Theme Of Enkidu's Death In The Epic Of Gilgamesh

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Recommended: The relationship between Gilgamesh and Enkidu

As an epic focused on the exploits of a partially divine king, Gilgamesh is deeply concerned with power and authority, particularly as they relate to what it means to be a good king. This theme is established at the outset of the epic, Enkidu’s creation is a response to the absoluteness of Gilgamesh’s power, although this successfully abates Gilgamesh’s brutal treatment of his people, it is Enkidu’s death that permanently alters his behavior. Enkidu’s demise at the hands of the gods is more than a deep personal loss, Gilgamesh’s impotence to prevent the death is an unprecedented inversion in the dynamics of power that catalyzes Gilgamesh’s shift from an abusive and irresponsible king to a mature ruler.
The first moments of the epic cast Gilgamesh …show more content…

Gilgamesh stresses the depth of his loss by comparing Enkidu to “the axe at my side”, “the dirk at my belt”, and “the shield at my face” (8.45-46) - telling metaphors - combat is so central to Gilgamesh that the death of his closest companion is best expressed by a comparison to the tools of war. This connection between death and Gilgamesh and Enkidu’s companionship is further exemplified in Gilgamesh’s mournful recall of their achievements together: they “seized and [slew] the Bull of Heaven,/destroyed Humbaba” (8.53-55). However, in the next line, Gilgamesh shifts tense into the second-person present, directing disbelief at the lifeless body of his friend “Now what is this sleep that has seized [you?]” (8.56), this reapplication of the word “seize”, establishes a parallel between the formidable prowess of Enkidu and Gilgamesh in combat and the unilateral force visited upon Enkidu, placing the once unstoppable warrior in the position he had subjected others to. Gilgamesh’s realization of the limitations of his power as a warrior king causes him to reject his imperfect power. He tears his thick hair, a quality emblematic of his physical power, and casts of his royal garb “[like] something taboo” (8.64), implying disgust at his incomplete

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