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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. -
Mesopotamian Culture
MESOPOTAMIAN CULTURE WORK DONE BY MANUEL D. N. 1ºA MESOPOTAMIAN GODS The Sumerians practiced a polytheistic religion , with anthropomorphic monotheistic and some gods representing forces or presences in the world , as he would later Greek civilization. In their beliefs state that the gods originally created humans so that they serve them servants , but when they were released too , because they thought they could become dominated by their large number . Many stories in Sumerian religion appear homologous to stories in other religions of the Middle East. For example , the biblical account of the creation of man , the culture of The Elamites , and the narrative of the flood and Noah's ark closely resembles the Assyrian stories. The Sumerian gods have distinctly similar representations in Akkadian , Canaanite religions and other cultures . Some of the stories and deities have their Greek parallels , such as the descent of Inanna to the underworld ( Irkalla ) resembles the story of Persephone. COSMOGONY Cosmogony Cosmology sumeria. The universe first appeared when Nammu , formless abyss was opened itself and in an act of self- procreation gave birth to An ( Anu ) ( sky god ) and Ki ( goddess of the Earth ), commonly referred to as Ninhursag . Binding of Anu (An) and Ki produced Enlil , Mr. Wind , who eventually became the leader of the gods. Then Enlil was banished from Dilmun (the home of the gods) because of the violation of Ninlil , of which he had a son , Sin ( moon god ) , also known as Nanna . No Ningal and gave birth to Inanna ( goddess of love and war ) and Utu or Shamash ( the sun god ) . -
The Epic of Gilgamesh Tablet V ... They Stood at the Forest's Edge
The Epic of Gilgamesh Tablet V ... They stood at the forest's edge, gazing at the top of the Cedar Tree, gazing at the entrance to the forest. Where Humbaba would walk there was a trail, the roads led straight on, the path was excellent. Then they saw the Cedar Mountain, the Dwelling of the Gods, the throne dais of Imini. Across the face of the mountain the Cedar brought forth luxurious foliage, its shade was good, extremely pleasant. The thornbushes were matted together, the woods(?) were a thicket ... among the Cedars,... the boxwood, the forest was surrounded by a ravine two leagues long, ... and again for two-thirds (of that distance), ...Suddenly the swords..., and after the sheaths ..., the axes were smeared... dagger and sword... alone ... Humbaba spoke to Gilgamesh saying :"He does not come (?) ... ... Enlil.. ." Enkidu spoke to Humbaba, saying: "Humbaba...'One alone.. 'Strangers ... 'A slippery path is not feared by two people who help each other. 'Twice three times... 'A three-ply rope cannot be cut. 'The mighty lion--two cubs can roll him over."' ... Humbaba spoke to Gilgamesh, saying: ..An idiot' and a moron should give advice to each other, but you, Gilgamesh, why have you come to me! Give advice, Enkidu, you 'son of a fish,' who does not even know his own father, to the large and small turtles which do not suck their mother's milk! When you were still young I saw you but did not go over to you; ... you,... in my belly. ...,you have brought Gilgamesh into my presence, ... you stand.., an enemy, a stranger. -
CRR Packet 07.Pdf
Cane Ridge Revival Head-Edited by John Lawrence Co-Edited by Seth Teitler, Matt Menard, Marshall Steinbaum, and Gautam Kandlikar Written by the University of Chicago and Dartmouth March 2014 Packet 7 TOSSUPS 1. The speaker of one poem by this author predicts, “The signs in the street and the signs in the skies / Shall make me a zodiac, guiding and wise” while contemplating a “specious electrical light.” In another poem by this author, the speaker addresses an animal that was mourned “in silence and terror and truth” and entreats, “Sleep on, O brave-hearted, O wise man that kindled the flame.” (*) Directions like “with a great deliberation and ghostliness” punctuate a poem by this author that describes “cake-walk royalty” and “A minstrel river / Where dreams come true” and claims that “Mumbo-Jumbo will hoo-doo you.” Another poem by this discoverer of Langston Hughes describes a “master of us all” who “cannot sleep upon his hillside now” and paces in his “famous high top-hat.” For 10 points, name this author of “The Eagle that is Forgotten,” “The Congo” and “Abraham Lincoln Walks at Midnight.” ANSWER: (Nicholas) Vachel Lindsay 2. Joseph-Marie Vien painted a replacement for this cycle, which features a work in which a bird is clutched by a putto about to stab it. In another work in this series, a woman leans against a column topped with a sculpture of a globe. A tambourine and an open music book sit above and to the left of a man with a red bow in his hair who sketches in the bottom-right corner of one work in this series. -
Zecharia-Sitchin-The-Lost-Book-Of-Enki
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Song of Gilgamesh 480X270
The Song of Gilgamesh A lyrical translation of humankind's oldest known epic Fred Hornaday THE INITIATE While wilderness mischief excites botheration West of the Indus and south of Tbilisi The sun god called Shamash delivers temptation Sumerian time and the living is easy And summons a temple seductress so charming Imagine a Mesopotamian setting That Enkidu finds her enticements disarming The land of the crescent we can’t be forgetting Submitting himself to her holy seduction A king they call Gilgamesh, strong and sagacious For seven plus seven long nights of instruction But also a tyrant with habits audacious And this way he learns to be polished and civil He’s one-third a mortal and two-thirds divinity No longer consorting with beasts and their drivel Destined to wander in heaven’s vicinity WHAT WOULD ENKIDU ? He dominates Uruk, unfair and unkind The ravishing Shamhat adorns him in style With subjects mistreated, abused and maligned And shepherds invite him to stay for a while They plea to the gods for divine intervention Partaking of civilized foods and libation So goddess Aruru provides an invention As Enkidu opens his eyes to creation The primitive Enkidu, hairy and gritty And learns about kingdoms and ways of oppression A rival for Gilgamesh, man of the city How Gilgamesh governs with gross indiscretion He dwells in the woods among uncultured creatures It seems that before a new bride has her groom In want of a way of refining his features The king has the right to intrude in her room THE CALLING Now Enkidu enters the city with reason -
Scenes from the Epic of Gilgamesh Adapted From: Mccaughrean, Geraldine
Scenes from the Epic of Gilgamesh Adapted from: McCaughrean, Geraldine. Gilgamesh the Hero. Adapted by Abe Karplus. Cast (in order of appearance) Character Actor Archaeologist 1 Karen Archaeologist 2 Emily Archaeologist 3 Jake Enlil (chief god) Sean Shamash (sun god) Grant Ishtar (goddess of love and war) Jamie Ea (god of rivers) Madison Gilgamesh (king of Uruk) Abe Scorpion Man Eli Scorpion Woman Madison Siduri (woman with inn) Meggie Urshanabi (ferryman) Graham Utnapishtim (the immortal) Jack Saba (Utnapishtim’s wife) Aneesa The snake Cheyenne Scene 1: Archaeological dig in Iraq Archaeologists 1– 3 in front of stage, stage right, where they remain throughout play. Archaeologist 1: Look, what is that? Archaeologist 2: Oh, it’s cuneiform tablets! Archaeologist 3: What do they say? Archaeologist 1: Here, I think I can read them. Can you get me the dictionary and the magnifying glass? Archaeologist 2: OK, Professor, here you are. Archaeologist 3: What do they say? What do they say? Archaeologist 1: Will you be quiet so I can look at this! Archaeologist 2: They’re probably just warehouse records. Archaeologist 3: Maybe, maybe, but what do they say? Archaeologist 1: Let me see—it seems to be a story. The beginning seems to be missing. This bit says, “Gilgamesh, King of Uruk, sees the Scorpion People, they guard the entrance to a tunnel …” Archaeologist 2: This cuneiform tablet seems to have a title on it. Archaeologist 3: “The Epic of Gilgamesh” Archaeologist 1: Well, well, well, I’ll continue … Gods enter and remain in front of stage, stage left. Scene 2: In the Mashu Mountains Enlil (before stage): I am Enlil, God of the Wind. -
Mythological Scenes from Ancient Mesopotamia on Elamit Cylinder Seals
Journal of Anthropology and Archaeology June 2014, Vol. 2, No. 1, pp. 129-145 ISSN: 2334-2420 (Print), 2334-2439 (Online) Copyright © The Author(s). 2014. All Rights Reserved. Published by American Research Institute for Policy Development Mythological Scenes from Ancient Mesopotamia on Elamit Cylinder Seals Nooraddin Mehdi Ghaempanah1, Reza Mehr Afarin2 and Malake Heydari3 Abstract Elamite civilizationis the most ancientcivilizationthat was formedinside thepresent bordersof Iran. It had dominatedlarge partsof theWesternand South-Western Iran, sincethe late fourth millenniumtill the mid-first millennium B.C. Like other ancientcivilizations, Elamite civilization had been established based onreligion andits people's beliefs. In the ancient, base of religion was formed by myths,so identification of Elamitemythscan playan important roleto understand the culture and religion ofthesepeople. Till now, any written document of Elamite myths has been obtained, but according tothe similarities between Elamand Mesopotamian culture, by comparing the my thological sceneson Elamite seals with Mesopotamianseals and myths, in this article it has been tries to present some Mesopotamian myths, those which are also common in Elam. These myths include: "Rising of Shamash", "Etana; the first king", "Zu and tablets of destiny" and "Gilgamesh". Keywords: Elamite Civilization, Elam,Myth, Mesopotamia, Mythological Figures, Seal Introduction The favorable natural conditions in the Near East during the late-millennium caused the first civilizations of the ancient world namely Sumer and Elam to be formed in this region and traverse the evolution path alongside each other. 1 M.A. in Archaeology, University of Sistan and Baluchestan. Tel: +989364274160 E-mail: [email protected] 2 Associate Professor, University of Mazandaran, Iran, Babolsar, University of Mazandaran, Art & Architecture Faculty, Archaeology Department. -
Reading Guide: the Epic of Gilgamesh Prof
The Epic of Gilgamesh K 113355 Reading Guide: The Epic of Gilgamesh Prof. Stephen Hagin K Symbolic Connections in WL K 12th edition K Kennesaw State University Gilgamesh (Dalley, 39-125) If a person were to be placed on Pope’s isthmus, he/she would be torn between the two possible directions, limited to a choice between dualities. Is a human more like God or more like a beast? Should we value our minds or bodies more? Is society more important than Nature? Pope mentions that mankind is a great “riddle of the world” because we cannot make up our minds about our own natures. One duality is God/beast. Well, are we gods? Well, we can build things, we can fly in airplanes, and we can talk in virtual reality. However, we also have animalistic desires, we act for ourselves rather than our societies, and we ultimately face the fate of everything in Nature — death. So, we are not completely gods nor beasts, but we share the qualities of each. Pope’s thesis is that we are stuck in the middle because we share the natures of both sides of the duality. Once we lean in one direction, we begin to deny ourselves of the necessity to experience the other side as well. In Gilgamesh, we see the main character, King Gilgamesh, as a pure representation of the masculine side (the side that represents strength, society, God). Now that we have read literature from both the feminine and the masculine perspective, the next question to ask is, ‘Where is our proper place?” This answer will be revealed in this great myth. -
L'epopea Di Gilgamesh
L’EPOPEA DI GILGAMESH Il testo dell'epopea che qui trovate è, in parte, basato su La saga di Gilgamesh , Giovanni Pettinato, Rusconi Libri 1992, con integrazioni e correzioni da Il Ghilgames , Claudio Saporetti, Simonelli Editore 2001 e The Epic of Gilgamesh - a new translation , Andrew George, Penguin Press 1999. Del lavoro di Pettinato ho conservato la struttura interna alle tavole in episodi. Tuttavia, seguendo l'approccio di George, ho rivisto totalmente la suddivisione in stanze (solitamente quartine) e la numerazione dei versi. Per agevolare la lettura comparata dell'epopea ho inoltre ripulito il testo da tecnicismi ed eseguito leggere correzioni sintattiche. Ho cercato di eliminare i "lavori di fantasia", in cui peccano tutti gli autori (in particolare George e Pettinato), perché impediscono il confronto con altre traduzioni. INTRODUZIONE Che cos'è l' epopea di Gilgamesh? E' uno dei più antichi poemi conosciuti e narra le gesta di un antichissimo e leggendario re sumerico, Gilgamesh, alle prese con il problema che da sempre ha assillato l'umanità: la morte e il suo impossibile superamento. L'epopea (o più semplicemente "il Gilgamesh") è anteriore ai poemi omerici (VIII sec. a.C.) e ai Veda indiani (1500 a.C.). Le prime redazioni sumeriche del poema sono fatte risalire ad oltre il 2000 a.C. Documenti su Gilgamesh sono stati rinvenuti più o meno ovunque in Mesopotamia, ma anche al di fuori, come in Anatolia (Hattusa, capitale dell'impero ittita) o in Palestina (Megiddo). La terra tra i fiumi Per orientarvi meglio è bene osservare questa mappa dell'antica Mesopotamia. La terra che dai libri di storia conosciamo sotto il nome di Mesopotamia si chiama oggi Iraq e confina a nord con la Turchia, a ovest con la Siria e la Giordania, a sud con l’Arabia Saudita e a est con la Persia, l’odierno Iran. -
Epic of Gilgamesh
Epic of Gilgamesh An Analysis Timeline Gilgamesh JE Priestly Enuma Elish Genesis Theogony Genesis Metamorphoses 1600 900 750 500 0 8 Before Common Era Common Era (BCE) (CE) Heroic Cycle Campbell • Call to Adventure • Refusal Common Day X Z • Supernatural Aid Hero returns with Travel from common day power to bestow • Crossing the Threshold into a world of benefits to supernatural wonder mankind • Belly of the Whale • Road of Trials • Meeting the Goddess Y • Woman as Temptress Supernatural forces encountered and • Atonement with Father victory is won • Apotheosis Supernatural World • Elixir • Return or Refusal of Return Levi-Strauss • Though myths typically seems arbitrary and random, there are common elements that illustrate universal laws of human thought. • “Mythical thought always progresses from the awareness of oppositions toward their resolution.” – Levi Strauss – Myths consist of opposing or contradicting elements • Ex) Mortality vs immortality, nature vs culture – Myth contains some kind of mediator to resolve those oppositions Epic of Gilgamesh • Gilgamesh (2600 BCE) – Historical Gilgamesh • King of Uruk, built walls, led Uruk in war of independence against Kish • Euhemerism – Mythical Gilgamesh • 2/3 God • Womanizer, demanding leader, residents of Uruk discontent Relief of Gilgamesh with Lion Palace of Sargon, Khorabad, 8th c. BCE The Story • Opens by praising Gilgamesh – He had the wall of Uruk built, the sheepfold Of holiest Eanna, the pure treasury. – There is nobody among the kings of teeming humanity Who can compare with him... Two-thirds of him was divine, and one-third moral. • Character flaws – Day and night his behaviour is overbearing... Gilgamesh will not leave any son alone for his father. -
Fate Anime Series in Order
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