TABLET I: the Creation of Gilgamesh and Enkidu He Who Has Seen Everything, I Will Make Him Known to the Lands
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The Epic of Gilgamesh Humbaba from His Days Running Wild in the Forest
Gilgamesh's superiority. They hugged and became best friends. Name Always eager to build a name for himself, Gilgamesh wanted to have an adventure. He wanted to go to the Cedar Forest and slay its guardian demon, Humbaba. Enkidu did not like the idea. He knew The Epic of Gilgamesh Humbaba from his days running wild in the forest. He tried to talk his best friend out of it. But Gilgamesh refused to listen. Reluctantly, By Vickie Chao Enkidu agreed to go with him. A long, long time ago, there After several days of journeying, Gilgamesh and Enkidu at last was a kingdom called Uruk. reached the edge of the Cedar Forest. Their intrusion made Humbaba Its ruler was Gilgamesh. very angry. But thankfully, with the help of the sun god, Shamash, the duo prevailed. They killed Humbaba and cut down the forest. They Gilgamesh, by all accounts, fashioned a raft out of the cedar trees. Together, they set sail along the was not an ordinary person. Euphrates River and made their way back to Uruk. The only shadow He was actually a cast over this victory was Humbaba's curse. Before he was beheaded, superhuman, two-thirds god he shouted, "Of you two, may Enkidu not live the longer, may Enkidu and one-third human. As king, not find any peace in this world!" Gilgamesh was very harsh. His people were scared of him and grew wary over time. They pleaded with the sky god, Anu, for his help. In When Gilgamesh and Enkidu arrived at Uruk, they received a hero's response, Anu asked the goddess Aruru to create a beast-like man welcome. -
1 Inanna Research Script
INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the -
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. -
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. -
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. -
Gilgameshgilgamesh
HalloweenHalloween (All(All --HallowsHallows --Eve)Eve) SunsetSunset Oct.Oct. 3131 toto SunsetSunset Nov.Nov. 11 Roots: Gaelic (Ireland, Scotland) pagan festival of Samhain (sau:in ) and the Christian holy day of All Saints. Old Irish “summer’s end,” the end of the lighter half of the year and the beginning of “the darker half.” Festival of the dead. Ancient Gaels: The border between this world and the otherworld became thin on Samhain, allowing spirits, both harmless and harmful, to pass through. SamhainSamhain Some animals are being slaughtered and plants are dying. Bonfires : People and livestock walk between them as a cleansing ritual; bones of slaughtered animals are cast into the flames. Costumes and masks are worn to copy the spirits or placate them. Young men with masked , veiled or blackened faces, dressed in white. Shamhnag —turnips which were hollowed out and carved with faces to make lanterns —were also used to ward off harmful spirits. SamhainSamhain 22 Was also called F eile Moingfhinne (meaning “festival of Mongfhionn,” a goddess of the pagan Irish worshipped on Samhain) . In medieval Ireland , a principal festival celebrated with a great assembly at the royal court in Tara, lasting for three days. Places are set for the dead at the Samhain feast and stories and tales of the dead are told of the ancestors. Guishers —men in disguise, were prevalent in 16 th century. Children going door to door “guising” in costumes and masks carrying turnip lanterns and offering entertainment in return fo r food or coins was traditional. SamhainSamhain 33 Divination is a common folkloric practice that has survived in r ural areas. -
A PRELIMINARY STUDY of the SUMERIAN CURRICULAR and LAMENTATIONAL TEXTS from the OLD BABYLONIAN CITY of KISH by Joshua A. Bowen A
A PRELIMINARY STUDY OF THE SUMERIAN CURRICULAR AND LAMENTATIONAL TEXTS FROM THE OLD BABYLONIAN CITY OF KISH by Joshua A. Bowen A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland February, 2017 © 2017 Joshua A. Bowen All Rights Reserved Abstract The collections of Sumerian and Akkadian tablets that have been excavated at various Old Babylonian sites have been surveyed and subjected to corpus-based analysis, including the tablets from prominent cities such as Nippur, Ur, Sippar, Isin, and Uruk. However, until very recently, attention has not focused on the important northern city of Kiš. Although many of the literary and liturgical duplicates from Kiš have been translated and discussed, neither the curricular nor the lamentational corpora have been treated as a whole. The goal of my dissertation, therefore, is to survey and analyze the entirety of the Old Babylonian (ca. 2000-1600 BCE) curricular and lamentational textual material from Kiš in order to identify local features or traditions that were unique to these genres. The survey of the curricular textual material will seek to accomplish two goals. First, it will identify the curricular compositions that were used in scribal education at Kiš during the OB period. Second, it will determine the ways in which the Kiš scribal curriculum deviated from the curricula that are known from other OB cites, such as Nippur, Ur, and Sippar. The latter investigation will reveal two patterns at Kiš. First, it will demonstrate that, although several curricular duplicates varied from manuscripts found at the major scribal center, Nippur, there is evidence to suggest that there were lines of textual transmission that connected the OB Kiš lexical tradition to those that were found in the MB and the first millennium. -
Thorkild the GILGAMESH EPIC ROMANTIC and TRAGIC VISION
Thorkild THE GILGAMESH EPIC Jacobsen ROMANTIC AND TRAGIC VISION THE GILGAMESH EPIC, it can truthfully be said, ranks with the greatest of the many remarkable works that have come down to us from Ancient Mesopotamia. It still, across millennia, powerfully moves one, and once one has been caught by its special magic it continues to occupy one's thoughts and will not let go-which may serve as my excuse for returning to it here even though I have dealt with it many times before. The first thing that should be said is probably that the tale is a very ancient one indeed. As its first germ we may reasonably posit Gilgamesh himself, for he seems to be an historical figure, a ruler of the city of Uruk at some time around 2600 BC, more than four thousand years ago. He must have been a remarkably arresting figure, one of those who stir people's imagination, for tales about him apparently went from mouth to mouth for nearly five hundred years after his death. Then, around 2100 BC, these tales took on special importance, for the kings of the Third Dynasty of Ur, who then reigned, claimed Gilgamesh as their ancestor and so the court poets assiduously put what they knew about him in form for recital at the royal banquets. From there, as model compositions, their works entered the standard curriculum of the schools, and it is from copies made by later generations of school children, mostly from around 1700 BC, that we know them. They fall into two distinct groups. -
The Epic of Gilgamesh
The Epic of Gilgamesh 47 The Epic of Gilgamesh Perhaps arranged in the fifteenth century B.C., The Epic of Gilgamesh draws on even more ancient traditions of a Sumerian king who ruled a great city in what is now southern Iraq around 2800 B.C. This poem (more lyric than epic, in fact) is the earliest extant monument of great literature, presenting archetypal themes of friendship, renown, and facing up to mortality, and it may well have exercised influence on both Genesis and the Homeric epics. 49 Prologue He had seen everything, had experienced all emotions, from ex- altation to despair, had been granted a vision into the great mystery, the secret places, the primeval days before the Flood. He had jour- neyed to the edge of the world and made his way back, exhausted but whole. He had carved his trials on stone tablets, had restored the holy Eanna Temple and the massive wall of Uruk, which no city on earth can equal. See how its ramparts gleam like copper in the sun. Climb the stone staircase, more ancient than the mind can imagine, approach the Eanna Temple, sacred to Ishtar, a temple that no king has equaled in size or beauty, walk on the wall of Uruk, follow its course around the city, inspect its mighty foundations, examine its brickwork, how masterfully it is built, observe the land it encloses: the palm trees, the gardens, the orchards, the glorious palaces and temples, the shops and marketplaces, the houses, the public squares. Find the cornerstone and under it the copper box that is marked with his name. -
Gilgamesh's Request and Siduri's Denial. Part 11: an Analysis and Interpretation of an Old Babylonian Fragment About Mourning and Celebration *
Gilgamesh's Request and Siduri's Denial. Part 11: An Analysis and Interpretation of an Old Babylonian Fragment about Mourning and Celebration * TZVI ABUSCH Brandeis University 1. Introduction The purpose of this essay is to provide an analysis of two of t.he most power fully evocative stanzas in Akkadian poetic literature. Such a study is surely fitting in a volume honoring Professor Yochanan Muffs. Yochanan's understanding of ancient texts is almost preternatural; one can only marvel at his ability to grasp and bring to life the emotions and metaphors that govern these texts. It seems ap propriate, then, to celebrate a great scholar and dear friend with a study of the form and, emotional force of passages from the Epic of Gilgamesh, passages that center upon themes which have also interested Yochanan. The two stanzas are part of the justly famous exchange between Gilgamesh and the divine tavernkeeper Siduri in an Old Babylonian (OB) version of the Epic of Gilgamesh. The preserved part of their encounter begins with a request that Gilgamesh addresses to Siduri followed by her response (= OB Gilg., Meissner, ii-iii).1 Each speech contains three stanzas. In translation, the two speeches read: col. ii * My friend, whom 1 love dearly. l' Who with me underwent all hardships, - d its companion study ("Gilgamesh's Request and Siduri's DeniaJ. Part 1: The Mean מ This essay a * ing of the Dialogue and ,its Implications for the History of the Epic." to appear in Sludies Hallo. ed . M, Cohen et al. [Bethesda, Maryland. 1993]) have benefitted greatly from the comments of several scholars, Stephen A. -
Loss- Bereavement-Wisdom. the Epic of Gilgamesh General Introduction
CVSP 205 Spring 2010 Hayat El Eid Bualuan Arrogance- Loss- Bereavement-Wisdom. The Epic of Gilgamesh A spiritual journey from youth to maturity General Introduction to CVSP program - General education looking at civilization from ancient epochs till our contemporary world. - General view about various fields of knowledge such as literature, religion, philosophy, politics, law, science and others. - A better understanding of man and his place in the universe. - Avoid lopsidedness and have a more balanced personality. “A man may be tempted to try a short cut and resort to the device of raising some single faculty to the higher level without bothering about the whole personality This means forcing of a human being into a lopsided development.. It is not difficult to make an efficient mechanic out of a person whose soul remains in all other departments primitive and barbaraous…” (Arnold Toynbee (1889-1975), A Study of History. - C.S. courses are based on reading primary texts. - Text interpretations and analysis. - Thinking together about the individual and the questions he raises in his quest to understand himself and others, the natural and the supernatural world. - CVSP Courses: Sequence one courses: 201-202-205...ancient world up to the Renaissance. Sequence two courses: 203-204-206... Pre-modern to contemporary world 207 and 208 are also combinations, but they deal with specific themes 295 special topics. The Epic of Gilgamesh Introduction I. Ancient peoples in Mesopotamia: Mesopotamia is a Greek name meaning (the land) “between the two rivers”, The Tigris and the Euphrates. - The early inhabitants of southern Mesopoamia were the Sumerians. -
Early Sumerian Cities
Y 28 NEAR EASTERN, EGYPTIAN, AND AEGEAN CITIES enjoyed more starus, privileges, and possesions than orhers. Evenrually hierarchy would prevail- CHAPTER 2 Managemenr of food sources seems ro have been responsible for rhis, with excess production, which en be stored and sold or traded, providing accumulared wealch and power for some. Religion may have offered an ideological justification For such inequaliry. These periods were Early Sumerian cities marked in addi¡ion by innovations in technology (wheelmade pottery, sheer meral), rrans- ponarion (boats wirh sails), and agriculture (tree crops). Trade neworks conrinued, as rhe broad distribution of Hdaf and Ubaid pottery indicates, from Medirerrmean Turkey to Inn. Litrle by linle rhe rechnologiel, commerciel, and social wo¡ld of rhe Ancienr Near Easr wæ preparing irself for rhe rise of full-fledged ciries. The Sumerians (firsr period of dominarion): Ubaid period: a. 5000-3500 Bc Proroliterare (Uruk) period: ca.3500-2900 ¡c Early Dynasric period: ca. 2900-2350r;c The Êrs¡ ciries in the Near Easr-Mediletranean basin appeared in souchern Mesoponmia, or Sumer, rhe crearion of a people we call rhe Sumerians (Figure 2.1). \Ve have seen that environrnental changes in south-west fuia during rhe previous 5,000 years led to human control over food production; with this masrery came major social changes, including Êxed setdemen¡s. The socio-economic developmenr of these towns and villages is marked by the gradual appearance ofthe ten criteria proposed by Childe as a mark of rhe rrue ciry. AII ten factors finally emerge in Sumer during the later fourth millennium Bc. This chapter will explore early Sumerian ciries.