Category: Gilgamesh

When an individual has read and understood two or more texts, identification of any similarities between them becomes very easy (Riegler 196). This requires a very keen reading of the texts so that the contents of each text can be well understood and a reasonable argument can thus be made. The literature from the comparison of the texts can provide some useful information to any person who reads them. It is on this basis that I am writing this piece of work to compare and contrast between two texts: The Epic of Gilgamesh and The Bhagavad Gita.

Immanence can be described as a condition of operating within a given limit. It can also be explained as a condition of existence especially of a supernatural being with supernatural powers (Flood 293). In the epic of Gilgamesh, it is indicated that there was a ruler who ruled the land of Samaria very many years ago (Cranefield 137). The ruler was known as King Gilgamesh and it is indicated that King Gilgamesh had superhuman characteristics which implied that he was a superhuman (Kovacs 83). This makes the existence of Gilgamesh more like a mythical ruler than a ruler who actually existed. There is no concrete evidence to indicate that King Gilgamesh actually ruled the Sumerians. In the epic, it is indicated that most scholars believe that King Gilgamesh actually existed and he became a legendary hero just like Britains King Arthur or Beowulf of Anglo-Saxon (Damrosch 179).

Fragments of the epic of Gilgamesh which were found in Me-Turan showed that when Gilgamesh died, he was buried underwater (George 203). It is also claimed that the flow of the river Euphrates was diverted so as to allow the burial of Gilgamesh under the river bed. Even though some people doubt the existence of Gilgamesh, most people believe that he existed and they even cite evidence that has been found to prove it.

Bhagavad Gita is a spiritual book used by believers in the Hindu religion (Easwaran 206). In the Gita, it is stated that there is a supernatural being called God. In the same Gita, there are no contradictory statements that can make anyone doubt the existence of God. It is believed that God exists because His effects have been felt by those who believe in Him. This is normally explained by Krishna who is a teacher of Gita (Minor 184).

With regard to transcendence, there is a difference between God who is described in the Bhagavad Gita, and Gilgamesh who is described in the epic of Gilgamesh (Mitchell 113). Transcendence can simply be explained to mean the state of possessing supreme powers and greatness. Even though it is indicated that King Gilgamesh was superhuman and possessed a tragic flaw, he lost his friend Enkidu when he insulted the gods and rejected the love of Ishtar who was the goddess of war and love (Hammond 19). This implied that although Gilgamesh was supreme, his powers were limited by the gods and the goddesses. In the Bhagavad Gita, God is described as a being with absolute powers as demonstrated when Krishna explained to Arjuna that he should do his duties and fight the battle without fear of killing his friends or relatives since all human beings are mortal except God. Thus, the two texts are different because in the epic of Gilgamesh it is indicated that Gilgamesh had supernatural powers but was limited by other supernatural beings. In the Gita, it is indicated that God is the most powerful being.

References

Cranefield, Paul. Fact and Fantasy in the Seduction Theory of Gilgamesh. New York: Charles Scribners sons, 1970.

Damrosch, David. The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh. London: Henry Holt and Company, 2007.

Easwaran, Eknath. The Bhagavad Gita for Daily Living Volume 3. Berkeley, California: The Blue Mountain Center of Meditation Publishers, 1984.

Flood, Gavin. An Introduction to Hinduism and its Requirements. Cambridge: Cambridge University Press, 1996.

George, Andrew. The Babylonian Gilgamesh Epic  Introduction, Critical Edition and Cuneiform Texts. Oxford: Oxford University Press, 2003.

Hammond, David. Gilgamesh and the Sundance Kid: the Myth of Male Friendship and The Making of Masculinities. Boston: The New Mens Studies, 1987.

Kovacs, Maureen. Fact or Fiction- The Epic of Gilgamesh. Stanford, California: Stanford University Press, 1989.

Minor, Robert. Modern Indian Interpreters of the Bhagavad Gita. Albany, New York: State University of New York, 1986.

Mitchell, Stephen. A New English Version of the Epic of Gilgamesh. New York: Free Press, 2004.

Riegler, Robinson. Cognitive Psychology: Applying the Science of the Mind. Boston: Pearson Education, 2008.

The epic of Gilgamesh, Homers Illiad, and Vergils Aeneid all reflect the traditional fundamental structures which make them appear quite similar. They are curved around the lives and times of the heroes and present their achievements, follies, strengths, and weaknesses that mark their destiny. In all these epics, there are elements of heroism, tragedy, the theme of suffering, and the device of troubled journeys which are presented as pre-conditions that the heroes must endure before their crowning moments.

The story of Gilgamesh is anchored on his supernatural qualities. He is presented in the epic dimensions that showcase him as partly human and partly as a god. Gilgamesh is a man of immense physical powers and handsome facial attributes. Through these strengths, he manages to establish a kingdom and succeeds in vanquishing most of his earthly enemies with the support of the gods. But his fundamental weakness lies in his disposition towards oppression. He is shown as a brutal and loveless individual and one who is much given to an amorous streak (Mitchell 1). This weakness incurs the wrath of the humans who have to endure a lifetime of torment under Gilgameshs wrath. It is through this brutality that he manages to establish a kingdom that is most synonymous with his levels of earthly glory.

The establishing of a kingdom, in these three epics, appears to be a permanent feature that the authors of these epics have used to create the warrior ethic. This is because Homers Iliad just like Virgils Aeneid is centered on the theme of enthroning. Achilles has to triumph against the Trojans for him to guarantee the safety and permanence of Greece (Leaf 1-6). Aeneid has to battle the storms on the high seas, get shipwrecked, travel great distances, and fight devastating wars for him to finally achieve the dream of establishing Rome.

One other similarity in these epics is the role of women. They are represented as both makers and destroyers of civilization. The plight of Gilgamesh is captured in his weakness and lust for women. Many times prostitutes and young women are used to ensnaring him towards failure, (Leaf 480-482). But on the contrary Achilles wife and his goddess mother are brought out as the reservoirs of strength that he repeatedly falls onto in times of trouble. For instance, his mother manages to convince the gods to make some fresh amour for Achilles after he loses them in time of battle. These contradictions in the character of women are similar to the modern conception of feminine power which is variously brought out as both positive and negative.

Another similarity that strengthens the warrior ethic is captured in the pursuit of a single goal or a rare find. This single pursuit most often seems to be elusive so that the process of search also becomes the making of the hero. In the Iliad, this one goal lies in the slaying of Hector who cuts the image of a lifelong tormentor of the Greeks. His survival means their doom, and therefore their prosperity is entirely dependent on his demise. It, therefore, becomes the role of the hero, in this case, Achilles, to slay him and by so doing mark his moment, and mission of glory.

In Virgils Aeneid, the hero-making process is centered on the goal of establishing Rome. This process involved prophesies intervention of the gods, wars, and strenuous and adventurous travel, (Ganiban 1-7). The final hour comes when Aeneid manages to slay his archrival and actualize the mission of establishing a city, which is both metaphorical and literal. Gilgameshs lifetime dream is to discover the secret of immortality. He engages in all forms of paranormal encounters as he tries to find the one substance that might give him the guarantee of immortality. In the end, however, fails in his mission and has to contend with the brevity of life and the passage of seasons.

These searches are used in the epics to bring out the sense of immortality in humans and the futility of pursuing things beyond the physical realities. These three epics in a sense bring out the limits of human experience, human power, and the vanity of striving to exist beyond the natural boundaries of man. The heroes in these epics are represented in god-like forms and as characters that can dialogue with god as they wish. The relationship between the gods and the humans is equally problematic especially in the sense in which the gods are portrayed as falling below the glory and becoming subject to some earthly appetites of love, lust, and more.

Through these epics, the reader gets a rare glimpse into the historical developments of the societies where these epics are set. The values, mores, superstitions and, cultural beliefs are represented in the discourse of the main character. The heroes in these fictional settings are made to represent the actual idealized forms of realities as lived through the actual settings of these epics. The heroes in these epics evoke and perpetuate the hopes and aspirations of the people represented in the epics. Achilles for instance evokes the virtues of courage, love, and romance as it was desired in the lives of the people of Greece in the time setting of the Iliad.

In contrast, the villains are made to capture the fears, and challenges of the societies represented by these epics. The exploits of the villains are metaphorical representations of the enduring of evil and immense efforts that ancient civilizations invested in ridding the systems of these forces. This way these epics become a form of celebrating the epic heritage of a people are represented in the heroic expeditions of their past heroes. The character of Hector in the Iliad represents the forces that stood against the forces of nationhood and stability. The authorial development of the character of Hector is one way through which hyperbole and contrast achieve the mission of creating the protagonists in the poem.

The import of these three epics lies in their historicism. They are stylistically created to align with the genealogy of civilizations. The making of the Roman Empire, the development of the ancient Greek culture, and the spread of cultures around the world are all captured within the substance of these epics. The plot is most cases linear so that it vibrates directly with the progressive passage of time. The flow of the poems is also made to resonate with a lyrical flow which evokes a kind of narration to the reader. There is therefore the feeling that the historical aspect of civilizations, the exploration of cultures and values, is being let out in an ordered sequence. It is these similarities that tie the three epics of Iliad, Aeneid, and Gilgamesh as superstructures that unearth the histories, cultures, and values of these generations.

Works Cited

Ganiban, Randall. Virgil: Aeneid, Book 1. New York: Focus Publishing, 2009.

Leaf, Walter. Homer, the Iliad. Cambridge: Cambridge University Press, Vol2, 2010.

Mitchell, Stephen. Gilgamesh: A New English Version. New York: Simon and Schuster, 2006.

Introduction

Most religious teachings go into detail on the multifaceted relationships between gods and humans in which the latter are sometimes able to find solace and peace of mind and sometimes are scorned and neglected. At that, the union of a god and a human is usually not one of equality since the divine Absolute has more control than a person of limited capabilities. This paper will discuss Krishnas guidance of Arjuna in the Bhagavad-Gita and Siduris guidance of Gilgamesh in the Epic of Gilgamesh and outline similarities and differences.

Krishnas Guidance in the Bhagavad-Gita

The part of the Bhagavad-Gita that introduces Krishna and Arjuna and their close relationship is written in a conversational format with the said personalities being the main speakers. Arjuna is a warrior who fights for the right cause on the side of Pandavas against the forces of evil represented in the sacred text by Kauravas. At some point, despite his mastery and rich experience in battles, Arjuna finds himself unable to continue his righteous path as he freezes in the face of his arch enemy and cannot proceed to attack (The Norton Anthology World Literature 1275). In his thoughts, he pleads Krishna for help and guidance, incapable of facing the adversity himself.

The passage where Krishnas power compels Arjuna to follow his calling as a warrior without doubts or second thoughts might seem specific and more realistic in the context of the described epoch. However, what a careful reader should conclude from the conversation between two characters is that the nature of their relationship is universal and inferential for other human beings seeking spirituality.

Arjuna represents a person who is lost and sees no other way out except asking the higher power to control his life. At the same time, Krishna is the Absolute who holds eternal wisdom and can share it with those who struggle. What is interesting about their bond is that Krishna is Arjunas inner voice and, hence, part of his psyche. This fact shows that each human has a divine side to them that as opposed to earthly desires, guides them through life and allows them to put things in greater perspective.

Siduris Guidance in the Epic of Gilgamesh

In the Epic of Gilgamesh, the main character, Gilgamesh seeks immortality, for which he does not fear lifes numerous trials nor death. He wishes to cross the callous see to Utnapishtim, which alone would have him confront many challenges. Gilgamesh meets Siduri at a tavern where she draws him into a conversation with her. With her worldly wisdom and quick wit, in the context of the literary work, Siduri is one of the Epics sensual and sexually ripe female characters  and a divine one at that.

Siduri is skeptic about Gilgameshs self-imposed life mission: she is convinced that when gods created humans, they denied them access to eternal life. Moreover, the creators gained all the power to meddle with their lives  something that no one can overcome. Thus, instead of wandering the world in pain and fear, Gilgamesh could devote himself to simple pleasures.

Contrasting the Bhagavad-Gita and the Epic of Gilgamesh

It is not exactly possible to compare the universe of the Bhagavad-Gita and the Epic of Gilgamesh. However, one may dare to assume that when contrasted, as a divine entity, Krishna would be of much greater importance than Siduri. Even though both are not the only gods in the respective teachings, Krishna is a major deity whereas Siduri is a minor female divinity. In the Bhagavad-Gita and Mahabharata as the whole, many parts are dedicated to Krishna, his deeds, and relationships with the human world whereas there is not much known about Siduri. For all that, I do not think that Siduris guidance and advice are less significant than those of the Hindu God.

What makes both approaches convincing is their viability in real life. It is true that sometimes a person needs to let go of his earthly commitments and devote time to bonding with the divine. At the same time, simple joys of life should not be dismissed either as they also contribute to happiness and satisfaction. To me, it seems that if a religious teaching fails to present a divine entity with enough persuasion, the worshippers and potential adherents might start having doubts about the validity of the teachings contents. In the long run, such uncertainty might result in a decline of the said religion and its importance in a given region or country.

It is possible to draw a parallel between how Gilgamesh and Arjuna are guided in the books. Both characters are aware of the dominance of the gods and that they could change their lives dramatically on a whim  Krishna and Siduri emphasize this point throughout the narration. For this similitude, the differences in mentorship are more striking: Krishna is internalized by Arjunas psyche whereas Siduri remains an external entity. Krishna meets Arjuna halfway in his search for spirituality and supports his aspirations. The Epic of Gilgameshs goddess, on the other hand, capitalizes on the human nature of the main character and offers him an alternative.

Similarities and Differences Between the Cultures

I believe that in order to gain a better understanding of relationships between god and men in Hinduism and the Sumerian religion, they need to be examined in the context of respective cultures. In Hinduism, the relationship between gods and humans are far from egalitarian, and yet, individuals are free to choose how they wish to build their relationship with the divine. It is argued that people are born ignorant and blind to the eternal wisdom; however, one is able to embrace knowledge through prayer and worship, which is highly recommended.

Depending on a persons deeds during his or her lifetime, they could undergo reincarnation and commence a new life, striving to cleanse their soul and act out of pure intentions, or go straight to Nirvana. The Sumerian religion is similar to Hinduism in terms of its recognition of the existence of multiple divine entities. Akin to Hindus, Sumerians believed in the final judgment after a person dies; however, in their teaching, the only destination the dead souls could follow was the deep dark cavern beneath the earth.

Conclusion

For thousands of years, the humankind has relied on religion to find an explanation for the inexplicable, seek help, and have spiritual insights. In the Bhagavad-Gita, renowned warrior, Arjuna, asks Krishna for support and mentorship as he fights the evil. Krishnas guidance is internalized by the main character, and thus, a human is capable of discovering the godlike side to them. In the Epic of Gilgamesh, Siduri highlights the gap between gods and humans and persuades Gilgamesh to quit his ways and succumb to earthly pleasures. Both examples point out the power that divine entities have over humans. The Hindu and Sumerian cultures can be characterized as pantheistic.

The most significant difference between them is in their beliefs about what happens to a person after death. While Hindus were sure about reincarnation and several attempts at living life righteously, Sumerians saw ending up in the underground cavern as the only option for the soul of a deceased.

Work Cited

The Norton Anthology World Literature. Vol. 1, 3d ed., W. W. Norton & Company, Inc., 2013.

Introduction

While studying literature of the first world civilizations, such as the civilization of the Tigris-Euphrates area, and Ancient Greece civilization, I was interested in two epic books: The Epic of Gilgamesh and The Wanderings of Odysseus. I was really impressed with the two main characters of these books: superhuman Gilgamesh from the Epic of Gilgamesh and the ruler of Ithaca  Odysseus. So I asked myself, if there is anything common between them. So, I was challenged with the question of comparison and contrasting them.

Main text

These two characters have a lot in common. They are both striving for the aim, they are smart, strong, courageous and they are both people of great endurance. If we are talking about Gilgamesh, who can be described as:

The one who saw all [Sha nagba imuru ]I will declare to the world,

The one who knew all I will tell about

He saw the great Mystery, he knew the Hidden:

He recovered the knowledge of all the times before the Flood.

He journeyed beyond the distant, he journeyed beyond exhaustion,

And then carved his story on stone. [naru : stone tablets ] (Kovacs 12)

He goes to the futile and indeed fraught with dangers journey in order to find out the secret of eternal life. He meets a lot of troubles on his way: he speaks to the giant scorpion Siduri, then he has some problems with the ferryman Urshanabi, who works for the legendary Utnapishtim, he destroys stone things, which could help him in his search of Utnapishtim. An ordinary human in such situations would probably be desperate, but not Gilgamesh. He makes punting poles in order to cross the Water of Death. But we should remember that it is so dangerous! If a mortal being was to touch these waters, then he would instantly die. But such things cannot stop such a hero as Gilgamesh, so eventually he meets Utnapihtim, who tells Gilgamesh an important story about the Flood and how he managed to survive, and release the creatures: birds, animals. Then Utnapihtim tells him a story about how he became immortal, when the god Entil blessed him and his family:

At one time Utnapishtim was mortal.

At this time let him be a god and immortal;

Let him live in the far away as the source of all the rivers (Kovacs 34).

And finally Gilgamesh is offered to become immortal. The condition that must be fulfilled is no sleep for six days and seven nights. But he makes a trick on the immortal man with the bread that his wife had been laying down every day by his feet. And then, when Utnapishtim finds him asleep, the hero is distraught:

O woe! What do I do now, where do I go now?

Death has devoured my body,

Where I go, wherever I look, there Stands Death! (Kovacs 41)

He cannot get the secret of immortality from Utnapishtim, but he gets instructions from him about the location of the magic plant, which can make him young again. He travels a lot with Utnapishtim, finds a special magic plant that he desired so much, but snake eats it. He thinks that it is a disaster for him:

For whom have I labored?

For whom have I journeyed?

For whom have I suffered?

I have gained absolutely nothing for myself,

I have only profited the snake, the ground lion! (Kovacs 45).

But I think that the case with the flower helped Gilgamesh to understand that the most important thing in his life was his motherland. He ends his journey near the gates to Uruk, his native city. I think that by inviting Urshanabi to look at the greatness of his city, Gilgamesh understands that he is already immortal and he will be immortal forever. The immortality is this city, in which the spirit of Gilgamesh will live forever on the stone of plapis lauzil, where is carved the account of his own exploits.

The similar adventure happens to Odysseus from The Wanderings of Odysseus. The only difference is that Odysseus actually seeks not for the immortality, but for the way to come back to his home, to Ithaca. The visit to Hades through the river Acheron helps him to reach his aim. When Odysseus gets to the Underworld, he speaks to Circe, to dead people. He meets Tiresias on his way, who gives him advice about oar and about how to make the sacrifice to Poseidon, also he meets Achilles. On his journey, he also gets to see his mother and she awakes memories from the depths of his soul.

Summary

Odysseus tries in every way possible to get back home. And I think that is the main difference between him and Gilgamesh, Odysseus knew the value and the forth of his native land. They have something in common and some circumstances in their life are different. They are both worthy characters, and it is impossible to say that the life search of one of them was wrong, because every human reaches his own understanding of the world in his own way which is unique. So I think we just have to look for something good in them in order to use it to become, maybe, a little bit better.

Works Cited

Maureen Gallery Kovacs. The Epic of Gilgamesh. Stanford University Press, 1989.

Rosemary Sutcliff, Homer, Alan Lee. The Wanderings of Odysseus: The Story of the Odyssey. Frances Lincoln Ltd, 2002.

The Epic of Gilgamesh is an influential literary work, well recognized for its historical and artistic significance. As one of the oldest pieces of literature, the epic of Gilgamesh addresses multiple themes and ideas, developing the importance of such topics as love, death, and gods power. The epic follows the story of Gilgamesh, the king of Uruk, who was partially God and human (The epic of Gilgamesh, 1960). During his journey, the protagonist becomes involved in numerous events, from obtaining faithful friends to losing people close to him. Following the adventures of Gilgamesh, the readers can learn about loves motivating force, the inevitability of death, and the threatening power of gods, as understood by ancient Mesopotamians.

Love occupies a vital place in the epic of Gilgamesh, serving as a motivating force for Gilgameshs actions. Despite the fact that love in the epic is not represented in its traditional sense, as the romantic interest between two partners, it still leaves a significant impact on the audience. As such, the friendship between Gilgamesh and Enkidu can be considered platonic love between close friends who deeply cared about one another (The epic of Gilgamesh, 1960). For instance, after meeting Enkidu, Gilgamesh transforms from a tyrant into a kind and passionate king (The epic of Gilgamesh, 1960). After Enkidus death, Gilgamesh becomes inconsolable, and this loss compels him to search for immortality.

Another topic discussed in the epic is the inevitability of death. This concept becomes especially evident after Enkidus passing, the event after which Gilgamesh realizes the fragility of life. In his quest for the secret of immortality, the protagonist learns that death is unavoidable and must be accepted to fully embrace and enjoy life (The epic of Gilgamesh, 1960). Additionally, an idea that also becomes explicit at the end of Gilgameshs adventure is the threatening power of gods and their control over humanity. Having learned the story of the flood and the gods involvement in it, the readers can understand that reverence and respect towards the gods were essential for Mesopotamians.

Reference

Sandars, N. K. (Ed). (1960). The epic of Gilgamesh. Penguin Classics.

Literary art began to develop in ancient times, many centuries before our era. People recorded the events they experienced, described natural phenomena that they saw, and passed on their wisdom to future generations. Later, they started adding fantasy to literary works to make them more interesting and let impossible become possible, at least in books. It may seem surprising, but there are obvious or hidden connections that may be found between various literary works from different historical eras. The purpose of this paper is to provide backgrounds, summaries, and analyses of The Epic of Gilgamesh, the book of Genesis, and The Divine Comedy and find connections between them. Then, several scholarly sources about these literary works will be discussed.

The Epic of Gilgamesh

The Background of the Poem

The Epic of Gilgamesh is an ancient Mesopotamian poem that is believed to be the second oldest religious text and the earliest surviving great literary work. The poems literary history starts with five Sumerian stories that tell about the king of Uruk, Gilgamesh, and date from 2100 BC (The Epic of Gilgamesh). These poems were independent and later served as source material for a combined epic written in the Akkadian language. The Old Babylonian, which is known as the first surviving version of the poem, dates back to the eighteenth century BC, and there are only several tablets that have been saved until nowadays (The Epic of Gilgamesh). As for the later version, Standard Babylonian, it was created between the thirteenth and the tenth centuries BC, and its twelve tablets have been recovered.

The Summary of the Poem

The poems first half is dedicated to the description of the king of Uruk, Gilgamesh, and Enkidu. Gilgamesh is a one-third man and two-thirds god, has great knowledge and wisdom, and preserves the information of the days before the flood (Lorey 1). Enkidu is a wild man who was created by the gods to stop Gilgamesh from oppressing the citizens of Uruk (The Epic of Gilgamesh. 1:40). Enkidu travels to the city and challenges the king to a test of strength; the king wins the contest, and the two men become good friends. Together, they decide to make a journey to the legendary cedar forest, and travel there for six days to slay Humbaba the Terrible, the Guardian demon, and cut down the sacred trees of Cedar (The Epic of Gilgamesh. 4-5). The goddess of love Ishtar gets angry and asks Anu, her father, to make the Bull of Heaven punish Gilgamesh (The Epic of Gilgamesh. 6:95). After the two friends kill the Bull of Heaven, the gods decide to sentence Enkidu to death by poisoning him.

Gilgamesh becomes devastated; he cannot stop grieving for Enkidu and thinking about his future death. He decides to find the Mesopotamian Noah, Utnapishtim, who was rewarded with eternal life after the flood (The Epic of Gilgamesh. 10:5-10). Gilgamesh also wants to avoid death and hopes that Utnapishtim will tell him how to do that. After various challenges, he finally meets Shiduri, a tavern keeper. She warns him that it is futile and dangerous to seek immortality and asks him to be satisfied with the worlds pleasures (The Epic of Gilgamesh. 10:79-91). However, realizing that she cannot change his mind, Shiduri directs him to the one he is looking for. From Utnapishtim, Gilgamesh learns the story of the flood, and it convinces him of the desire to become immortal.

The gods got disappointed with humankind, met in council, and agreed to destroy all people. However, Utnapishtim was warned by Ea, the god of wisdom, and was told to build a huge boat and save his family and one of every creature (The Epic of Gilgamesh. 11:23-47). After the flood finished, the gods presented Utnapishtim with eternal life so that people would die, but humankind would continue living.

Gilgamesh gets inspired by the story and the opportunity of living forever and asks Utnapishtim to tell him the secret of eternity. Instead, Utnapishtim insists on Gilgamesh putting on his royal clothes and returning to Uruk, where he belongs. He also presents him with a miraculous Plant of Heartbeat that restores youth (The Epic of Gilgamesh. 11:295). Gilgamesh wants to share the plant, but one night a snake steals it (The Epic of Gilgamesh. 11:305). After returning to Uruk, the king accepts the fact of his mortality and takes comfort in knowing that humankind will live forever. Finally, he notices that the city that he had abandoned in his terror and grief is a wonderful, magnificent, and enduring achievement. Uruk is the closest thing to eternity and immortality to which a person can aspire, as it will get Gilgamesh remembered for centuries.

The Book of Genesis

The Background of the Genesis

Genesis is the first book of the Bible that is divided into two parts that describe the concepts of humankinds relationship with its creator and the nature of the deity. The first part lasts from the first chapter to the eleventh and narrates the primeval history of the world (Genesis). These are the stories about the Creation, the Garden of Eden, Abel and Cain, Noah and the Flood, and the Tower of Babel. The second part, which is from the twelfth to the fiftieth chapters, tells the patriarchal history of the Israelite people (Genesis). The opening sentence of Genesis is probably the most famous in the whole literature: In the beginning, God created the heavens and the earth (New International Version, Gen. 1.1). Moses is believed to be the author of Genesis; however, the modern opinion sees it as a product of the sixth and fifth centuries BC.

The Divine Comedy

The Background of the Poem

The Divine Comedy is a long narrative poem that was written by the Italian writer Dante Alighieri, in 1320, which is a year before his death. Not only in Italian but also the world literature, this poem is considered to be one of the most essential, successful, and mysterious literary works (The Divine Comedy). The Divine Comedy is a masterpiece that brought Dante immortality and eternal glory. The answer to the question of why the writer called his work a comedy lies in his essay De Vulgari Eloquentia (The Divine Comedy). As any comedy starts with something bad and ends with a good, the poem begins with the terrible and sometimes disgusting scenes of Hell and ends with beautiful pictures of heavenly bliss.

The Divine Comedy is a kind of mysterious vision that comes to Dante, the main character. It describes the state and life of souls after death in the three kingdoms of the underworld and therefore is divided into three parts: Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso) (The Divine Comedy). Each cantica of the poem consists of thirty-three cantos, and the whole book, including the introduction, is one hundred cantos (14.233 lines). The Divine Comedy is distinguished by remarkable architectonics as the Hell consists of nine circles, Purgatory  of nine lands, and Paradise has nine rotating celestial spheres, above which is Empyrean, the motionless seat of the deity.

The Summary of the Poem

In The Divine Comedy, Dante embarks on a journey through these three worlds. The shadow of the ancient poet Virgil, which is a personification of the human mind and philosophy, comes to Dante when he gets lost in the dense forest and tries to get out of there (Alighieri, Inf. 2:40-49). The shadow prompts the poet that he should take a different path. Also, on behalf of Beatrice, Dantes deceased beloved, Virgil himself will lead the poet through Hell and Purgatory to the blessed dwelling, where a more worthy soul will help him (Inf. 2:50-55). The poets pass through all the levels of Hell, meet different sinners, and then get to Purgatory. In there, penitent souls are being punished to completely free themselves from sin and enter Heaven (The Divine Comedy). Its levels are associated with the seven deadly sins, which are envy, pride, wrath, covetousness, sloth, gluttony, and lust.

Having passed the threshold of Purgatory and all the terraces, the two poets approach the earthly Paradise located at the very top. At the entrance, Virgil, as promised before, leaves Dante, whom Beatrice, the personification of divine revelation and theology, takes and leads through the third and the last level  Paradise. The first seven heavens bear the names of the planets: these are the spheres of Mercury, Moon, the Sun, Venus, Jupiter, Mars, and Saturn. Beatrice, having led the poet throughout Paradise, leaves him to Saint Bernard, with the help of whom the poet receives the vision of a deity, who appears to him in a mystical vision.

Connections Between Literary Works

The Epic of Gilgamesh and the Book of Genesis

After reading the poem and the first book of the Old Testament, one may notice that the flood descriptions are almost the same. It is rather difficult not to see the striking similarities between the story Utnapishtim tells Gilgamesh and the one written in the sixth, seventh, and eighth chapters of Genesis. However, the book of Genesis was written at least four centuries later, if not even more. Hence, there arises the question of whether the poem served as one of the primary sources for the Old Testaments first book, or both of the literary works had the same resources. If the second assumption is correct, then it means that they used them with the difference of many centuries.

To prove the evident similarities, it is crucial to provide several quotations from both of the books. After the flood was over, Noah sent out a dove to see if the water had receded from the surface of the ground (Gen. 6.8) However, the dove could find nowhere to perch because there was water over all the surface of the earth (Gen. 6.9). The same happens to Utnapishtim:

On the seventh day when it came,
I brought out a dove, I let it loose:
off went the dove but then it returned,
there was no place to land, so back it came to me. (The Epic of Gilgamesh. 11:147-150).

After surviving the flood, both men in both literary works make sacrifices to plead their gods. Utnapishtim says: I brought out an offering, to the four winds made a sacrifice (The Epic of Gilgamesh. 11:157). As for Noah, he built an altar to the Lord and, taking some of all the clean animals and clean birds, he sacrificed burnt offerings on it (Gen. 8.20). These are just several out of dozens of almost similar sentences that prove that there is not much difference between the descriptions in the books.

The Epic of Gilgamesh and The Divine Comedy

As for the connections between the poems, there are two of them. The first is friendship and love that guide the characters and help them to overcome problems and get through challenging periods of their lives. In The Divine Comedy, Dante feels lost and is ready to give up; what keeps him alive is the eternal love for Beatrice, who is not alive and whom he still remembers. Their meeting makes Dante strong, hopeful, and alive again. Also, it is possible to assume that the two poets, Dante and Virgil, have become good friends while traveling together and witnessing horrible sufferings. In The Epic of Gilgamesh, there is an example of the universal friendship between Enkidu and Gilgamesh who travel together, have common adventures, and cannot imagine betraying each other. After Enkidus death, Gilgamesh feels devastated and does not have any hope for the future (The Epic of Gilgamesh. 10:122-148). His friends death is the reason he is so sad, and his heart is full of sorrow.

Another connection between these poems refers to the way that the main characters souls have to overcome to change. Gilgameshs tyrannous ruling and their crimes in the forest are like his own Hell; Enkidus death and Gilgameshs speaking with Utnapishtim are his Purgatory since he suffers and purifies himself from the sins. When he returns to his city and finds peace, it seems like he gets to Heaven and, just like Dante, receives the vision of a deity. Hence, the part of his life described in the poem is similar to Dantes trip through the three worlds.

Scholarly Sources Incorporation

There is an interesting note that both Noah and Utnapishtim were given special but different rights that belong only to the gods. Noah was allowed to kill animals, which the context implies was formerly the prerogative of God alone (Fisher 394). On the other hand, Utnapishtim was granted eternal life, which is also something only the gods are believed to have. I agree that this is another connection between the book of Genesis and The Epic of Gilgamesh.

The second studied article provides a table with a comparison of the main aspects of the two accounts of the flood. This table has not only the similarities but also the differences, and the author insists that they are rather serious (Lorey 3). However, after analyzing the table, I may say that those differences do not play an important role and do not eliminate the power of the similarities. As for me, the main difference is that, in Genesis, means of the announcement were direct from God, while in the poem, they were gotten in a dream (Lorey 3). Also, it is hard not to notice that the flood Noah had to survive lasted much longer than the flood in The Epic of Gilgamesh. Since these differences do not change the fact that the floods descriptions have dozens of similarities, I assume that they are not crucial.

Works Cited

Alighieri, Dante. The Divine Comedy: Longfellow Edition. Lulu.com, 2018.

Fisher, Eugene. Gilgamesh and Genesis: The Flood Story in Context. The Catholic Biblical Quarterly, vol. 32, no. 3, 1970, pp. 392403.

Genesis. Encyclopedia Britannica, 2016. Web.

Lorey, Frank. The Flood of Noah and the Flood of Gilgamesh. Acts and Facts, vol. 26, no. 3, 1977, pp. 1-9.

New International Version. Bible Gateway. Web.

The Divine Comedy. Encyclopedia Britannica, 2019. Web.

The Epic of Gilgamesh. Ancient Texts. Web.

The Epic of Gilgamesh. Translated by Andrew George, Penguin Classics, 2017.

The Epic of Gilgamesh is a depositary of themes that continue to fascinate readers and make literary critics argue about their expediency. The main heros desire for immortality is grounded both in the fear of decay and the mans arrogance. Anticipating the failure of his struggles to find the secret of eternal life, Gilgamesh performs courageous and ambitious deeds that can distinguish him from other people and lead to universal approval. The protagonist aims at being worshipped and remembered for a long time even after his death. However, Gilgamesh still attempts to gain literal immortality following the example of Utnapishtim until he realizes the inevitability of death and accepts his destiny. Thus, the epic allows viewing fame as an alternative way of reaching immortality but at the same time implies that this option is perishable as it cannot be guaranteed.

The Epic of Gilgamesh presents the idea of fame through the convictions and aspiring plans of the main hero. Having obtained a helpful companion, Gilgamesh is determined to prove his destined supremacy by traveling to the Forest of Cedar and combatting dreadful Humbaba. Knowing that he is denied everlasting life, the protagonist wants to perpetuate his name: Let me start out, I will cut down the cedar, / I will establish forever a name eternal! (The Epic of Gilgamesh 20). Moreover, Gilgamesh believes that if one can outrival mighty creatures, demonstrating the physical strength, the person can be rewa with immortality (Seudin 47). The main hero is strongly determined to become renowned; therefore, he considers the high chance of death justified. Gilgamesh disregards the dissuasions of his mother, friend, and city elders because he is excited about the possibility to achieve immortality. The man is motivated not to benefit someone but to become glorious, which shows the importance of fame in his quest for endless life.

One can trace how the concept transforms further in the plot when the pride and ambitions of Gilgamesh result in Enkidus death. Even though the two friends have accomplished acts of bravery, which distinguished them from others, the only outcome they achieved was suffering. When Enkidu reveals the dream about the underworld, the main hero begins to rediscover his fear of the end of life and learns the value of care (Degnan 6). Previously, Gilgamesh has been focusing on himself, but the friends death overshadows the importance of fame: I shall die, and shall I not then be as Enkidu? / Sorrow has entered my heart! (The Epic of Gilgamesh 70). The protagonist realizes that his way of achieving immortality is not working because being remembered will not save him from literal decay and, thus, is an insufficient benefit. Gilgamesh recognizes his true fear: I am afraid of death, so I wander the wild, / to find Uta-Utnapishtim, son of Ubar-Tutu (The Epic of Gilgamesh 70). Therefore, the reader is directed to the conclusion that literate immortality cannot be substituted with the one gained through fame.

The epic gradually insinuates that aspiring to fame may not necessarily bring the expected outcomes. Although patronizing gods help Gilgamesh in his journeys, they know that the heros final purpose is unattainable, and it will not satisfy him. For example, on the road to Utnapishtim, Shamash remarks: O Gilgamesh, where are you wandering? / The life that you seek you never will find (The Epic of Gilgamesh 71). As Shamash is the god of consciousness and justice, his disappointment indicates that the protagonist does not think clearly and cannot make the right conclusions. By challenging supernatural forces, Gilgamesh hopes that his life will become similar to that of gods, but such a narrow perspective prevents him from seeing the greater picture and enjoying the pleasures given to humans. Consequently, the desire to be immortal with the help of fame hinders the protagonists happiness.

Utnapishtim becomes one of the last steps on Gilgameshs road to recognizing the inevitability of his destiny and the falseness of his eagerness to be famous. He claims that no one can escape death: The comely young man, the pretty young woman  / all [too soon in] their [prime] / Death abducts them! (The Epic of Gilgamesh 86). However, the fact that Utnapishtim and his wife live eternally contradicts such a statement. After hearing the story of the couples obtaining immortality, Gilgamesh clings to the delusion that the same can occur with him and returns to the conviction that it is possible to earn immortality from the gods. The protagonist refuses to follow Utnapishtims advice and stops his quest, failing to notice the deep meaning. In essence, the purpose of the immortal man in the poem is to warn Gilgamesh about the pointlessness of the eternal life he is living. Being egocentric and proud of his accomplishments is futile without service to others. Fame and successful life will not make one happy, and simple human connections are the genuine source of joy (Degnan 6). The epic provides valuable lessons when shifting the focus from both fame and immortality.

Finally, The Epic of Gilgamesh demonstrates that although one can strive to reach immortality through fame, there is no guarantee that glory will last forever. The main hero tries to overcome his vulnerability to death and develops the two strong illusions. First, he considers the acts of brevity and his ability to surpass an ordinary human the primary accomplishments that will bring him closer to becoming divine. The refusal to accept his destiny and the aim for universal recognition lead to increasing suffering but do not improve the mans situation. The friends death shatters the illusion of Gilgamesh and compels him to see the shortcoming of his actions (Seudin 61). Second, the protagonist hopes that he will be remembered by the next generations. Nonetheless, even the brick walls fall, the writings become lost, peoples views and interests change. Therefore, no one can secure the memory of the great person for the future. Fame will not have an influence on those who reside in the underworld.

The Epic of Gilgamesh provides exciting insights into the relationship between becoming glorious and being immortal; however, the struggles of the main hero reveal that such immortality is questionable. The reader can observe how Gilgamesh changes his perspective on the issue of immortality throughout the poem. In the beginning, he concentrates on extraordinary deeds due to his peculiar arrogance and overconfidence. Later, the death of Enkidu brings doubts and fears of the future. Even the quest for real immortality proves to be futile as it does alter the destiny; moreover, it would not make the hero happy. Utnapishtim tries to convince Gilgamesh, but he recognizes his mistakes only when returning home. Consequently, the epic implies that ones illusions will not lead to a better life as fame is not always eternal; thus, there is no point to seek immortality in this way.

Works Cited

Degnin, Francis Dominic. Minority Report: Re-Reading Gilgamesh After Levinas. SAGE Open, vol. 6, no. 3, 2016, pp. 1-8, Web.

Seudin, Allen Elia. Underlying Motifs in the Heros Quest for Immortality in The Epic of Gilgamesh. 2017. MA Thesis. Semantic Scholar.

The Epic of Gilgamesh. Translated by Andrew George, Penguin Classics, 1999.

Gilgamesh’s and his relation with mother

In the epic of Gilgamesh, Gilgamesh’s mother Ninsun is said to be a goddess who marries Lugalbanda to create Gilgamesh. Ninsun is depicted as a bold and cunning woman in the epic. Gilgamesh is found to have close relationship with his mother. An example of this closeness is when he asks his mother to find the meaning of the dream which he had and Ninsun’s reply to it. Ninsun is a woman of intelligence and determination and is ready to do everything within her power to protect her son. This adds to Gilgamesh’s strength. She summons the sun god Shamash to protect her son’s life in every walks of his life. She declares Enkidu as her adopted son in order to give maximum protection to her son. Similar is the story of Achilles and his mother in which Thetis, Achilles’ mother does everything to protect his son when a prophecy is made that Troy cannot be captured without Achilles. Thetis knows that if he goes to Troy he would not return. There are numerous accounts of Thetis’s attempt to make her boy immortal including dipping her baby boy in river Styx. Odysseus’s mother Anticlea has divine legacy also. The strength of the relation between Anticlea and Odysseus is depicted in the story where Anticlea discloses that she died of grief because Odysseus was away at war.

The Gilgamesh accounts of the flood, comparison with the Old testament version

Both the flood in Gilgamesh’s epic and the genesis were meant to destroy the entire living beings. But in Gilgamesh’s epic it was a result of the fights between gods and their wickedness whereas the flood account in genesis was because humans and living beings were becoming numerous and noisy. The onset of both floods were informed in advance to a man, Utanapishtim in Gilgamesh’s epic and Noah in Genesis. Both of them organized each pair of entire living beings into a big ship built by them. Noah’s ship was built in 3 decks and is considered seaworthy whereas Utanapishtim’s ship was huge and had equal dimensions with a heavy ceiling and had 7 decks. The design of the ship described here is not seaworthy. Noah invited only his family along with other living beings to his ark. Utanapishtim gathered the craftsmen from the city along with his kith and kin and other living beings. He also collected wealth and food enough to sustain their lives. The Biblical version has the rains lasting for forty days and night. But Gilgamesh’s epic had the rains lasting for 7 days and night. The differences in the epic show the difference between the cultures of ancient Mesopotamia in which the people were not nautical experts whereas the biblical depiction of the ark shows that the people of that period had experience in seafare.

Comparison and contrast the behavior of Gilgamesh, Odysseus, and Arjuna

Gilgamesh, Odysseus and Arjuna are the central characters of the epics of Gilgamesh, Odyssey and Bhagavad Gita respectively. All the three of them are portrayed as powerful kings of their cities and are superior to other characters of the story. The three of them represent the culture and behavior of the royalty in the areas in which they ruled. Gilgamesh is portrayed as a strong, bold and cruel king of Uruk in the beginning. He is a king who is mean and rapes girls on their day of marriage. It is the entry of Enkidu which changes Gilgamesh’s life. Both go for war and when Enkidu dies, Gilgamesh is devastated. It is Gilgamesh’s search for immortality that is depicted in the epic. Odysseus is a Greek king of Ithaca and is shown as a cultural hero in the Greek epic Odyssey and Iliad. Odysseus is shown as a compassionate son in Odyssey when he meets his mother in the underworld. Odysseus is considered as a man of cunning intelligence. Arjuna, the central character of the epic Mahabharatha is a man of strength, wisdom and who adheres to his duties. Like Gilgamesh and Odysseus, Arjuna is an outstanding warrior. Mahabharatha shows the battle between the Pandavas including Arjuna and his brothers and Kauravas, their cousins. Arjuna is devastated seeing the destructions of the war and it is then he gets counselled by Krishna his friend and brother-in-law. According to Krishna’s guidance, he fights the war by upholding his righteousness without considering personal losses incurred to him. Arjuna is shown as a symbol of righteousness with all the qualities of a mortal. This makes Arjuna more heroic than Gilgamesh and Odysseus.

Works Cited

Kovacs, MG. The Epic of Gilgamesh: Tablet XI: The Story of the Flood. 2009. Web.

Summary

Tablet XI of the epic ‘Gilgamesh’ is a conversation that Gilgamesh has with Utanapishtim, who survives the great flood. Gilgamesh wants to fight with Utanapishtim but when the former sees the latter, he realizes that Utanapishtim is unlike him though he appears as a man. Gilgamesh asks Utanapishtim to narrate the story of his fate, and Utanapishtim reveals the secret behind his fate through the story of the flood.

Shuruppak, a city on the banks of the river Euphrates, is the abode of gods. Anu, Enlil, Ninurta and Ennugi, decide to destroy all living beings within the city by unleashing a flood. However, Princess God Ea wants to save mankind and other living beings and she warns Utanapishtim of the flood. She further asks him to build a boat of equal dimensions and cover it with a roof of ‘Apsu.’ She also instructs to gather all living beings with enough food and supplies and take them to the boat. Utanapishtim expresses his concerns on how he shall inform the city’s population. Ea replies that he needs to tell them that Enlil is rejecting him and that he is going to Apsu to live with his Lord Ea where wealth and food are abundant.

When the sun rises the next morning, Utanapishtim collects the craftsmen from the city and together they build a boat of walls with equal dimensions of “10 times 12 cubits height.” He designed the boat with six decks and nine compartments each and fills it with all the necessary items for the living beings inside. The craftsmen were given beer and wine and they complete the work by sunset. Utanapishtim loads it with all kinds of living beings, his family and the craftsmen and seals the entrance in time as stated by Shamash.

From inside, they witness the black clouds rushing towards the city’s horizon, accompanied by the Gods Adad, Shullat, Erragal, Ninurta and Hanish. Torrential rains and heavy winds ensue, lashing the city. Anunnaki causes heavy lightning and thunder. The rains last for 7 days and 7 nights and cause a flood which sweeps away all living beings from the city, and causes carnage. The gods become devastated by this aftermath and regret their deed.

Ishtar, the Mistress of the Gods, along with Anunnaki, weeps with grief. After the 7^th day, the rains stop and the flood subsides. Utanapishtim’s boat lands on Mount Nimush and gets lodged there firmly. On the seventh day after the flood, Utanapishtim offers sacrifices to the gods by placing incense in front of Mount Ziggurat and sacrificing sheep.

Gods arrive to accept the offering and Enlil gets furious when she sees that some living beings are alive. But Lord Ea negotiates with Enlil and reminds him of his cruel deeds. Enlil regrets his deeds and blesses Utanapishtim and his wife and renders them the status of gods.

Once the story of the flood is finished Utanapishtim challenges Gilgamesh to stay awake for 6 days and 7 nights but the latter fails and is sent back to Uruk – Haven with Urshanabi. But Utanapishtim’s wife feels sorry for Gilgamesh and requests Utanapishtim not to send him away empty-handed. Utanapishtim gives Gilgamesh a clue about a plant that can bring immortality to him. Gilgamesh finds the plant at the bottom of the sea and takes it along to test it on an old man. But he loses the plant due to his carelessness and is devastated. Finally, empty-handed, Gilgamesh goes back to Uruk – Haven with Urshanabi.

Reactions

My first reaction to the story of the flood derives from its striking resemblance to the Story of Genesis from the Bible. I feel that the Gods in the story hardly have any heavenly qualities. They decide to destroy the living beings besides conspiring against one another. After the flood, the gods regret their deed and shed tears like mortals. “Ishtar shrieked like a woman in childbirth, the sweet-voiced Mistress of the Gods wailed: ‘The olden days have alas turned to clay, because I said evil things in the Assembly of the Gods! How could I say evil things in the Assembly of the Gods, ordering a catastrophe to destroy my people!! No sooner have I given birth to my dear people than they fill the sea like so many fish!’” (The Epic of Gilgamesh). I wonder how the gods decide to fight against one another and act like normal human beings. Why are the gods mentioned in the story destroying the living beings when they are supposed to protect them? In this story, the human being Utanapishtim lures the gods by offering incense and sheep and the gods are attracted by the sacrifice. “The gods smelled the savor, the gods smelled the sweet savor and collected like flies over a (sheep) sacrifice” (The Epic of Gilgamesh). Are Gods attracted to worldly pleasure?

The dimension of the boat that Utanapishtim builds is a surprise. Boats with equal dimensions are not sea-worthy. I wonder how Utanapishtim managed to fill all living beings in such a boat. The choice of Utanapishtim as the survivor of living beings by Ea is also not found in the story.

Therefore, overall, the story of the flood is quite unbelievable with its weird accounts on gods and immortality.

Works Cited

The Epic of Gilgamesh: Table XI: The Story of the Flood. 2009. Web.

From the Old Testament book of Genesis, the serpent is a representation of the devil. God had strictly warned Adam and Eve not to eat from a particular tree in the Garden of Eden but Satan, in his crafty ways, managed to convince them to partake of its fruit promising it would give them unending wisdom. When God finds out what the two have done, He declares that from then henceforth human beings shall grow old and die while the snake would be subjected to physical violence from humans.

In the epic of Gilgamesh, the quest for eternal life by the lead character takes him to the particular flower that could accord him this wish (Shin-eqi-unninni 30-35). The serpent however causes him to let go of it. The serpent is responsible for Gilgamesh not getting everlasting life in the same way that the serpent in the Bible led Adam and Eve to lose a chance at eternal life.

In both stories, the serpent uses well thought out trickery to accomplish his mission. In the Bible story, the snake isolates Eve and then gets her to believe that God had a hidden motive not to let them eat the fruit from the particular tree. The temptation to go against God’s commands proves too strong and finally Eve gives in and finding out the goodness of the fruit manages to convince Adam to have a taste as well.

In the Gilgamesh story, the serpent tracks Gilgamesh’s movements all the way to the flower of immortality wish (Shin-eqi-unninni 30-31). While Gilgamesh stops to rest and have a bath, the serpent snatches the flower of eternal life from him consequently taking away immortality from mankind.

In the Bible creation story, he serpent chooses Eve’s time of weakness (when Adam is not present) to corrupt her brain with physical desires. In the Epic of Gilgamesh, the serpent strikes at him (Gilgamesh) in his time of weakness- that is, whilst he is taking a bath. This similarly illustrates that the serpent knows that he is no match for the human when he (the human) is well aware of its strength and therefore preys on him during his weakest.

In both the Gilgamesh and the Old Testament story, the serpent is used as a representation of Satan. The crafty ways that Satan uses to get people to do things his way, is well manifested in the way that the serpent carries itself.

In both myths as well, the serpent has been given some human characteristics, in the sense that it can communicate to its victims by speech. Though in reality it is impossible for a snake to talk or even have such desires as eternal life, the humanization from both stories of this particular reptile is strikingly similar.

The main difference between the serpent incidents in the Bible story and the Epic of Gilgamesh is the fact that in the latter, the serpent snatched eternal life for itself.

This is as opposed to the creation story whereby Adam and Eve already had been accorded eternal life by God and only lost it as a punishment for their disobedience. Secondly, the repercussions are not clear on the part of the serpent in the second story. To some extent he actually gets rewarded with eternal life as opposed to the Bible story where he is cursed to walk on his belly.

Works Cited

Shin-eqi-unninni. “Gilgamesh”. The Norton Anthology of World Literature, Vol. A: Beginnings to A.D. 100, 2nd Edition. Ed. Sarah Lawall et al. New York: W.W. Norton & Company. 10-41. Print.