At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking.
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking.
Epic of Gilgamesh
VI 29.
From this point onward the new tablet takes up a hitherto
unknown portion of the epic, henceforth to be assigned to the second
book. [9]
At the end of Book I in the Assyrian text and at the end of Col. I of
Book II in the new text, the situation in the legend is as follows. The
harlot halts outside the city of Erech with the enamoured Enkidu,
while she relates to him the two dreams of the king, Gilgamish. In
these dreams which he has told to his mother he receives premonition
concerning the advent of the satyr Enkidu, destined to join with him
in the conquest of Elam.
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor.
At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
unknown portion of the epic, henceforth to be assigned to the second
book. [9]
At the end of Book I in the Assyrian text and at the end of Col. I of
Book II in the new text, the situation in the legend is as follows. The
harlot halts outside the city of Erech with the enamoured Enkidu,
while she relates to him the two dreams of the king, Gilgamish. In
these dreams which he has told to his mother he receives premonition
concerning the advent of the satyr Enkidu, destined to join with him
in the conquest of Elam.
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor.
At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
