Exercise: fill in the cut

At your tables in groups develop the following narrative in less than a page of text. That means you fill in the names of characters, descriptions, plot events, tropes/symbols and closure.

Once there was a _________ of high stature named Iz______r.  "I awoke one day to a river filled with animals and and terrors from the ______.  Now I can stand high on its walls; all see it's achievement and wonder at its creator, ______."  Iz______r began having dreams of __________ and ___________ one night and they continued for ______ weeks revealing __________ stars falling upon his ___________. 

It was then, after these weeks, that a dark figure came to town cloaked in ___________.  Iz______r felt the hair raise on his arms and his spine ___________.  He turned to his _________and she spoke: "Only you can determine the threat or blessing of the ______. Just know that upon the third _____rise you will determine the meaning of the presence. Upon ________ speaking, you will see the ________ and take the ________ to the __________. 

Fill in the climax....

Fill in the resolution and its closure....

Now trade your narrative with another's table. Besides the first three paragraphs what are the similarities and differences? What accounts for them?

Gilgamesh: The Plot

The epic’s prelude offers a general introduction to Gilgamesh, king of Uruk, who was two-thirds god and one-third man. He built magnificent ziggurats, or temple towers, surrounded his city with high walls, and laid out its orchards and fields. He was physically beautiful, immensely strong, and very wise. Although Gilgamesh was godlike in body and mind, he began his kingship as a cruel despot. He lorded over his subjects, raping any woman who struck his fancy, whether she was the wife of one of his warriors or the daughter of a nobleman. He accomplished his building projects with forced labor, and his exhausted subjects groaned under his oppression. The gods heard his subjects’ pleas and decided to keep Gilgamesh in check by creating a wild man named Enkidu, who was as magnificent as Gilgamesh. Enkidu became Gilgamesh’s great friend, and Gilgamesh’s heart was shattered when Enkidu died of an illness inflicted by the gods. Gilgamesh then traveled to the edge of the world and learned about the days before the deluge and other secrets of the gods, and he recorded them on stone tablets.

The epic begins with Enkidu. He lives with the animals, suckling at their breasts, grazing in the meadows, and drinking at their watering places. A hunter discovers him and sends a temple prostitute into the wilderness to tame him. In that time, people considered women and sex calming forces that could. domesticate wild men like Enkidu and bring them into the civilized world. When Enkidu sleeps with the woman, the animals reject him since he is no longer one of them. Now, he is part of the human world. Then the harlot teaches him everything he needs to know to be a man. Enkidu is outraged by what he hears about Gilgamesh’s excesses, so he travels to Uruk to challenge him. When he arrives, Gilgamesh is about to force his way into a bride’s wedding chamber. Enkidu steps into the doorway and blocks his passage. The two men wrestle fiercely for a long time, and Gilgamesh finally prevails. After that, they become friends and set about looking for an adventure to share.

Gilgamesh and Enkidu decide to steal trees from a distant cedar forest forbidden to mortals. A terrifying demon named Humbaba, the devoted servant of Enlil, the god of earth, wind, and air, guards it. The two heroes make the perilous journey to the forest, and, standing side by side, fight with the monster. With assistance from Shamash the sun god, they kill him. Then they cut down the forbidden trees, fashion the tallest into an enormous gate, make the rest into a raft, and float on it back to Uruk. Upon their return, Ishtar, the goddess of love, is overcome with lust for Gilgamesh. Gilgamesh spurns her. Enraged, the goddess asks her father, Anu, the god of the sky, to send the Bull of Heaven to punish him. The bull comes down from the sky, bringing with him seven years of famine. Gilgamesh and Enkidu wrestle with the bull and kill it. The gods meet in council and agree that one of the two friends must be punished for their transgression, and they decide Enkidu is going to die. He takes ill, suffers immensely, and shares his visions of the underworld with Gilgamesh. When he finally dies, Gilgamesh is heartbroken.

Gilgamesh can’t stop grieving for Enkidu, and he can’t stop brooding about the prospect of his own death. Exchanging his kingly garments for animal skins as a way of mourning Enkidu, he sets off into the wilderness, determined to find Utnapishtim, the Mesopotamian Noah. After the flood, the gods had granted Utnapishtim eternal life, and Gilgamesh hopes that Utnapishtim can tell him how he might avoid death too. Gilgamesh’s journey takes him to the twin-peaked mountain called Mashu, where the sun sets into one side of the mountain at night and rises out of the other side in the morning. Utnapishtim lives beyond the mountain, but the two scorpion monsters that guard its entrance refuse to allow Gilgamesh into the tunnel that passes through it. Gilgamesh pleads with them, and they relent.

After a harrowing passage through total darkness, Gilgamesh emerges into a beautiful garden by the sea. There he meets Siduri, a veiled tavern keeper, and tells her about his quest. She warns him that seeking immortality is futile and that he should be satisfied with the pleasures of this world. However, when she can’t turn him away from his purpose, she directs him to Urshanabi, the ferryman. Urshanabi takes Gilgamesh on the boat journey across the sea and through the Waters of Death to Utnapishtim. Utnapishtim tells Gilgamesh the story of the flood—how the gods met in council and decided to destroy humankind. Ea, the god of wisdom, warned Utnapishtim about the gods’ plans and told him how to fashion a gigantic boat in which his family and the seed of every living creature might escape. When the waters finally receded, the gods regretted what they’d done and agreed that they would never try to destroy humankind again. Utnapishtim was rewarded with eternal life. Men would die, but humankind would continue.

When Gilgamesh insists that he be allowed to live forever, Utnapishtim gives him a test. If you think you can stay alive for eternity, he says, surely you can stay awake for a week. Gilgamesh tries and immediately fails. So Utnapishtim orders him to clean himself up, put on his royal garments again, and return to Uruk where he belongs. Just as Gilgamesh is departing, however, Utnapishtim’s wife convinces him to tell Gilgamesh about a miraculous plant that restores youth. Gilgamesh finds the plant and takes it with him, planning to share it with the elders of Uruk. But a snake steals the plant one night while they are camping. As the serpent slithers away, it sheds its skin and becomes young again.

When Gilgamesh returns to Uruk, he is empty-handed but reconciled at last to his mortality. He knows that he can’t live forever but that humankind will. Now he sees that the city he had repudiated in his grief and terror is a magnificent, enduring achievement—the closest thing to immortality to which a mortal can aspire.

Culture and Context of Gilgamesh

Gilgamesh is a verse form epic based on a historical figure, Bilgames the 5th king of Uruk. Using the Sumerian calendar, historians claim that Bilgames reigned 126 years around 2500 B.C. The epic in its earliest Sumerian literary tradition is five separate poems in their own cycles and not unified into an epic; the standard Akkadian version (another people group in the Mesopotamian delta) derived the looser series into the standard epic version. 

It is obvious that the epic has had its impact on other literature. Besides having many derivatives and different tablets that extend the narrative (bring Enkidu back to life to face a harrowing adventure), the epic speaks to biblical events, Homeric derivatives, and Babylonian narratives. 

Scholars have worked with the missing pieces, destroyed tablets, in order to locate a culturally consistent narrative.

The text concerns the gods asserting their power into the world to balance powers. Gilgamesh is 2/3 god and 1/3 human, Enkidu is animal and man, and Humbaba is a demigod. Clearly, the gods hear the complaints of a people, driven hard by forced labor and customarily raped by a king. These gods create a distraction for Gilgamesh in the form of the animal man. It is this balance between the deity and the animal with human between that the text is concerned with due to how they trope the history and cultural context.

In a time when things are changing from living in nature to living along-side or over nature, these figures trope the cultural anxieties of the time: urbanization and the destruction of forests. The development of the narrative over time heightens this trope. The trapper who lives off of nature sends a temple prostitute to sleep with Enkidu. The presence of those from the urban landscape refine the animal into a companion. Eventually, Enkidu will become a sacrifice for the gods.  Spiritual figures then follow, especially as Gilgamesh must face the sage Utnaphishtim. The snake is part of the challenge, the epic test.