The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
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The Epic of Gilgamesh: Tablet XI
Electronic Reserves Coversheet Copyright Notice The work from which this copy was made may be protected by Copyright Law (Title 17 U.S. Code http://www4.law.cornell.edu/uscode/17/) The copyright notice page may, or may not, be included with this request. If it is not included, please use the following guidelines and refer to the U.S. Code for questions: Use of this material may be allowed if one or more of these conditions have been met: • With permission from the rights holder. • If the use is “Fair Use.” • If the Copyright on the work has expired. • If it falls within another exemption. **The USER of this is responsible for determining lawful uses** Montana State University Billings Library 1500 University Drive Billings, MT 59101-0298 (406) 657-1687 The Epic of Gilgamesh: Tablet XI The Story of the Flood Tell me, how is it that you stand in the Assembly of the Gods, and have found life!" Utanapishtim spoke to Gilgamesh, saying: "I will reveal to you, Gilgamesh, a thing that is hidden, a secret of the gods I will tell you! Shuruppak, a city that you surely know, situated on the banks of the Euphrates, that city was very old, and there were gods inside it. The hearts of the Great Gods moved them to inflict the Flood. Ea, the Clever Prince(?), was under oath with them so he repeated their talk to the reed house: 'Reed house, reed house! Wall, wall! O man of Shuruppak, son of Ubartutu: Tear down the house and build a boat! Abandon wealth and seek living beings! Spurn possessions and keep alive living beings! Make all living beings go up into the boat. -
Enkidu (W by Attila Szervác)
Enkidu (w by Attila Szervác) physical theatre play A story of Enkidu, Abimelech & Peter chars: God, Gilgamesh, servant, Enkidu, Abraham, Sarah, Amibelech, Jesus, Peter, soldier, A, B, the injured youngster (about 15 to 16 years old (probably an adolescent son)) 1st scene Mesopotamia, Uruk Gilgamesh puts his rough commands with his stick. A servant appears, manually asking him not to handle such rough commands. [text] Gilgamesh slams the servant on his ear with his stick. God creates Enkidu. [text] Enkidu pleads for Gilgamesh not to deal with such rough commands. [text] Gilgamesh beats Enkidu on his ear, who is injured, then attacks Enkidu. Enkidu and Gilgamesh fight, but Gilgamesh can not defeat Enkidu. Gilgamesh throws himself to front of Enkidu, who is bleeding and asks to forgive him. [text] Enkidu forgives him and raises Gilgamesh. [text, Gilgamesh, brother, Lo your Bonevolent face, I forgive you; agapé] Enkidu and Gilgamesh upon Gamesh's request start off against dragon of Uruk. [text: Enkidu, my bro, please, help, as You see I worked my people for strength against the Dragon. Enkidu: Gilgamesh, my bro, shine your beautiful face to rid your people of the Dragon, I help You! 2nd scene Gerar Abraham and Sarah take off their married symbols and hide them, and they show themselves as couples dancing brothers with corresponding fraternal embraces. King Abimelech is astonished at Sarah's dance, and departs, and then his servant, with parchment and stick, instructs Sarah to immediately go to Abimelech's throne. She is dancing to Abimelech, who caresses her and pulls her hand in his unseen room. -
Understanding Gilgamesh: His World and His Story Aims Toward This Process of Communication
University of Pretoria etd – De Villiers, G (2005) UNDERSTANDING GILGAMESH: HIS WORLD AND HIS STORY by GEZINA GERTRUIDA DE VILLIERS submitted in partial fulfilment of the requirements for the degree DOCTOR LITTERARUM (SEMITIC LANGUAGES) in the FACULTY OF HUMANITIES at the University of Pretoria SUPERVISOR : PROF GTM PRINSLOO Pretoria October 2004 University of Pretoria etd – De Villiers, G (2005) CONTENTS Pag CHAPTER 1 : INTRODUCTION 1-1 1. Motivation for research 1-2 2. Research problem 1-4 3. Hypothesis 1-5 4. Purpose for research 1-5 5. Methodology 1-6 5.1. Source-orientated inquiry 1-6 5.2. Discourse-orientated analysis 1-7 5.2.1. Epic: poetry or prose? 1-7 6. Premises 1-9 7. Contents 1-12 CHAPTER 2 : THE STANDARD BABYLONIAN GILGAMESH EPIC 2-14 1. The narrative 2-15 CHAPTER 3 : THE SOURCE HISTORY OF THE EPIC OF GILGAMESH 3-38 1. The Sumerian past 3-38 1.1. General background 3-38 1.2. Cities 3-40 1.3. Animals 3-45 1.4. Kings 3-46 1.5. Theology 3-49 2. Sumerian literature: the five poems on Bilgames 3-56 2.1. Obscure origins: did the king really exist? 3-56 2.2. The poems 3-58 2.3. The function of the Sumerian poems 3-71 3. From frivolous frolic to academic achievement: entertainment to literature 3-72 University of Pretoria etd – De Villiers, G (2005) 3.1. Writing 3-72 3.2. From Sumerian to Akkadian 3-74 3.3. The Sumerian Renaissance 3-76 3.4. The end of Ur III and the Isin-Larsa period 3-79 3.5 Babylon 3-81 3.5.1. -
„…Of Uruk-The-Sheepfold”
Универзитет уметности у Београду Факултет музичке уметности Катедра за композицију ментор: Зоран Ерић, редовни професор Никола В. Ветнић „… o f U r u k - t h e - S h e e p f o l d ” за приповедача, сопран и камерни инструментални ансамбл ТЕОРИЈСКА СТУДИЈА О ДОКТОРСКОМ УМЕТНИЧКОМ ПРОЈЕКТУ Београд, 2016 Универзитет уметности у Београду Факултет музичке уметности Катедра за композицију ментор: Зоран Ерић, редовни професор Никола В. Ветнић „… o f U r u k - t h e - S h e e p f o l d ” за приповедача, сопран и камерни инструментални ансамбл ТЕОРИЈСКА СТУДИЈА О ДОКТОРСКОМ УМЕТНИЧКОМ ПРОЈЕКТУ Београд, 2016 САДРЖАЈ 1 ПОЛАЗИШТА.......................................................................................................................7 1.1 Ораторијум ХХ века ......................................................................................................7 1.2 (Ре)дефинисање ораторијума ........................................................................................9 1.3 Еп о Гилгамешу.............................................................................................................11 1.4 Утицаји..........................................................................................................................19 1.4.1 Socrate, Eric Satie ...................................................................................................19 1.4.2 Voices of Light, Richard Einhorn ............................................................................24 2 МУЗИКА У ДЕЛУ „...of Uruk-the-Sheepfold…” ..............................................................32 -
Chapter X LAMASTU, DAUGHTER of ANU. a PROFILE
Chapter X LAMASTU, DAUGHTER OF ANU. A PROFILE F.A.M. Wiggermann Introduction and sources Outstanding among all supernatural evils defined by the ancient Mesopotamians is the child snatching demoness called Dimme in Sumerian, and Lamastu in Akkadian. I Whereas all other demons remain vague entities often operating in groups and hardly distinct from each other, DimmelLamastu has become a definite personality, with a mythology, an iconography, and a recognizable pattern of destructive action. The fear she obviously inspired gave rise to a varied set of counter measures, involving incantation rituals, herbs and stones, amulets, and the support of benevolent gods and spirits. These counter measures have left their traces in the archaeological record, the written and figurative sources from which a profile of the demoness can be reconstructed. Often the name of a demon or god gives a valuable clue to his (original) nature, but both Dimme and Lamastu have resisted interpretation. The reading of the Sumerian logogram dOiM(.ME) as Dim(m)e is indicated by graphemics: the ME wich is usually (but not always) added to the base doiM does not change the meaning, and must be a phonetic indicator. The presumed gloss' gab ask u (YOS 11 90:4, see Tonietti 1979:308) has been collated and reinterpreted (A. Cavigneaux, Z4 85 [1995] 170). The word may be identical with the Sumerian word for "corpse", "figurine", but this is far from certain, and does not clarify the behaviour of the demoness. Lamastu should be and could be a Semitic word, but the Akkadian lexicon does not offer a suitable root to derive it from. -
The Lost Book of Enki.Pdf
L0ST BOOK °f6NK1 ZECHARIA SITCHIN author of The 12th Planet • . FICTION/MYTHOLOGY $24.00 TH6 LOST BOOK OF 6NK! Will the past become our future? Is humankind destined to repeat the events that occurred on another planet, far away from Earth? Zecharia Sitchin’s bestselling series, The Earth Chronicles, provided humanity’s side of the story—as recorded on ancient clay tablets and other Sumerian artifacts—concerning our origins at the hands of the Anunnaki, “those who from heaven to earth came.” In The Lost Book of Enki, we can view this saga from a dif- ferent perspective through this richly con- ceived autobiographical account of Lord Enki, an Anunnaki god, who tells the story of these extraterrestrials’ arrival on Earth from the 12th planet, Nibiru. The object of their colonization: gold to replenish the dying atmosphere of their home planet. Finding this precious metal results in the Anunnaki creation of homo sapiens—the human race—to mine this important resource. In his previous works, Sitchin com- piled the complete story of the Anunnaki ’s impact on human civilization in peacetime and in war from the frag- ments scattered throughout Sumerian, Akkadian, Babylonian, Assyrian, Hittite, Egyptian, Canaanite, and Hebrew sources- —the “myths” of all ancient peoples in the old world as well as the new. Missing from these accounts, however, was the perspective of the Anunnaki themselves What was life like on their own planet? What motives propelled them to settle on Earth—and what drove them from their new home? Convinced of the existence of a now lost book that formed the basis of THE lost book of ENKI MFMOHCS XND PKjOPHeCieS OF XN eXTfCXUfCWJTWXL COD 2.6CHXPJA SITCHIN Bear & Company Rochester, Vermont — Bear & Company One Park Street Rochester, Vermont 05767 www.InnerTraditions.com Copyright © 2002 by Zecharia Sitchin All rights reserved. -
The Epic of Gilgamesh
Cambridge University Press 978-0-521-88094-7 - The Cambridge Companion to the Epic Edited by Catherine Bates Excerpt More information 1 A. R. GEORGE The Epic of Gilgamesh Introduction The name ‘Epic of Gilgamesh’ is given to the Babylonian poem that tells the deeds of Gilgamesh, the greatest king and mightiest hero of ancient Mesopotamian legend. The poem falls into the category ‘epic’ because it is a long narrative poem of heroic content and has the seriousness and pathos that have sometimes been identified as markers of epic. Some early Assyri- ologists, when nationalism was a potent political force, characterized it as the ‘national epic’ of Babylonia, but this notion has deservedly lapsed. The poem’s subject is not the establishment of a Babylonian nation nor an episode in that nation’s history, but the vain quest of a man to escape his mortality. In its final and best-preserved version it is a sombre meditation on the human condition. The glorious exploits it tells are motivated by individ- ual human predicaments, especially desire for fame and horror of death. The emotional struggles related in the story of Gilgamesh are those of no collective group but of the individual. Among its timeless themes are the friction between nature and civilization, friendship between men, the place in the universe of gods, kings and mortals, and the misuse of power. The poem speaks to the anxieties and life-experience of a human being, and that is why modern readers find it both profound and enduringly relevant. Discovery and recovery The literatures of ancient Mesopotamia, chiefly in Sumerian and Babylonian (Akkadian), were lost when cuneiform writing died out in the first century ad. -
Humbaba Research Packet.Pdf
HUMBABA Research Packet Compiled by Cassi Schiano and Christine Scarfuto CONTENTS: History of the Epic of Gilgamesh Summary of the Epic (and the Twelve Tablets) Character Info on Gilgamesh, Enkidu, and Humbaba Brief Historical Info: Babylon Ancient Rome The Samurai Colonial England War in Afghanistan 1 History of The Epic of Gilgamesh The Epic of Gilgamesh is epic poetry from Mesopotamia and is among the earliest known works of literature. The story revolves around a relationship between Gilgamesh (probably a real ruler in the late Early Dynastic II period ca. 27th century BC) and his close male companion, Enkidu. Enkidu is a wild man created by the gods as Gilgamesh's equal to distract him from oppressing the citizens of Uruk. Together they undertake dangerous quests that incur the displeasure of the gods. Firstly, they journey to the Cedar Mountain to defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven that the goddess Ishtar has sent to punish Gilgamesh for spurning her advances. The latter part of the epic focuses on Gilgamesh's distressed reaction to Enkidu's death, which takes the form of a quest for immortality. Gilgamesh attempts to learn the secret of eternal life by undertaking a long and perilous journey to meet the immortal flood hero, Utnapishtim. Ultimately the poignant words addressed to Gilgamesh in the midst of his quest foreshadow the end result: "The life that you are seeking you will never find. When the gods created man they allotted to him death, but life they retained in their own keeping." Gilgamesh, however, was celebrated by posterity for his building achievements, and for bringing back long-lost cultic knowledge to Uruk as a result of his meeting with Utnapishtim. -
From Small States to Universalism in the Pre-Islamic Near East
REVOLUTIONIZING REVOLUTIONIZING Mark Altaweel and Andrea Squitieri and Andrea Mark Altaweel From Small States to Universalism in the Pre-Islamic Near East This book investigates the long-term continuity of large-scale states and empires, and its effect on the Near East’s social fabric, including the fundamental changes that occurred to major social institutions. Its geographical coverage spans, from east to west, modern- day Libya and Egypt to Central Asia, and from north to south, Anatolia to southern Arabia, incorporating modern-day Oman and Yemen. Its temporal coverage spans from the late eighth century BCE to the seventh century CE during the rise of Islam and collapse of the Sasanian Empire. The authors argue that the persistence of large states and empires starting in the eighth/ seventh centuries BCE, which continued for many centuries, led to new socio-political structures and institutions emerging in the Near East. The primary processes that enabled this emergence were large-scale and long-distance movements, or population migrations. These patterns of social developments are analysed under different aspects: settlement patterns, urban structure, material culture, trade, governance, language spread and religion, all pointing at population movement as the main catalyst for social change. This book’s argument Mark Altaweel is framed within a larger theoretical framework termed as ‘universalism’, a theory that explains WORLD A many of the social transformations that happened to societies in the Near East, starting from Andrea Squitieri the Neo-Assyrian period and continuing for centuries. Among other infl uences, the effects of these transformations are today manifested in modern languages, concepts of government, universal religions and monetized and globalized economies. -
The Marriage of True Minds
THE MARRIAGE OF TRUE MINDS Of the Rise and Fall of the Idealized Conception of Friendship in the Renaissance Von der Gemeinsamen Fakultät für Geistes- und Sozialwissenschaften der Universität Hannover zur Erlangung des Grades eines Doktors der Philosophie (Dr. phil.) genehmigte Dissertation von ROBIN HODGSON, M. A., geboren am 21.06.1969 in Neustadt in Holstein 2003 Referent: Prof. Dr. Gerd Birkner Korreferenten: Prof. Dr. Dirk Hoeges Prof. Dr. Beate Wagner-Hasel Tag der Promotion: 30.10.2003 ABSTRACT (DEUTSCH) Gegenstand der vorliegenden Untersuchung ist der Freundschaftsbegriff der Renaissance, der seinen Ursprung wesentlich in der antiken Philosophie hat, seine Darstellungsweisen in der europäischen (insbesondere der englischen und italienischen) Literatur des fünfzehnten und sechzehnten Jahrhunderts, und der Wandel, dem dieser beim Epochenwechsel zur Aufklärung im siebzehnten Jahrhundert unterworfen war. Meine Arbeit vertritt die Hypothese, dass sich die Konzeptionen der verschiedenen Formen zwischenmenschlicher Beziehung die sich spätestens seit dem achtzehnten Jahrhundert etablieren konnten, auf die konzeptionellen Veränderungen des Freund- schaftsbegriffs und insbesondere auf den Wandel des Begriffsverständnisses von Freundschaft und Liebe während der Renaissance und des sich anschließenden Epochenwechsels zurückführen lassen. Um diese Hypothese zu verifizieren, habe ich daher nach einer kurzen Übersicht über die konzeptionellen Ursprünge des frühneuzeitlichen Freundschaftsbegriffs zunächst das Wesen der primär auf den philosophischen -
Mesopotamian Epic."
' / Prof. Scott B. Noege1 Chair, Dept. of Near Eastern Languages and Civilization University of Washington "Mesopotamian Epic." First Published in: John Miles Foley, ed. The Blackwell Companion to Ancient Epic London: Blackwell (2005), 233-245. ' / \.-/ A COMPANION TO ANCIENT EPIC Edited by John Miles Foley ~ A Blackwell '-II Publishing ~"o< - -_u - - ------ @ 2005 by Blackwell Publishing Ltd BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right ofJohn Miles Foley to be identified as the Author of the Editorial Material in this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2005 by Blackwell Publishing Ltd 1 2005 Library of Congress Cataloging-in-Publication Data A companion to ancient epic / edited by John Miles Foley. p. cm. - (Blackwell companions to the ancient world. Literature and culture) Includes bibliographical references and index. ISBN 1-4051-0524-0 (alk. paper) 1. Epic poetry-History and criticism. 2. Epic literature-History and criticism. 3. Epic poetry, Classical-History and criticism. I. Foley, John Miles. II. Series. PN1317.C662005 809.1'32-dc22 2004018322 ISBN-13: 978-1-4051-0524-8 (hardback) A catalogue record for this title is available from the British Library. -
Read the Article As
Helena Forshell ROCK ART An attempt to understand rock art motifs through ancient literature, epics of creation and the history of metals IN WORKS AND DAYS (probably written down that the different properties of the metals in the 9th century B.C.) by the Greek Hesiod, the may have brought about the growing cruelty first humans are described as a golden race, and greed of man. In which way may the so- ”living like gods without sorrow of heart, re- cial behaviour of man be influenced by the mote and free from toil and grief. When they availability of metals and knowledge of their died, it was as though they were overcome properties? First, a brief outline of the qualities with sleep … they had all good things; for of gold, silver and copper. the fruitful earth unforced bare them fruit abundantly and without stint”. “The second generation which was of silver was less no- Gold ble by far … when they were full grown and Thousands of gold occurrences, most of them were come to the full measure of there prime, less profitable have been discovered in Europe they lived only a little time and that in sorrow alone. There, and in Caucasus, Ural and the because of their foolishness, for they could Himalayas, the heavy gold has accumulated not keep from sinning and from wronging in sea-beds and rivers through erosion of the one another”. The third generation, that of rock. Already in prehistoric times, gold was bronze, was violent, ”… they ate no bread, sifted in large quantities. Parrish (p.