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Epic of gilgamesh synopsis
A social context for othello
A social context for othello
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The characters of Enkidu, Medea, and Othello all have something in common. They are different. They can all be described as barbarians. Enkidu would be considered a barbarian because the character is a wild person. Medea is a barbarian because she is from Colchis, which was a place considered by the Greeks to be the edge of the earth and the land of barbarians. Othello is a barbarian because he is a racial and cultural outsider in Venice. In all three works, their differentness is integral to the story. By the conclusion, all three of these characters are transformed.
Enkidu, in the Epic of Gilgamesh, is a wild man. He is burly, has a hairy chest and has been raised by animals. He looks as wild as the wilderness that he is from. It is important to the story that Enkidu become civilized to become Gilgamesh’s counterpoint. While Enkidu is still wild, the hunter and his father plan to make him more man than beast so that he will stop freeing the animals from their traps. The father says to the son, “Tell Gilgamesh of the mightiness-man. He will give you Shamhat the harlot, ...
Gilgamesh can be viewed as a writing that describes the social scene of the times it was written in. The characters of Enkidu and Gilgamesh are strong males. The roles of women in Gilgamesh are submissive and subtle. Women in this ancient Sumerian tale tend to be passive, but capable of influencing the outcome of events. Enkidu is a mighty force to confront. He is so strong that he is seen as a wild animal in his first appearances in the book. Gilgamesh is as strong or even stronger than Enkidu. He is the king of Uruk and is part god and part man. These dominant male characters command the most attention of the reader.
In the story, a women’s status is clear. Women are deemed as less important and less powerful compared to men. However, they are important and powerful characters that drive the story with their feminine qualities. Men often use women to gain for themselves, regardless of the outcome for the women. One of the women mentioned at the beginning of the story, “The Epic of Gilgamesh,” is Shamhat, a harlot taken to seduce and tame Enkidu, by the hunter who discovers Enkidu. Shamhat is told to use her womanly ways to seduce Enkidu, dragging him away from his wild beast life. “Treat him, a human, to women’s work” (The Epic of Gilgamesh 104), There was no concern whatsoever to Shamhat’s well-being or safety. Yes, she was a harlot, but she was put in serious danger when she was used as bait to lure a wild man away from other wild beasts.
The Epic of Gilgamesh is a historic story of the king of Uruk, Gilgamesh. The story depicts the short lived friendship of Gilgamesh and Enkidu. The story begins as Shamat the harlot seduces Enkidu and convinces him to go to the city of Uruk and meet Gilgamesh. From that moment on, the two were very close. They planned a trip to the forest of cedars to defeat the monster known as Humbaba so that Gilgamesh could show his power to the citizens of Uruk. However, Enkidu tried “vainly to dissuade” (18) Gilgamesh in going to the forest. Despite Enkidu’s plead, the two continued on their voyage to the forest where Humbaba lives. Once they arrived, they found the monster and killed him.
While home is usually represented by a physical shelter such as a house, Homer and Euripides in their respective novels The Odyssey and Medea show that home has much more significance as a state where one can comfortably express the values and beliefs that define one’s identity. Both authors use protagonists who are far away from home. These characters often associate with and depend upon other characters they meet. Since they live under the influence of others, it is not surprising then to find that the two protagonists lose their individual identities. Moreover, both protagonists will also purposefully develop a second identity that is designed to conform to the society in which they inhabit. Since both protagonists are away from home for the majority of both works, it would be appropriate to examine, through specific instances, how both authors connect a lack of home with an absence of individual identity.
The epic begins with the men of Uruk describing Gilgamesh as an overly aggressive ruler. "'Gilgamesh leaves no son to his father; day and night his outrageousness continues unrestrained; And he is the shepherd of Uruk, the enclosure; He is their shepherd, and yet he oppresses them. Strong, handsome, and wise. . . Gilgamesh leaves no virgin to her lover.'"(p.18, Line 23-27) The citizens respect him, but they resent his sexual and physical aggression, so they plead to the gods to alleviate some of their burden. The gods resolve to create an equal for Gilgamesh to tame him and keep him in line. This equal, Enkidu, has an immediate impact on Gilgamesh. When they first meet, both having never before met a man equal in stature, they brawl. "They grappled with each other, Snorting like bulls; They shattered the doorpost, that the wall shook."(p.32, lines 15-18) In giving Gilgamesh a real battle, Enkidu instantly changes him; having this equal gives Gilgamesh a sense of respect for another man. These two men fighting each other creates a serious mess, but they both end up without animosity toward the other.
In the beginning of the story we see Gilgamesh as a womanizer. His submissive behavior is driven by his own self-sufficiency. When Enkidu forces him to see the reality of his own vanity, Gilgamesh withdraws from his obsession and embarks on a new quest with Enkidu; one that will fill his other ego, his masculinity.
Before the coming of Enkidu, Gilgamesh was a man of great power. A being for which there was no equal match, Gilgamesh boasted about his overwhelming glory and power. However, his arrogance was accompanied with an extensive abuse of power, which pushed the city of Uruk into a state of rage. Still Gilgamesh felt no despair; he lived to display to others his majestic power. The first sign of a sincere change in Gilgamesh arises as a result of the birth of Enkidu. From the beginning, a powerful link developed between man and woman. The wise Ninsun said to Gilgamesh,"You will love him as a woman and he will never forsake you". Gilgamesh had finally met his match, a friend that would serve as his life-long companion. Upon the seal of this great friendship, Gilgamesh began to change his selfish ways. Nevertheless, he shared with Enkidu the luxuries of kindness. Setting aside his great pride and power, Gilgamesh had opened a place in his heart, and in his sumptuous life, for his beloved brother.
Gilgamesh was two thirds of a god who possessed beauty, a gorgeous body, and great amounts of courage and strength that surpassed all other humans. His greatness was established through the wonderful walls he built around Uruk, a rampart, and a temple for Anu and Ishtar (Gilgamesh & Sandars, 61). Enkidu on the other hand was initially an uncivilized man created by the goddess of creation, Aruru. His appearance was strictly barbaric with his long hair and hairy body, whose innocent mind knew nothing of a civilized human culture (Gilgamesh et al., 62). He ate grass and lived among the other animals in the woods until a trapper spotted him while trying to catch his game and noted to his father that he “was the strongest man in the world [and] is like an immortal from heaven” (Gilgamesh et al., 62). The trapper indicated his feeling of inferiority to Enkidu in the woods as he says he is afraid of him. One could say that Enkidu rules the woods of the uncivilized just as Gilgamesh rules over the city of Uruk; over the civilized. Both men are characterized as powerful, strong men in their domain yet Gilgamesh is in fact stronger and more powerful than his brother, Enkidu whom he calls his servant, fore he is the king of Uruk and is two thirds god. Enkidu also dies halfway through the adventure the two have while Gilgamesh, who is afraid of death, goes on to find a way to live immortally. Though inferior to his king brother, Enkidu completes the other half of Gilgamesh: while Gilgamesh knows the ins and outs of the city he rules, he is not familiar with the woods or nature in the ways that Enkidu is. Though they are different from each other, they both hold parallels with one another by bringing out the best in each other, thus reasonabl...
rapidly, it may not be indicated by the script that it has changed, and was most
Whereas in Othello, it’s more Hollywood-like than in that, it’s out in the real world, and not set in a theatre like place. Therefore the play seems more realistic to the contemporary audience, however there is a loss of unity between the three categories – time, place and action. However, since the contemporary audience are used to these settings, they can easily catch on with the complexity of the story without getting too confused. A minor difference that the audience can see in the play is the fact that violence is shown in one play while violence isn’t shown in the other. In Medea, because people back in those days believed in the reasoning instead of emotions, they didn’t focus too much on the violent part of the play.
The beginning of the Epic finds Gilgamesh hunting immortality through the ways of old. He is trying to achieve everlasting life through the fertility of young virgins promised to another. This action by Gilgamesh caused the people of Uruk to call for the gods to restore the order which the traveler from abroad had destroyed (pg.62). From the sacred order of the goddess Aruru's mind Enkidu emerges from the profane wilderness (pg. 63). It is told that a trapper came "face to face" with the chaotic ways of Enkidu and was "frozen with fear". It is only through the love of one woman that order is brought to the life of Enkidu. He is then declared wise enough to challenge Gilgamesh and restore the order to "strong walled Uruk" (pg.65). So, when Gilgamesh is headed to the bridal bed to partake...
Enkidu was created to be Gilgamesh’s equal and his soul mate. ‘“You made him… now create his equal; let it be as like him as his own reflection, his second self, stormy heart for stormy heart’” (14). So the goddess of creation, Aruru “dipped her hands in water and pinched off clay, she let it fall in the wilderness” and created Enkidu (14). Before Gilgamesh had met Enkidu he loved him; ‘“… I bent down, deeply drawn towards… [Enkidu]… I loved it like a woman and wore it at my side”’ (16). Enkidu had “virtue in him” (14). He was also “innocent of mankind” (14). After Enkidu was civilized the wild animals would not be near him. He felt ...
The women in Othello are synonymous with Venetian societal standards. Only three women are characters in Othello: Desdemona, Emilia and Bianca but the roles these women play give the reader an idea of how women were portrayed, not only in Shakespeare's Othello but in society in general.
The epic begins with Gilgamesh terrorizing the people of Uruk. They call out to the sky god Anu for help. In response Anu tells the goddess of creation, Aruru, to make an equal for Gilgamesh. Thus Aruru created Enkidu, a brute with the strength of dozens of wild animals. After being seduced by a harlot from the temple of love in Uruk, Enkidu loses his strength and wildness yet gains wisdom and understanding. The harlot offers to take him into Uruk where Gilgamesh lives, the only man worthy of Enkidu's friendship. After a brief brawl the two become devoted friends.
Many motifs are shared between both the plays Medea, by Euripides, and Oedipus the King, by Sophocles. Both playwrights were known for their innovation in the theatre, so their plays both contain daring elements, along with the more common ones (Gainor, et al. 89/135.) The plays were written in the same time period so they contain the same morals that were being taught to the writers in ancient Greek society. Not only did the plays share the same popular culture beliefs, but they also contained a lot of the same characters- as they were believed to be real Gods, Goddesses, and creatures, by the society. I believe the most prominent motifs shared between the plays are revenge, duty, and death. Revenge plays a great deal in the decision making