By Louise Pryke, Macquarie University, The Conversation
“Forget death and seek life!” With these encouraging words, Gilgamesh, the star of the eponymous 4000-year-old epic poem, coins the world’s first heroic catchphrase.
At the same time, the young king encapsulates the considerations of mortality and humanity that lie at the heart of the world’s most ancient epic. While much has changed since, the epic’s themes are still remarkably relevant to modern readers.
Depending upon your point of view, Gilgamesh may be considered a myth-making biography of a legendary king, a love story, a comedy, a tragedy, a cracking adventure, or perhaps an anthology of origin stories.
All these elements are present in the narrative, and the diversity of the text is only matched by its literary sophistication. Perhaps surprisingly, given the extreme antiquity of the material, the epic is a masterful blending of complex existential queries, rich imagery and dynamic characters.
The narrative begins with Gilgamesh ruling over the city of Uruk as a tyrant. To keep him occupied, the Mesopotamian deities create a companion for him, the hairy wild man Enkidu.
Gilgamesh sets about civilising Enkidu, a feat achieved through the novel means of a week of sex with the wise priestess, Shamhat (whose very name in Akkadian suggests both beauty and voluptuousness).
Gilgamesh and Enkidu become inseparable, and embark on a quest for lasting fame and glory. The heroes’ actions upset the gods, leading to Enkidu’s early death.
The death of Enkidu is a pivotal point in the narrative. The love between Gilgamesh and Enkidu transforms the royal protagonist, and Enkidu’s death leaves Gilgamesh bereft and terrified of his own mortality.
The hero dresses himself in the skin of a lion, and travels to find a long-lived great flood survivor, Utanapishtim (often compared with the biblical Noah). After a perilous journey over the waters of death, Gilgamesh finally meets Utanapishtim and asks for the secret to immortality.
In one of the earliest literary anti-climaxes, Utanapishtim tells him that he doesn’t have it. The story ends with Gilgamesh returning home to the city of Uruk.
Gilgamesh and his adventures can only be described in superlative terms: during his legendary journeys, the hero battles deities and monsters, finds (and loses) the secret to eternal youth, travels to the very edge of the world — and beyond.
Despite the fantastical elements of the narrative and its protagonist, Gilgamesh remains a very human character, one who experiences the same heartbreaks, limitations and simple pleasures that shape the universal quality of the human condition.
Gilgamesh explores the nature and meaning of being human, and asks the questions that continue to be debated in the modern day: what is the meaning of life and love? What is life really — and am I doing it right? How do we cope with life’s brevity and uncertainty, and how do we deal with loss?
The text provides multiple answers, allowing the reader to wrestle with these ideas alongside the hero. Some of the clearest advice is provided by the beer deity, Siduri (yes, a goddess of beer), who suggests Gilgamesh set his mind less resolvedly on extending his life.
Instead, she urges him to enjoy life’s simple pleasures, such as the company of loved ones, good food and clean clothes — perhaps giving an example of a kind of Mesopotamian mindfulness.
The epic also provides the reader with a useful case study in what not to do if one is in the exceptional circumstance of reigning over the ancient city of Uruk. In ancient Mesopotamia, the correct behaviour of the king was necessary for maintaining earthly and heavenly order.
Despite the gravity of this royal duty, Gilgamesh seems to do everything wrong. He kills the divinely-protected environmental guardian, Humbaba, and ransacks his precious Cedar Forest. He insults the beauteous goddess of love, Ishtar, and slays the mighty Bull of Heaven.
He finds the key to eternal youth, but then loses it just as quickly to a passing snake (in the process explaining the snake’s “renewal” after shedding its skin). Through these misadventures, Gilgamesh strives for fame and immortality, but instead finds love with his companion, Enkidu, and a deeper understanding of the limits of humanity and the importance of community.
Reception and recovery
The Epic of Gilgamesh was wildly famous in antiquity, with its impact traceable to the later literary worlds of the Homeric epics and the Hebrew Bible. Yet, in the modern day, even the most erudite readers of ancient literature might struggle to outline its plot, or name its protagonists.
To what might we owe this modern-day cultural amnesia surrounding one of the world’s greatest works of ancient literature?
The answer lies in the history of the narrative’s reception. While many of the great literary works of ancient Greece and Rome were studied continuously throughout the development of Western culture, the Epic of Gilgamesh comes from a forgotten age.
The story originates in Mesopotamia, an area of the Ancient Near East thought to roughly correspond with modern-day Iraq, Kuwait and parts of Syria, Iran and Turkey, and frequently noted as “the cradle of civilisation” for its early agriculture and cities.
Gilgamesh was written in cuneiform script, the world’s oldest known form of writing. The earliest strands of Gilgamesh’s narrative can be found in five Sumerian poems, and other versions include those written in Elamite, Hittite and Hurrian. The best-known version is the Standard Babylonian Version, written in Akkadian (a language written in cuneiform that functioned as the language of diplomacy in the second millennium BCE).
The disappearance of the cuneiform writing system around the time of the 1st century CE accelerated Gilgamesh’s sharp slide into anonymity.
For almost two millennia, clay tablets containing stories of Gilgamesh and his companions lay lost and buried, alongside many tens of thousands of other cuneiform texts, beneath the remnants of the great Library of Ashurbanipal.
The modern rediscovery of the epic was a watershed moment in the understanding of the Ancient Near East. The eleventh tablet of the Epic was first translated by self-taught cuneiform scholar George Smith of the British Museum in 1872. Smith discovered the presence of an ancient Babylonian flood narrative in the text with striking parallels to the biblical flood story of the Book of Genesis.
The story is often repeated (although it may be apocryphal) that when Smith began to decipher the tablet, he became so excited that he began to remove all his clothing. From these beginnings in the mid-19th century, the process of recovering the cuneiform literary catalogue continues today.
In 2015, the publication of a new fragment of Tablet V by Andrew George and Farouk Al-Rawi made international news. The fragment’s discovery coincided with increased global sensitivity to the destruction of antiquities in the Middle East in the same year. The Washington Post juxtaposed the “heart-warming story” of the find against the destruction and looting in Syria and Iraq.
The new section of Tablet V contains ecological aspects that resonate with modern day concerns over environmental destruction. Of course, there are potential anachronisms in projecting environmental concerns on an ancient text composed thousands of years prior to the industrial revolution.
Yet, the undeniable sensitivity in the epic’s presentation of the wilderness is illuminating, considering the long history of humanity’s interaction with our environment and its animal inhabitants.
In Gilgamesh, the wilderness is a place of beauty and purity, as well as home to a wild abundance. The splendour and grandeur of the Cedar Forest is described poetically in Tablet V:
They (Gilgamesh and Enkidu) stood marvelling at the forest,
Observing the height of the cedars …
They were gazing at the Cedar Mountain, the dwelling of the gods, the throne-dais of the goddesses …
Sweet was its shade, full of delight.
While the heroes pause to admire the forest’s beauty, their interest is not purely aesthetic. Gilgamesh and Enkidu are aware of the economic value of the cedars, and the text provides a clear picture of competing commercial and ecological interests.
Where to read Gilgamesh
Since Gilgamesh’s reappearance into popular awareness in the last hundred years, the Standard Babylonian Version of the epic has become accessible in numerous translations. This version was originally compiled by the priest, scribe and exorcist, Sin-leqi-uninni, around 1100 BCE.
The scholarly standard among modern translations is Andrew George’s The Babylonian Gilgamesh Epic: Introduction, Critical Edition and Cuneiform Texts (2003).
Despite its all-around excellence, the two-volume work is decidedly unwieldly, and the less muscle-bound reader would be well directed to The Epic of Gilgamesh: A New Translation (1999), by the same author. Most readable among modern treatments is David Ferry’s Gilgamesh: A New Rendering in English Verse (1992), which gives a potent, poetic interpretation of the material.
Like the snake that steals Gilgamesh’s rejuvenation plant, the Epic of Gilgamesh has aged well. Its themes – exploring the tension between the natural and civilised worlds, the potency of true love, and the question of what makes a good life – are as relevant today as they were 4,000 years ago.
Note: Translations are sourced from Andrew R. George 2003. The Babylonian Gilgamesh Epic: Introduction, Critical Edition and Cuneiform Texts, Volume 1. Oxford: Oxford University Press.