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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. -
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. -
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. -
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. -
Inanna: a Modern Interpretation
The University of Maine DigitalCommons@UMaine Honors College Spring 2019 Inanna: A Modern Interpretation Erin Butts University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Butts, Erin, "Inanna: A Modern Interpretation" (2019). Honors College. 485. https://digitalcommons.library.umaine.edu/honors/485 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. INANNA: A MODERN INTERPRETATION By Erin Butts A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications, Theatre) The Honors College The University of Maine May 2019 Advisory Committee: Elizabeth Neiman, Associate Professor of English and Women’s, Gender, and Sexuality Studies, Co-Advisor Mary Jean Sedlock, Lecturer in Theatre, Production Manager, and Technical Director, Co-Advisor Daniel Bilodeau, Chair of Theatre and Dance Julie Lisnet, Instructor of Theatre Jennie Woodard, Preceptor in the Honors College © 2019 Erin H. Butts All Rights Reserved ABSTRACT Sumer has a culture lost to history. Currently, the University of Maine offers no courses about ancient Mesopotamia, one of the first civilizations. Over the years, historians have been translating the cuneiform tablets containing their religion and history. There has been one adaptation of those translations, by Diane Wolkstein in 1983 to bring the stories to a wider audience through a collection of stories around the goddess Inanna. -
It Is Now Well Known That the Constellations of the Zodiac Originated in the Ancient Land of Babylonia (Modern Day Iraq). Yet, D
It is now well known that the constellations of the Zodiac originated in the ancient land of Babylonia (modern day Iraq). Yet, despite more than a century and a half of scholarship, very little information on this subject has been made accessible to the non- specialist. We are very grateful to Gavin White for allowing us to reproduce excerpts of his recently published Babylonian Star-lore . Over the forthcoming months these articles will help to address this deficiency by presenting the lore and symbolism of the twelve Babylonian Zodiac constellations. The excerpts reproduced on this site are taken, with the author's permission, from the recently published book ' Babylonian Star-lore ' by Gavin White. THE SPRING EQUINOX PERIOD (Pages 27-9) By the time of the spring equinox, light has triumphed over darkness as the days now start to outlast the nights and as such it is a time when new life is celebrated and any lingering influences of the winter are banished. In the fields and cattle-folds, the spring is celebrated as the time of nature’s abundance when a majority of animals bear their young, the harvest is brought in and all nature springs into life. The new moon closest to the spring equinox marks the start of the calendrical New Year. And befitting this sacred juncture it is the season most closely associated with the king, who is now inaugurated and empowered by the gods to rule for another term. The constellations rising around the time of the spring equinox Contrary to its name, the Hired Man was represented in the heavens by the familiar ram or lamb of Aries . -
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. -
Desire, Discord, and Death : Approaches to Ancient Near Eastern Myth / by Neal Walls
DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH ASOR Books Volume 8 Victor Matthews, editor Billie Jean Collins ASOR Director of Publications DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH by Neal Walls American Schools of Oriental Research • Boston, MA DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH Copyright © 2001 American Schools of Oriental Research Cover art: Cylinder seal from Susa inscribed with the name of worshiper of Nergal. Photo courtesy of the Louvre Museum. Cover design by Monica McLeod. Library of Congress Cataloging-in-Publication Data Walls, Neal H., 1962- Desire, discord, and death : approaches to ancient Near Eastern myth / by Neal Walls. p. cm. -- (ASOR books ; v. 8) Includes bibliographical references and indexes. ISBN 0-89757-056-1 -- ISBN 0-89757-055-3 (pbk.) 1. Mythology--Middle East. 2. Middle East--Literatures--History and crticism. 3. Death in literature. 4. Desire in literature. I. Title. II. Series. BL1060 .W34 2001 291.1'3'09394--dc21 2001003236 Contents ABBREVIATIONS vii ACKNOWLEDGEMENTS viii INTRODUCTION Hidden Riches in Secret Places 1 METHODS AND APPROACHES 3 CHAPTER ONE The Allure of Gilgamesh: The Construction of Desire in the Gilgamesh Epic INTRODUCTION 9 The Construction of Desire: Queering Gilgamesh 11 THE EROTIC GILGAMESH 17 The Prostitute and the Primal Man: Inciting Desire 18 The Gaze of Ishtar: Denying Desire 34 Heroic Love: Requiting Desire 50 The Death of Desire 68 CONCLUSION 76 CHAPTER TWO On the Couch with Horus and Seth: A Freudian -
The Story of Noah and Other Flood Narratives
The Story of Noah and Other Flood Narratives The biblical story of Noah and the Great Flood (see Genesis 6:5—8:22) offers one of the best biblical examples of modern scholarly analysis put to use. Because many other ancient Middle East cultures had flood stories, scholars can easily use source criticism to evaluate the similarities and differences of the biblical Flood story with the flood stories of Israel’s neighbors. And because the biblical Flood story has clear signs of the redacting (combining) of the Yahwist (J) and Priestly (P) sources, scholars can use redaction criticism to separate these two sources and learn about the peculiarities of each original source and the motives of the Israelite editor who combined them. The Biblical Flood Story Versus Other Ancient Flood Stories The two flood stories of the ancient Middle East that most resemble the biblical Flood story are the Babylonian flood myth, Atrahasis, and the Sumerian flood myth on Tablet XI of the Epic of Gilgamesh. In Atrahasis, the flood is the result of a quarrel among the gods. This leads to the god Enlil proposing to destroy all humans with a flood (because they were too noisy). The god Enki arranges for the man Atrahasis to overhear him talk about the flood, so Atrahasis builds an ark and escapes the flood with his family and animals. The gods are later sorry they destroyed humanity, because they lost their source of free labor! The Epic of Gilgamesh is similar to the flood story in Atrahasis, probably because the two stories have a common ancestry. -
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. -
UNIVERSITY of CALIFORNIA, SAN DIEGO a Tale of Love And
UNIVERSITY OF CALIFORNIA, SAN DIEGO A Tale of Love and Revenge An Interpretation of the Epic of Gilgamesh A thesis submitted in partial satisfaction of the Requirements for the degree Master of Fine Arts in Visual Arts by Elmira Mohebali Committee in charge: Professor Babette Mangolte, Co-Chair Professor Ricardo Dominguez, Co-Chair Professor Norman Bryson Professor Page duBois Professor Mariana Wardwell 2014 Copyright Elmira Mohebali 2014 All Right Reserved The MFA thesis of Elmira Mohebali is approved and it is acceptable in quantity and form for publication on microfilm and electronically: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ Co-Chair _________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedicated to My Mother, Jamileh Piran. iv TABLE OF CONTENTS Signature Page …………………………………………………………… iii Dedication………………………………………………………………… iv Table of Contents …………………………………………………………. v Abstract of the Thesis….…………………………………………………. vi Introduction.....…………………………………………………………….. 1 Love Letter #1....…………………………………………………… 3 The Epic of Gilgamesh Through the Ages....………………………………………………………. 5 Love Letter #2....…………………………………………………… 10 Gilgamesh Epic as Presented The Original Plot....……………………………………………………….. 11 Empathizing with a Goddess Finding Inanna/Ishtar Within…….……………….…………………….. 14 Love Letter #3....…………………….……………….……… 17 My Version of the Epic