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Encyclopedia > The Epic of Gilgamesh
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The Deluge tablet of the Gilgamesh epic in Akkadian

The Epic of Gilgamesh is from Babylonia, dating from long after the time that king Gilgamesh was supposed to have ruled. It was based on earlier Sumerian legends of Gilgamesh. The most complete version of the epic was preserved on eleven clay tablets in the collection of the 7th century BC Assyrian king Ashurbanipal.

Contents

History

There is a twelfth tablet sometimes appended to the remainder of the Epic, although it is clear that this did not form part of the original work, instead representing an Akkadian translation of the Sumerian poem Gilgamesh and the Netherworld.


The earlier Akkadian version of the epic is known, from its incipit, as Surpassing all other kings and dates back to the first half of the second millennium B.C. The "standard" version, carrying the incipit He who saw the deep, was composed by Sin-liqe-unninni sometime between 1300 B.C. and 1000 B.C.


The earliest Sumerian versions of the texts date from as early as the third dynasty of Ur (2100-2000 BC.), or to ca. 400 years after the supposed reign of historical Gilgamesh.


The Epic of Gilgamesh is widely known today. The first modern translation of the epic was in the 1870s by George Smith. More recent translations include one undertaken with the assistance of the American novelist John Gardner, and published in 1984. The current definitive edition is the two volume critical work by Andrew George whose translation also appeared in the Penguin Classics series in 2003.


Contents of the eleven clay tablets

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Gilgamesh and Enkidu on a cylinder seal from Ur III
  1. Introducing Gilgamesh of Uruk, the greatest king on earth, two-thirds god and one-third human, the strongest super-human who ever existed. But his people complain that he is too harsh, so the sky-god Anu creates the wild-man Enkidu. Enkidu is tamed by the harlot Shamhat.
  2. Enkidu fights Gilgamesh. After a mighty battle, Gilgamesh breaks off from the fight (this portion is missing from the Standard Babylonian version but is supplied from other versions) and they become friends. Gilgamesh proposes the adventure of the cedar forest.
  3. Preparation for the adventure of the cedar forest; many give support, including the sun-god Shamash.
  4. Journey of Gilgamesh and Enkidu to the cedar forest.
  5. Gilgamesh and Enkidu, with help from Shamash, kill Humbaba, the demon guardian of the trees, then cut down the trees which they float as a raft back to Uruk.
  6. Gilgamesh rejects the sexual advances of the goddess Ishtar. Ishtar gets her father, the sky-god Anu, to send the "Bull of Heaven" to avenge Gilgamesh and his city. Gilgamesh and Enkidu kill the bull.
  7. The gods decide that somebody has to be punished for killing the Bull of Heaven, and it is Enkidu. Enkidu becomes ill and describes the Netherworld as he is dying.
  8. Lament of Gilgamesh for Enkidu.
  9. Gilgamesh sets out to avoid Enkidu's fate and makes a perilous journey to visit Utnapishtim and his wife, the only humans to have survived the Great Flood who were granted immortality by the gods, in the hope that he too can attain immortality. Along the way, Gilgamesh encounters the "ale-wife" Siduri who attempts to dissuade him from his quest.
  10. Completion of the journey, by punting across the Waters of Death with Urshanabi, the ferryman.
  11. Gilgamesh meets Utnapishtim, who tells him about the great flood and gives him two chances for immortality. First he tells Gilgamesh that if he can stay awake for six days and seven nights he will become immortal. Gilgamesh fails, but Utnapishtim decides to give him another chance. Utnapishtim tells Gilgamesh that if he can obtain a plant from the bottom of a sea and eat it he will become immortal. Gilgamesh obtains the plant, but it is stolen by a snake. Gilgamesh, having failed both chances returns to Uruk, where the sight of its massive walls provoke Gilgamesh to praise this enduring work of mortal men.

External Links

  • http://www.wsu.edu/~dee/MESO/GILG.HTM
  • Sumerian texts: ETCSL (http://etcsl.orinst.ox.ac.uk/cgi-bin/etcslmac.cgi?text=c.1.8.1*)
    • Gilgamesh and Huwawa (http://www-etcsl.orient.ox.ac.uk/section1/tr1815.htm), version A - (the adventure of the cedar forest)
    • Gilgamesh and Huwawa (http://www-etcsl.orient.ox.ac.uk/section1/tr18151.htm), version B
    • Gilgamesh and the Bull of Heaven (http://www-etcsl.orient.ox.ac.uk/section1/tr1812.htm)
    • Gilgamesh and Aga (http://www-etcsl.orient.ox.ac.uk/section1/tr1811.htm)
    • Gilgamesh, Enkidu and the nether world (http://www-etcsl.orient.ox.ac.uk/section1/tr1814.htm)
    • The death of Gilgamesh (http://www-etcsl.orient.ox.ac.uk/section1/tr1813.htm)

Translations for several legends of Gilgamesh in the Sumerian language can be found in Black, J.A., Cunningham, G., Fluckiger-Hawker, E, Robson, E., and Zólyomi, G., The Electronic Text Corpus of Sumerian Literature (http://www-etcsl.orient.ox.ac.uk/), Oxford 1998-.


Bibliography

The Epic of Gilgamesh, Foster, Benjamin R., trans. & edit. New York: W.W. Norton & Company, 2001. ISBN 0-393-97516-9


  Results from FactBites:
 
EPIC OF GILGAMESH TABLET I (1554 words)
Gilgamesh may be one of the oldest epics.
His son, Agga, was the last king of the dynasty, owing to his defeat by Gilgamesh, according to the Sumerian epic Gilgamesh and Agga of Kish.
"The fullest extant text of the Gilgamesh epic is on 12 incomplete Akkadian-language tablets found at Nineveh in the library of the Assyrian king Ashurbanipal (reigned 668-627 BC).
Amazon.co.uk: The Epic of Gilgamesh (Classics): Books: N.K. Sandars (1693 words)
The Epic of Gilgamesh is the fundamental mythic tale in Western Civilization, but tends to be relegated to the shelf in most classes unless in happens to be included in an anthology.
Gilgamesh was the more than capable ruler of the ancient town of Uruk; his strength and physical beauty were unmatched by any in the land, and his subjects adored him.
There is no one extant copy of the Epic of Gilgamesh; a number of tablets, in varying degrees of condition and legibility and differing somewhat in the details of the story, have been compared and contrasted in order to produce the story as she presents it.
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