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The Longman Anthology of World Literature The Longman Anthology of World Literature SECOND EDITION • I :0::f!l!£I I e David Damrosch David L. Pike General Editors VOLUME A THE ANCIENT WORLD Page duBois Sheldon Pollock David L. Pike David Damrosch Pauline Yu New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal Editor-in-Chief: Joseph Terry Associate Development Editor: Erin Reilly Executive Marketing Manager: Joyce Nilsen­ Senior �upplements Editor: Donna Campion Production Manager: Ellen MacElree Project Coordination,TexfDesign,'arl:d Page Makeup: GGS Book Services PMG Senior Cover Design Managet: NancyDanahy On the Cover: Detail from a funerary shroud with a portrait of the deceased between Anubis and Osiris. Egypt, 2nd century c.E. Pushkin Museum of Fine Arts, Moscow. Copyright © Scala/ Art Resource, New York. Image PermissionCoordinator: Joanne Dippel Senior Manufacturing Buyer: AlfredC. Dorsey Printer and Binder: Quebecor- World/I'aunton Cover Printer: The Lehigh Press, Inc. For permission to use copyrighted material, grateful acknowledgment is made to the copyright holders on pages 1338-1342, which are hereby made part of this copyright page. Library of Congress Cataloging-in-Publication Data The Longman anthology of world literature I David Damrosch, David L. Pike, general editors.-2nd ed. p. em. Includes bibliographical references and index. Contents: v. A. The ancient world-v. B. Themedieval era-v. C. The early modem period-v. D. The seventeenth and eighteenth centuries-v. E. The nineteenth century-v. F. The twentieth century. ISBN 978-0-205-62595-6 (v. A).-ISBN 978-0-205-62596-3 (v. B).- 978-0-205-62597-0 (v. C).- 978-0-205-62590-1 (v. D).- 978-0-205-62591-8(v . E).- 978-0-205-62594-9 (v. F). 1. Literature--Collections. 2. Literature-History and criticism. I. Damrosch, David. II. Pike, David L. (David Lawrence), 1963- PN6013.L66 2009 808.8-dc22 2008015921 Copyright © 2009 by Pearson Education, Inc. 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,without the prior written permission of the publisher. Printed in the United States. Please visit us at http: //www.ablongman.com/damrosch. To place your order, please use the following ISBN numbers: Volume One Package The Ancient World to TheEarly Modem Period (includes Volumes A, B, and C): ISBN 13: 978-0-205-62593-2; ISBN 10: 0-205-62593-2 Volume Two Package The Seventeenth Century to The Twentieth Century (includes Volumes D, E, and F): ISBN 13: 978-0-205-62592-5; ISBN 10:0-205-62592-4 Or, to order individual volumes, please use the following ISBN numbers: Volume A, The Ancient World: ISBN 13: 978-0-205-62595-6; ISBN 10: 0-205-62595-9 Volume B, The Medieval Era: ISBN 13: 978-0-205-62596-3; ISBN 10: 0-205-62596-7 Volume C, The Early Modem Period: ISBN 13: 97B.:.0-205-62597-0; ISBN 10: 0-205-62597-5 Volume 0, The Seventeenth and Eighteenth Centuries:ISBN 13: 978-0-205-62590-1; ISBN 10: 0-205-62590-8 Volume E, The Nineteenth Century:ISBN 13: 978-0-205-62591-8; ISBN 10: 0-205-62591-6 Volume F, The Twentieth Century: ISBN 13: 978-0-205-62594-9; ISBN 10: 0-205-62594-0 1 2 3 4 5 6 7 8 9 1 �WT-11 10 09 08 56 The Epic of Gilgamesh a flame of Yahweh himself. Love no flood can quench , no torrents drown.6 I I E£1!i:E£ I I The Epic of Gilgamesh C. 1200 B.C.E. The greatest literary composition of ancient Mesopotamia, The Epic of Gilgamesh can rightly be called the fust true work of world literature. It began to circulate widely around the ancient Near East as early as 1000 B.C.E., and it was translated into several of the region's languages. Tablets bearing portions of the epic have been found not only around Mesopotamia but also in Turkey and in Palestine. We know of no other work that crossed so many borders so early, as people in many areas began to respond to the epic's searching exploration of the meaning of culture in the face of death. The story of Gilgamesh developed over many centuries from a kernel of historical fact. Gil­ gamesh was an early king of the city-state of Uruk in southern Mesopotamia; he lived sometime around 2750 B.C.E. Early records credit him with building a great wall around his city, "spread out across the countryside like a net for birds." In the years following his death a cult grew up around his memory, and he was honored as a judge of the underworld. By around 2000 B.C.E. a loosely connected cycle of songs had been written in Sumerian about his life and legendary adventures. These old songs portray Bilgames (as they call him) as a great warrior, describe his journey to a distant mountain where he kills a monster and brings home cedar trees for his palace, and tell of a descent by his servant Enkidu into the grim regions of the underworld. These early poems already signal what would become the organizing theme of the full epic: its hero's.fear of death and his quest for immortality. As he decides to journey to slay the monster guarding the Cedar Mountain, Bilgames voices his anguish to Enkidu: 0 Enkidu, since no man can escape life's end, I will enter the mountain and set up my name. In my city, a man dies, and the heart is stricken, a man perishes, and the heart feels pain. I raised my head on the rampart, my gaze fell on a corpse drifting down the river, afloat on the water: I too shall become like that, just so shall I be! Over the course of the Old Babylonian period (2000-1600 B.C.E.) a poet or poets in Babylon took up this theme and adapted the Sumerian poems into a connected epic, written in Akkadian, the increasingly dominant language of the region. Finally, around 1200 B.C.E., the epic was re­ vised into its definitive form by a Babylonian priest named Sin-liqe-unninni, whose additions 6. The translators of the Jerusalem Bible consider that the breasts represent its towers. And under his eyes I poem proper ends here. Several miscellaneous paragraphs have found true peace. follow in a kind of appendix, beginning with an aphorism: Solomon had a vineyard at Baal-hamon. He en­ "Were a man to offer all the wealth of his house to buy trusted it to overseers, and each one was to pay him love, contempt is all he would purchase." Then follows an the value of its produce,a thousand shekels of silver. obscure passage that may be a veiled criticism of the But I look after my own vineyard myself. You, worldly policies of a late Jewish ruler in the 2nd century Solomon, may have your thousand shekels, and those B.C.E.: who oversee its produce their two hundred. Our sister is little: her breasts are not yet formed. You who dwell in the gardens, my companions What shall we do for our sister on the day she is spo­ listen for your voice: deign to let me hear it. Haste ken for? If she is a rampart, on the crest we will build away, my Beloved. Be like a gazelle, a young stag, on a battlement of silver; if she is a door, we will board the spicy mountains. her up with planks of cedar.-1 am a wall, and my The Epic of Gilgamesh 57 Impression from a stone cylinder seal, Babylonia, c. second millennium B.C.E. Scene showing Gilgamesh and Enkidu slaying the Bull of Heaven, as Ishtar angrily protests. include the poem's preface, which summarizes Gilgamesh's accomplishments and reflects di­ rectly on the recovery of ancient tradition-as the Gilgamesh story itself was by then. GJLGAMESH AN D EPIC The term "epic" is sometimes used loosely to describe ancient narrative poems in general; but full-scale epics do more than tell a story in poetic language. Epics like Homer's Iliad often cen­ ter on the founding or defense of a city and its society,· with extensive battle scenes in which a great hero attempts to overcome heavy odds presented both by human opponents and divine an­ tagonism. Other epics, like Homer's Odyssey, have to do chiefly with a voyage of travel, explo­ ration, or escape. Like Virgil's Aeneid, The Epic of Gilgamesh combines both kinds of epic subject matter. Ancient though it is, Gilgamesh is also like the Aeneid in being a developed re­ working of earlier epic texts. Where Virgil used Homer and other sources, Sin-liqe-unninni drew on older poems of the Flood and of the underworld, as well as of Gilgamesh and his ad­ ventures, to create a broad exploration of the uses and limits of human culture, poised between the realms of nature and of the gods. The poem presents Gilgamesh as a mixed figure himself; like Homer's hero Achilles, he has a human father and a divine mother, and like Achilles he is a great but flawed hero. As the epic begins, he has been oppressing his own people, who appeal to the gods for relief. The gods create Enkidu, no longer simply Gilgamesh' s servant but now shown as a force of nature, a wild man who comes to Uruk and restrains Gilgamesh from his misbehavior.
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