Mini Myths #1: The Epic of Gilgamesh
Well for the first of my mini myths I think it’s only appropriate to start with what is considered the oldest written story in the entire history of the world. Now the way I’m going to structure these little mythological segments is by first looking at the context of the myth and then go into the actual myth itself before finishing off with a short piece about how they myth has been used and perceived in the modern day.
The Epic of Gilgamesh is considered the old text of literature and is consider the second oldest religious text dating all the way back from the time of ancient Mesopotamia and is dated roughly around 2000 BCE. The epic itself was written on stone tablets with five Sumerian (The people Gilgamesh ruled over) poems being discovered. The Old Babylonian tablets dated around 1,800 BCE are the oldest surviving tablets for a single Epic of Gilgamesh narrative. Other tablet fragments have been dated closer to 200 BCE and 100 BCE suggesting that the epic is a widespread story in Sumerian culture. The most recent version of the story referred to as the Akkadian version and also called the Standard Babylonian version, consists of twelve tablets and was edited by Sîn-lēqi-unninni, who is thought to have lived sometime between 1300 BCE and 1000 BCE. Essentially the story is made up of several tablets that we have collected from different centuries to generally try to piece together a singular narrative. It bears noting the the I will be using the standard Babylonian version which is known for the Twelfth tablet being different from the others and thought to have been written at a later date.
In a time of the old world when gods still walked the earth there stood a great and noble kingdom in ancient Mesopotamia. This was a rich and fertile land between the twin rivers of the Tigris and the Euphrates that provided its people with plenty and bountiful harvests. This rich land was populated by the great kingdom of Uruk, a kingdom ruled over by a man named Gilgamesh. Now Gilgamesh was not just any ordinary man, he was born two thirds a god and one third a mortal man. However this combination of divine birth and mortal fallacy helped to craft Gilgamesh into a cruel tyrant of a king who abused both his menfolk and the women, using them as he pleased with no regard for their lives.
In desperation the people of Uruk called out to the gods for help. And the god hear their pleas. From clay they craft a perfect equal to Gilgamesh, a divine being known as Enkidu. As he arrives in the mortal world he first meets a trapper who asks the gods to stop Enkidu from destroying his traps. The sun god Shamash send a temple prostitute to Enkidu and for nearly a fortnight the two spend time together in the warm embrace of lovers; and she teaches him all she can tell about the world on man, and of the civilisations born on earth.
The prostitute introduces him to a shepherd where he learns the craft of the trade until one day from a passing stranger he hears of the plight of the people of Uruk. Incensed by Gilgamesh’s heartless cruelty he races to the palace and faces down the king of Uruk. In that instant the pair fought with fire and fury and divine wroth as the engaged in a battle so fierce it compelled even the gods themselves to bear witness. Yet after a singular mighty blow Enkidu was brought to his knees and acknowledged the king, Gilgamesh, to be the superior of the two. And as a result the two naturally struck up an intense friendship that even the god themselves could not predict.
The pair shared in each others company and comforts as they travelled on many adventures together. They visited Gilgamesh’s mother the goddess Ninsun who adopted Enkidu as her own son. Later on they travelled to the Cedar forest where they defeat the guardian of the forest Humbaba and take his head as well as several of the strongest trees with the strongest of these to be used by Enkidu to craft into a gate for the temple of Enlil.
Upon their return the goddess Ishtar, queen of all that is fertile and ripe, falls for the king of Uruk and pursues him. However when Gilgamesh rejects her advances she used her immense powers to cause devastation throughout the lands of Uruk, lowering the level of the Euphrates and ultimately summoning Gugalanna, the divine bull of heaven to destroy Gilgamesh and Enkidu. But the king and his companion were too strong and overcame the powers of the bull, slaying it and offering up its heart to Shamash much to the displeasure of Ishtar.
And yet on this occasion the two companions had gone too far in their quest for fame and glory. In their anger at the deaths of Humbaba and Gulalanna the gods curse Enkidu was horrific dreams until, after twelves days of horrid torment Enkidu succumbs to his sickness. In one final moment he reached to the sky and cries out to his friend, who holds him in his arms as he passes into the world of the dead. Yet the king of Uruk had more faith in his friend than that and clung to Enkidu’s body, refusing to believe he was dead until a pale white maggot, dropped from his nose and into the kings lap.
Gilgamesh wailed at the death of his friend, his lament reaching the heavens themselves and bringing even the gods to tears for what they had done. He calls out for the mountains and trees, the rivers and deserts, to all beasts of the land and to all the peoples of the world to mourn for the death of his dearest friend. Gilgamesh provides ample gifts from his endless treasury to help his friend ensure a favourable reception in the world of the dead.
Then the mighty king left Uruk and wandered the wilderness in nought but animal skins, lost in both body and in spirit. Yet it was among the far and wasted lands that the king became fearful for his own mortality and sought to spare his mortal soul the pains of death, seeking out Utnapishtim (The Faraway Lands) and learn the secret of eternal life.
In his quest Gilgamesh faces set back after setback though his own malic and wrought feelings of self-importance. He rejects warning after warning and presses on relentlessly for his ultimate goal. Upon reaching Utnapishtim Gilgamesh tells him his story however the immortal man warns him that fighting the common fate of humans is futile and diminishes life's joys. Utnapishtim was a survivor of a flood that wiped out the last race of humans and as a reward for surviving the god Enlil blessed both him and his wife with eternal life. Utnapishtim points out that his immortality was a unique gift and not something most mortal men were meant to achieve however Gilgamesh reminds him that he is not mere mortal man. To test him Utnapishtim challenges Gilgamesh to stay awake for sic days and seven night but tragically Gilgamesh is still one third mortal and he quickly succumbs to sleep.
Yet Utnapishtim was no cruel or spiteful and he offered Gilgamesh one more chance, he could not grant the king immortality but he told him of a plant at the bottom of the sea he could use to restore his youth. Thanking the immortal man Gilgamesh tied stones to his feet, sucked in a mighty breath and dove to the bottom of the sea. Finally, after many travels the king reached the plant and seized it. Feeling part of his hunger for life sated he made to return to Uruk where he would use the plant to restore his youth. Yet greater than the gods was the cruel hand of fate. As he returned the king made to bathe himself in a small lake. In that moment a slithering serpent darted from the undergrowth and snatched up the plant leaving the king once more with nothing. Broken the king first weeps then is seized by uncontrollable laughter as he realises how foolish it was to chase immortality. He returns to Uruk, where the sight of its massive walls prompts him to praise this enduring work to Urshanabi the man who ferried him to Utnapishtim.
Tablet twelve features a tale after these events where Enkidu is still alive and of a journey he make to the underworld to retrieve some of Gilgamesh’s possessions. It ends with Enkidu recounting the tale of his journey through the underworld with Gilgamesh.
In the modern day the Epic of Gilgamesh hasn't had as much mainstream focus like the Greek pantheon or Norse mythology. However it has found a home in some popular media with a version of this tale being explored in the anime TV series ‘Fate’. Despite a lack of popular interest in the epic of Gilgamesh in western media however in the archaeological circle it has seen a lot of research and assigned significance. Interestingly in 1998 American Assyriologist Theodore Kwasman discovered a piece believed to have contained the first lines of the epic poem in the storeroom of the British Museum which has been used to determine that Gilgamesh may have been a real Babylonian king. The epic ha been translated and used by different people for different purposes with a definitive version published in 2003 by Andrew George which is considered the most significant work on Gilgamesh in 70 years. Yet on the other hand there is the case in 2004 as Stephen Mitchell supplied a controversial version that took many liberties with the text and included modernized allusions and commentary relating to the Iraq War of 2003. Clearly the Epic of Gilgamesh may still yet be used and have relevance in the modern world, particularly in the world of the Middle-East.
What i find we can learn from the epic is it provides clear context for views on how Sumerian’s valued particular morals and the tale helps to provide insight into Sumerian society and culture. It become key to aiding our understanding of ancient peoples and what they valued, providing points of comparison to the world we live in today with its moral teachings; particularly about the fruitless pursuit of things like immortality.
