2.1 Special 2.1 Special Topic: The Topic: The Gilgamesh Gilgamesh

EpicEpic

BOT612: Old Testament BackgroundsBOT612: Old Testament Backgrounds

IntroductionIntroduction• "A masterpiece of ANE literature, the "A masterpiece of ANE literature, the

Gilgamesh Epic (GE) is composed in Akkadian. Gilgamesh Epic (GE) is composed in Akkadian. It features the adventures of Gilgamesh, a king It features the adventures of Gilgamesh, a king said to rule the S Mesopotamian city of Uruk said to rule the S Mesopotamian city of Uruk around 2600 b.c.e. Since Gilgamesh has left us around 2600 b.c.e. Since Gilgamesh has left us no contemporaneous monuments, scholars no contemporaneous monuments, scholars debate whether he really existed. Gilgamesh's debate whether he really existed. Gilgamesh's exploits in the GE, however, are mostly beyond exploits in the GE, however, are mostly beyond historical evaluation. In other traditions and in historical evaluation. In other traditions and in omen literature, Gilgamesh is invoked as a omen literature, Gilgamesh is invoked as a mighty builder, but also as an infernal deity."mighty builder, but also as an infernal deity."

SourcesSources• The GE is a long narrative with multiple episodes, allThe GE is a long narrative with multiple episodes, all

ocated to at least 10, but no more than 12 tablets, eacocated to at least 10, but no more than 12 tablets, each averaging about 300 lines (an afternoon’s listeninh averaging about 300 lines (an afternoon’s listening). One native tradition simply refers to the series by g). One native tradition simply refers to the series by its opening line, “He who saw all.” Sources for the epits opening line, “He who saw all.” Sources for the epic’s various episodes may have circulated in Sumeriaic’s various episodes may have circulated in Sumerian as early as the Ur III Dynasty (2100–2000 b.c.e.). n as early as the Ur III Dynasty (2100–2000 b.c.e.). Written or copied as much as half a millennium after Written or copied as much as half a millennium after the fall of Ur, these narratives may well be the produthe fall of Ur, these narratives may well be the products of learned Semitic scribes. Of the following self-cocts of learned Semitic scribes. Of the following self-contained Sumerian compositions, the first three have entained Sumerian compositions, the first three have echoes within the GE: Gilgamesh and the Land of the choes within the GE: Gilgamesh and the Land of the Living; Gilgamesh and the Bull of Heaven; GilgamesLiving; Gilgamesh and the Bull of Heaven; Gilgamesh, Enkidu and the Netherworld; h, Enkidu and the Netherworld;

SourcesSources

Gilgamesh and Agga; The Death of Gilgamesh. A Gilgamesh and Agga; The Death of Gilgamesh. A Sumerian flood story which does not feature GilgaSumerian flood story which does not feature Gilgamesh is eventually redrafted for inclusion in the Gmesh is eventually redrafted for inclusion in the GE."E."

VersionsVersions• "We do not yet know when and how the independent "We do not yet know when and how the independent

narratives about Gilgamesh were first woven into a narratives about Gilgamesh were first woven into a whole; a very late tradition, which is beyond present whole; a very late tradition, which is beyond present confirmation, has assigned the composition of the epiconfirmation, has assigned the composition of the epic to a Gilgamesh contemporary, a diviner named Sinc to a Gilgamesh contemporary, a diviner named Sin-leqi-unninni. By the LB Age, Gilgamesh’s adventure-leqi-unninni. By the LB Age, Gilgamesh’s adventures had come into full vogue in the Near East so that ms had come into full vogue in the Near East so that major Mesopotamian sites continue to yield GE copies ajor Mesopotamian sites continue to yield GE copies and fragments (some as yet unpublished). Emar in Uand fragments (some as yet unpublished). Emar in Upper Syria and Megiddo in Canaan have contributed pper Syria and Megiddo in Canaan have contributed Akkadian fragments as has Hattusûasû, capital of thAkkadian fragments as has Hattusûasû, capital of the Hittite empire. Additionally, Hattusûasû has produe Hittite empire. Additionally, Hattusûasû has produced Hittite and Hurrian adaptations of Gilgamesh’s eced Hittite and Hurrian adaptations of Gilgamesh’s exploits."xploits."

VersionsVersions• ""Because no complete edition of the epic has surviveBecause no complete edition of the epic has survive

d from a single site, scholarship has created a compod from a single site, scholarship has created a composite using tablets originally belonging to diverse rendsite using tablets originally belonging to diverse renditions (or recensions) of two major versions of the Gitions (or recensions) of two major versions of the GE: one stemming from the latter half of the Old BabyE: one stemming from the latter half of the Old Babylonian (OB) period (1750–1600 b.c.e.), the other influlonian (OB) period (1750–1600 b.c.e.), the other influenced by Neo-Assyrian (NA) scholarship (750–612 b.enced by Neo-Assyrian (NA) scholarship (750–612 b.c.e.), but refined over the next four centuries. A third c.e.), but refined over the next four centuries. A third edition, of which we have but fragments, may have bedition, of which we have but fragments, may have been completed during the Middle Babylonian (MB) peen completed during the Middle Babylonian (MB) period (around 1250 b.c.e.). Some scholars attribute oeriod (around 1250 b.c.e.). Some scholars attribute one of the later versions to the legendary Sin-leqi-unnine of the later versions to the legendary Sin-leqi-unninni. The various versions of the GE share major charnni. The various versions of the GE share major characters as well as specificacters as well as specific

SourcesSourcesepisodes. They differ appreciably, however, in episodes. They differ appreciably, however, in how they begin or end, and in the way they how they begin or end, and in the way they manipulate individual scenes. They also diverge in manipulate individual scenes. They also diverge in their perspectives on life, their controlling their perspectives on life, their controlling metaphors, and the themes which give integrity to metaphors, and the themes which give integrity to the whole narrative. A comparison may be made the whole narrative. A comparison may be made with the various editions of the Tristan narratives with the various editions of the Tristan narratives which shared characters and episodes, but which shared characters and episodes, but addressed differing audiences."addressed differing audiences."

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EPISODE 1. GILGAMESH and the ComiEPISODE 1. GILGAMESH and the Coming of ENKIDU [Tablets 1-2]ng of ENKIDU [Tablets 1-2]

– Gilgamesh as Builder, AdventurerGilgamesh as Builder, Adventurer

– Creation of Enkidu, his SeductionCreation of Enkidu, his Seduction

– Gilgamesh meets Enkidu: Their Battle Gilgamesh meets Enkidu: Their Battle and Friendship and Friendship

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EPISODE 2. The Raid into the Land of HEPISODE 2. The Raid into the Land of HUMBABA (HUWAWA) [Tabs 3-5]UMBABA (HUWAWA) [Tabs 3-5]

– Preparations: Objections of Enkidu anPreparations: Objections of Enkidu and the ELDERSd the ELDERS

– At the Gate to the Forest: The Dream oAt the Gate to the Forest: The Dream of Gilgameshf Gilgamesh

– The Death of Humbaba The Death of Humbaba

OutlineOutlineEPISODE 3. The BULL OF HEAVEN [Tablet 6]EPISODE 3. The BULL OF HEAVEN [Tablet 6]

– ISHTAR [INANNA] offered herself to GilgamISHTAR [INANNA] offered herself to Gilgamesh. He insulted her with a catalog of her erroesh. He insulted her with a catalog of her errors and references to her treatment of her prevrs and references to her treatment of her previous consorts. Gilgamesh's refusal of the goddious consorts. Gilgamesh's refusal of the goddesses' offer may well have been motivated by a esses' offer may well have been motivated by a reluctance to challenge the authority of the cureluctance to challenge the authority of the current "King of Kish." Marriage to Inanna warrent "King of Kish." Marriage to Inanna was the means by which one King asserted his cls the means by which one King asserted his claim to kingship of all Sumer. aim to kingship of all Sumer.

OutlineOutline– Ishtar's Anger. She rose to Heaven and Ishtar's Anger. She rose to Heaven and

threatened to open the Gates of Hell unthreatened to open the Gates of Hell unless the High God ANU [AN] did not seless the High God ANU [AN] did not send the Bull of Heaven to destroy Gilgand the Bull of Heaven to destroy Gilgameshmesh

– Death of the Bull of Heaven. Inanna deDeath of the Bull of Heaven. Inanna demanded the death of Gilgamesh, but he manded the death of Gilgamesh, but he was protected by Utu, so the Gods deciwas protected by Utu, so the Gods decided that Enkidu must die in his place. ded that Enkidu must die in his place.

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EPISODE 4. The Death of Enkidu [Tablets 7-8]EPISODE 4. The Death of Enkidu [Tablets 7-8]– Enkidu Dreams of the Gods in Council Enkidu Dreams of the Gods in Council – The Vision of the UNDERWORLDThe Vision of the UNDERWORLD– Gilgamesh must face his own mortalityGilgamesh must face his own mortality– A bio-theology of Gilgamesh. Gilgamesh, we A bio-theology of Gilgamesh. Gilgamesh, we

are told, was one-third man and two-thirds are told, was one-third man and two-thirds god. Such a division is incomprehensible in god. Such a division is incomprehensible in terms of modern biology, but seems not to hterms of modern biology, but seems not to have concerned the ancients. Gilgamesh's fatave concerned the ancients. Gilgamesh's father, LUGALBANDA, was a God, "the divinher, LUGALBANDA, was a God, "the divine Lugalbanda," who ruled Uruk fore Lugalbanda," who ruled Uruk for

OutlineOutlinemore than a thousand years. His mother was more than a thousand years. His mother was a temple priestess. Priests and priestesses are a temple priestess. Priests and priestesses are human in origin, but in ritual situations they human in origin, but in ritual situations they take on the aspect of the god or goddess they take on the aspect of the god or goddess they serve. The ESSENCE of the Goddess serve. The ESSENCE of the Goddess descended into Gilgamesh's mother and she descended into Gilgamesh's mother and she became Her HIERODULE; she became both became Her HIERODULE; she became both Goddess and Woman. As such she Goddess and Woman. As such she augmented the divine portion of her son but augmented the divine portion of her son but also bequeathed to him the mortal one-third also bequeathed to him the mortal one-third of his ancestry, thus assuring his eventual of his ancestry, thus assuring his eventual death. death.

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EPISODE 5. The Search for IMMORTALEPISODE 5. The Search for IMMORTALITY [Tablets 9-10]ITY [Tablets 9-10]

– The Journey to the GARDEN OF DILThe Journey to the GARDEN OF DILMUNMUN

– The Episode with the Barmaid and the The Episode with the Barmaid and the Journey to sunriseJourney to sunrise

– Urshanabi, the ferryman, and UTNAPUrshanabi, the ferryman, and UTNAPISHTIMISHTIM

OutlineOutlineEPISODE 6. The Story of the FLOOD [Tablet 1EPISODE 6. The Story of the FLOOD [Tablet 1

1]1]– ENLIL Decides to Destroy ManENLIL Decides to Destroy Man– ENKI Informs Utnapishtim, King of SHURENKI Informs Utnapishtim, King of SHUR

RUPAKRUPAK– The Boat, the Storm, the FLOODThe Boat, the Storm, the FLOOD– After the Flood: The Chastisement of Enlil After the Flood: The Chastisement of Enlil

and his Promise not to send another Flood. and his Promise not to send another Flood. Utnapishtim and his wife were immortalizeUtnapishtim and his wife were immortalized for their role in saving mankind. d for their role in saving mankind.

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EPISODE 7. The Return to URUK [End of EPISODE 7. The Return to URUK [End of Tablet 11]Tablet 11]

– The Plant of Rejuvenation; the SerpentThe Plant of Rejuvenation; the Serpent

– The Walls of Uruk: the human route to The Walls of Uruk: the human route to immortalityimmortality