyriological Studies 10 (Chicago Unic, of Chicago, 1938)
Tzvi Abusch, “Gilgamesh: Hero, King, God and Striving Man,” AO 03:04.
Wehr, Demaris S. Jung & Feminism: Liberating Archetypes. Boston: Beacon, 1987. Print.
Zohar, Sperling, Harry, 2nd ed. (London: Sconcino 1984)
Gardner, John and John Maier. Gilgamesh: Translated from the Sin-leqi-unninni version. New York: Alfred A. Knopf, 1984.
Translated by N.K. Sandars, Gilgamesh, The Norton Anthology of World Masterpieces Expanded Edition, ed. Maynard Mack, Expanded Edition, (New York: W. W. Norton, 1995), pp. 13-42
The Epic of Gilgamesh. Trans. Benjamin R. Foster. Text. Martin Puncher. New York: W.W and Company, 2013.Print.
The Epic of Gilgamesh. Trans. Foster, Benjamin R. New York: W W Norton & Co Inc, 2001. Print.
Violence against women is not a new social issue and Pamela Copper-Whites’ book The Cry of Tamar does well in bringing this to light not only as a social issue but as a religious issues as well. Tamar’s story sheds light on the violence and degradation of women in the biblical times.
Mortal females cause struggles among men and are portrayed as wicked in Greek Mythology. In the story of How the World and Mankind Were Created, the Father of Men and of the Gods, Zeus, swears to get revenge upon mankind because of the poor sacrifices made to the altars. Therefore, he “[makes] a great evil for men, a sweet and lovely thing to look upon… they [call] her Pandora… the first woman… who are an evil to men, with a nature to do evil… is the source of all misfortu...
Karahashi, Fumi and Carolina Lopez-Ruiz. “Love Rejected: Some Notes on the Mesopotamian Epic of Gilgamesh and the Greek Myth of Hippolytus.” Journal of Cuneiform Studies 58 (2006): 97-107. JSTOR.com - "The New York Times" Web. The Web.
"Epic of Gilgamesh." Academy for Ancient Texts. Ancient Texts Library. Web. 12 Oct. 2011. .
Archaeologists and historians feel confident that Gilgamesh was originally written by the Sumerians and later adapted by the Babylonians who kept the identities of Sumer's original gods and goddesses. According to Mauree...
Located in the city of Uruk in Sumeria, the epic of Gilgamesh was an old describing king Gilgamesh’s reign around 26000 B.C.E. By oral tradition, the story was passed down through generations. In 750 B.C.E, finally written in cuneiform, the story talked about the monarchial government structure within an urbanized city. Many gods were worshipped in temples in this well-recognized polytheistic city. In order to protect its enemies during times of war and citizens from attacks, Uruk also had walls surrounding the city. As their main sources of crop, the society survived on wheat and grain agriculture. Known as the Fertile Crescent, the land was productive and fertile at that time. Due to the overall leadership that king Gilgamesh offered, the city did well for itself.
The Role of Women in Greek Mythology In learning about the feminist movement, we studied the three articles, discussed and reviewed the different authors perspectives on the topic, and learned how important the role of woman in Greek mythology is. In presenting the feminist theory to the class, we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept. In order to understand the feminist theory, we have to understand the notion that although myths are invented and that they involve fantasy, the concept of mythology does not necessarily imply that there is no truth of history in them. Some of the humans may have lived while some of the events may have taken place. Most importantly, the social customs and the way of life depicted in the myths are a valuable representation of Greek society.
The stories about women in the bible illustrate the importance of their role and contribution to society. Women were slaves, concubines, and child bearers; they were also wives, matriarchs, and prophets. Although, some women had less important titles than others each served a purpose. Even if the Bible does not explain God’s relationship with women as with Moses and other prophets, it illustrates the love and dedication women had for Him. The scriptures describe brave, nurturing, and God fearing women whose decisions impacted the existence of the Israelites.
In 1881, however, "it occurred to Rossetti to contrast the two as representatives of fleshly and spiritual beauty," and thus he transferred them to "The House of Life" (Baum 181). The Lilith sonnet was then renamed "Body's Beauty" in order to highlight the contrast between it and "Soul's Beauty," and the two were placed sequentially in "The House of Life" (sonnets number 77 and 78). Because Rossetti originally named the sonnet "Lilith" and only changed the name to highlight the contrast between it and "Soul's Beauty," this study will refer to it by its original name. "Lilith" reads as follows:
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
Perhaps the figure of Salome is much like the moon in this play. It reflects whatever the onlooker hopes to see. To those who wish to view Salome as the original femme fatal, she is reflected as dangerous and grotesque. To others, who encourage her rebellion, she is an icon for artistic self-reflection. Representations of Salome are varied and many. They are constantly evolving with shifts of collective experience. In any event, Salome has earned the name denied to her in the bible. She is to some a heroine, to others a pornographic object, and still others a dangerous threat to patriarchal order. She has many identities and even more desires, yet she continues to fascinate and repulse, as her mystery is unraveled.