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Gilgamesh O La Angustia Por La Muerte : Poema Babilonio / Traducción Directa Del Acadio, Introducción Y Notas De Jorge Silva Castillo

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Gilgamesh O La Angustia Por La Muerte : Poema Babilonio / Traducción Directa Del Acadio, Introducción Y Notas De Jorge Silva Castillo GILGAMESH o la angustia por la muerte poema babilonio traducción directa del acadio, introducción y notas de Jorge Silva Castillo El, COLEGIO DE MÉXICO GILGAMESH O LA ANGUSTIA POR LA MUERTE (poema babilonio) Impresión de sello cilindrico. Época dinástica sumeria. Combate de héroe con animales. Tomada de Martin A. Beek. Atlas of Mesopotamia. Nelson, Paris, 1962. CENTRO DE ESTUDIOS DE ASIA Y ÁFRICA GILGAMESH o la angustia por la muerte (poema babilonio) Traducción directa del acadio, introducción y notas de Jorge Silva Castillo IB EL COLEGIO DE MÉXICO Este libro forma parte del programa de traducción al español de fuentes para ei estudio de ASia y Africa, realizado por el Centro de Estudios de Asia y África de El Colegio de México, con el apoyo del Fondo Internacional para la Promoción de la Cultura, de la Unesco. 808.1 G473 Gilgamesh o La angustia por la muerte : poema babilonio / traducción directa del acadio, introducción y notas de Jorge Silva Castillo. - - 4a ed. corregida. - - México : El Colegio de México, Centro de Estudios de Asia y África, 2000. 230 p.: il; 22 cm. ISBN 968-12-0947-8 1. Literatura épica mesopotàmica. I. Silva Castillo, Jorge, ed. II. La angustia por la muerte. Portada de Irma Eugenia Alva Valencia Ilustración de la portada: Impresión de sello cilindrico. Época de Acad. Gilgamesh lucha con un león. A. Parrot. L’univers des formes - Sumer. Gallimard, I960. Cuarta edición corregida, 2000 Tercera edición corregida, 1996 Segunda edición corregida, 1995 Primera edición, 1994 D.R. O El Colegio de México, A.C. Camino al Ajusco 20 Pedregal de Santa Teresa 10740 México, D.F. ISBN 968-12-0947-8 Impreso en Méxk»/Aí«/arf in Mexico A la memoria de mi querido profesor Réné Labal y en testimonio de gratitud a mi profesor y gran amigo fean Bottéro ÍNDICE Prólogo 11 Prefacio a la cuarta edición 13 Introducción 17 Gilgamesh en la literatura y en la historia 17 El poema de Gilgamesh en las fuentes cuneiformes 17 Gilgamesh, personaje histórico 18 El trasfondo histórico de la leyenda de Gilgamesh 20 El ciclo de leyendas sumerias en torno a Gilgamesh 22 El poema acadio 25 El alcance universal del poema de Gilgamesh 28 La traducción 34 El poema Preámbulo 47 Tablilla I, versos 1-44 47 Presentación y encuentro de los héroes 51 Tablilla I, versos 45-73: Gilgamesh, el tirano 51 Tablilla I, versos 74-270: Enkidú, el salvaje 53 Tablilla II: El choque y la amistad 69 Las proezas 75 La expedición al Bosque de los Cedros 75 Tablilla III: Proyecto y preparativos 75 Tablilla IV: En camino 84 7 Tablilla V: La lucha contra Humbaba 93 Tablilla VI: El combate contra el Toro del Cielo 102 El castigo divino 117 Tablilla VII: Enfermedad y muerte de Enkidú 117 Tablilla VIII: Elegía y honras fúnebres de Enkidú 130 En pos de la inmortalidad 137 Tablilla IX: A través del camino del sol 137 Tablilla X: Travesía del océano cósmico y encuentro con Utanapíshtim 145 Tablilla XI: El fracaso 162 Versos 1-196: Narración de la historia del diluvio 162 Versos 197-257: La prueba del sueño 177 Versos 258-300: La planta de la juventud 182 Versos 301-307: El retorno a Uruk 186 Apéndice 187 Tablilla XII: Una visión del mundo de los muertos 187 Versos 1-75: Gilgamesh pierde las insignias de su realeza y Enkidú intenta recuperarlas 187 Versos76-155: Revelación de Enkidúsobre el Infierno 193 Notas 199 Bibliografía 227 8 Impresión de sello cilindrico. Época dinástica arcaica. Tomado de P. Amiet, La Glyptique Mesopotamienne Archaïque, Editions du Centre National de la Recherche Scientifique, 1961. PRÓLOGO El primer esbozo de esta traducción fue el resultado de las notas que tomé en un seminario de traducción de textos cuneiformes que dictaba en la École Pratique des Hautes Études el recordado profesor Réné Labat. En sus cursos se complacía en señalar no sólo las minucias de la escritura cuneiforme y los meandros de la gramática acadia, sino la manera de ex­ presar los matices de la lengua con precisión y elegancia. A él debo el ha­ ber saboreado por primera vez el poema de Gilgamesh en su forma original. Desde entonces soñé con publicar algún día su traducción direc­ ta del acadio al español. Por muchos años estuvieron mis apuntes guarda­ dos. Nunca quise precipitarme. La traducción de una obra literaria exige tiempo y ambiente propicios. Mis responsabilidades administrativas no me permitían encontrarlos. El tiempo me lo dio una licencia sabática, que El Colegio de México generosamente me permitió gozar; el ambiente propicio me lo proporcionó el Centro de Estudio y de Conferencias de la Fundación Rockefeller en Bellagio. Me llevé mis notas y, durante un mes, me di a la tarea de poner en un español literario la traducción que yo había hecho, palabra por palabra, del acadio al francés. De ahí salió el primer borrador en español. En Bellagio trabajé fundamentalmente sobre el español de mi tra­ ducción, únicamente con mis notas y sin diccionarios. Quedaban por re­ solver infinidad de dudas sobre el significado de ciertos términos acadios y por encontrar muchísimas palabras, expresiones y giros más castizos. El tiempo y el ambiente necesarios para ello nuevamente los encontré en Gif-sur-Yvette, donde mi antiguo profesor y gran amigo, Jean Bottéro, me invitó a quedarme más de un mes en su casa, mientras él hacía un via­ je. Yo había seguido el curso en que él había expuesto su transcripción del cuneiforme. En ese seminario se hacía hincapié en el texto, su estruc­ tura y las ideas en él contenidas. Una cascada de información y de re­ flexión interesantísima... a velocidad de francés provenzal. Imposible almacenar tanta sabiduría en las notas que un alumno puede tomar en un curso. Pero en Gif, Jean me abrió su casa... ¡y sus comentarios! Un teso­ ro de erudición, que me ayudó a comprender mejor el texto y sus proble­ mas, a resolver mis dudas, a decidir mis propias opciones. Además, había 11 fragmentos nuevos que yo no conocía. Revisé enteramente mi traduc­ ción y nuevamente la dejé reposar unos meses, tiempo que dediqué a rumiar los problemas que me quedaban por resolver y a sacar otros com­ promisos pendientes. Mientras más pulía la traducción, más inquietudes surgían respecto de la comprensión del fondo y sobre la manera en que convenía vaciarlo al español. La última etapa de mi sabático me dio la oportunidad de retomar la traducción. Jack Sasson con gran generosidad me acogió en Chapel Hill, el bellísimo lugar en que tiene su sede más importante la Universidad del Estado de Carolina del Norte. Naturaleza hermosa, ciudad universitaria tranquila. Un ambiente ideal que me hizo muy llevadero el encierro en un cubículo de la Biblioteca Davis y me permitió, por fin, llegar a la tra­ ducción que ahora ofrezco a los lectores de habla hispana. Agradezco pues a todos, tanto a las instituciones como a las perso­ nas que me ayudaron dándome los medios materiales e intelectuales para llevar a cabo este proyecto largamente acariciado: El Colegio de México, la Fundación Rockefeller, mis profesores, Réné Labat y Jean Bottéro, así como a mi amigo el profesor Jack Sasson, quien, además de facilitar mi trabajo en Chapel Hill, me ayudó a enseñar a mi computadora a escribir los signos diacríticos con que convencionalmente se transcribe el acadio. Agradezco también a mis buenos amigos a quienes impuse la tarea de leer mi traducción, lo que aceptaron con mucha amistad: los profesores de El Colegio de México Manuel Ruiz y Rubén Chuaqui, del Centro de Estu­ dios de Asia y África, así como a Luis Astey y Antonio Alatorre, del Centro de Estudios Lingüísticos y Literarios. Los primeros me hicieron valiosas observaciones sobre el fondo y la forma tanto de la introducción como de la traducción en general; los segundos hicieron sugerencias sobre el estilo y correcciones del texto en español. Lo mismo debo a mi buen ami­ go Francisco Segovia, literato y avezado en la tarea de leer los textos pen­ sando en las minucias editoriales; sus indicaciones sobre este aspecto im­ portante en la presentación de una obra poética fueron preciosas, pero por encima de todo aprecio su estímulo y entusiasmo por llevar a los lec­ tores de habla hispana esta obra que a él le parece, como a mí, tan vigente aún, a pesar de su alta antigüedad. Por último, Gonzalo Rubio, de la Johns Hopkins University, en una reseña que aparecerá en JNES me sugirió co­ rrecciones que he atendido en esta tercera edición. Gracias a todos ellos mi texto resultará más correcto y más castizo. Espero que el esfuerzo de darle al poema acadio una expresión española digna logre transmitir, por su lectura, esa emoción estética que yo he gozado con la traducción del texto original. Jorge Silva Castillo 12 PREFACIO A LA CUARTA EDICIÓN Hace apenas poco más de cuatro años, a fines de 1994, apareció la prime­ ra edición del poema de Gilgamesh traducida directamente al español. Ha corrido con buena fortuna: la tercera edición se agotó a fines de 1998. Su demanda no cesa y era conveniente preparar una cuarta edición, in­ cluso antes de que se vendieran los últimos ejemplares. Pero, por enton­ ces —para ser más precisos, en septiembre de 1998—, fue publicado un pequeño fragmento1 que me obligó a pedir a los responsables de las ediciones de El Colegio de México que me esperaran hasta conocer el no­ vísimo texto, estudiarlo y ver qué tanto tendría que ser modificada mi traducción. Cosas que pasan en el caso de los documentos cuneiformes que se siguen desenterrando en los tells, los montículos que se han ido formando por las ruinas de las antiguas ciudades del así llamado Oriente Medio, al ser cubiertas a lo largo de los siglos por el polvo que sobre ellas acumulan constantemente los vientos del desierto.
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