Immortality through Honor and Courage

Close reading of page 17

In this short five line passage of the book, we get a lot of information. One of the more concrete pieces of information we get is the theme of fame, or in this epic in particular, immortality through honor and courage. Gilgamesh’s sense of honor is shown through his willingness to fight against Huwawa even though he may not survive. This is fine to him though since his fame is ensured if he wins or loses. It is ensured if he loses since he would then be known as the one who “fought against Huwawa.” This sense of honor is driven by the fact that he wants his fame to be “secure to all [his] sons.”

Also in this passage, we see the importance of iconic figures or figures that represent a person. These iconic figures are what make people remember the person they represent and this is shown through the line that says that Gilgamesh will “cut the Cedar down and win the glory.” Be cutting down the Cedar, Gilgamesh is taking away what made Huwawa immortal. If he is dead and so is his Cedar, what would Huwawa become later? Gilgamesh essentially wants to take this figurative immortality away from Huwawa and use it to make himself immortal.

With this small passage, we see a glimpse of Gilgamesh’s need to be immortal which becomes more important to him after Enkidu dies. I believe that this passage foreshadows this theme of immortality later on in the epic.

Close Reading 1

Jonathan Hardesty

“If I should fall, my fame will be secure. ... My fame will be secure to all my sons.”

In this passage it is easy to infer that fame is important to Gilgamesh. This is because fame will enable him to be immortal vicariously through his memory. In Gilgamesh's world, Uruk, nothing is permanent: the city walls need to be repaired and replaced; fires go out; houses fall down and so forth. In other words, every aspect of humanity and its creations are short lived and cannot escape their end except, in Gilgamesh's mind, the perpetuation of an idea—a memory—across generations. This, Gilgamesh believes, will give him immortality. This immortality can be embodied in fame through his actions. His fame “will be secure [immortal] to all [his] sons” in that his memory will be alive for generations to come. That Gilgamesh may “fall” is not of importance, but that he had the courage and was the first to take on the challenge of venturing into the Cedar Forest is what he believes will give him his perceived rite to immortality.

Close Reading 2 - A Means to Immortality

p. 40 (10 verses): “Because of her you eat the food and drink…. Gilgamesh the king will build a statue / to celebrate the fame of Enkidu.”

The quest for eternal fame, the desire for immortality, is a theme that reverberates throughout The Epic of Gilgamesh. Although much of the story encompasses Gilgamesh’s quests to establish his own immortality, this passage considers what makes a mortal life worthwhile. On his death bed, Enkidu curses those who would introduce him to a world he could only briefly experience and enjoy. Before Shamhat civilized Enkidu, Enkidu epitomized unspoiled man, living in blissful ignorance of life’s philosophical questions like the wild creatures he dwelt among. Enkidu laments the transformation he has undergone and curses Shamhat, the woman responsible for his evolution. Transforming from beast to human required acknowledgement of universal truths about mankind, the most challenging of which to accept is the fact that everyone will die. The words of Shamash in this passage serve to remind Enkidu of the overwhelming joy and sense of purpose that companionship and community offer, even if the end of life is inevitable. Shamash’s call for Enkidu to contemplate his words recalls to Enkidu the many benefits of being human, of knowing that there are many things to enjoy even if those experiences will not last. “Because of [Shamhat],” Enkidu has enjoyed the riches of civilization including the best food, drink, clothes, and shelter, not to mention he commands tremendous respect from the people of Uruk (40). He has become a part of a larger community as, “the great ones of the earth bow down before [him]” (40). Most importantly, those gifts were the fruits of his relationship with Gilgamesh, a companionship which gives not only Enkidu’s life purpose but Gilgamesh’s life as well. Together, Enkidu and Gilgamesh confronted seemingly insurmountable challenges and provided each other counsel at times of uncertainty. This passage highlights the ability of relationships, like those between Shamhat and Enkidu and Enkidu and Gilgamesh, to completely reshape perspectives. The repetition of phrases, “because of her,” and, “you will be the cause”, within the passage signal the ability of human interaction to inextricably change lives and give them new meanings, even if those relationships end eventually (40). Shamhat forever changed Enkidu’s life by introducing him to the rest of humanity and giving him understanding of mankind. With his death, Enkidu inspired Gilgamesh’s search for immortality by showing him just how fragile life is. Gilgamesh offered Enkidu friendship and allowed him to enjoy the fruits of civilization. Shamash reminds Enkidu of the world to which Shamhat introduced him. Enkidu’s life has taken on meaning as a member of the community of Uruk and as the companion of Gilgamesh. The statue, representative of Enkidu’s influence, symbolizes his impact upon Uruk and Gilgamesh’s life, much like the story of Gilgamesh is indicative of Gilgamesh’s impact on the world. Thus, each character has a means by which to become immortal.

Todd's close reading

In this passage Gilgamesh is proclaiming to Enkidu that he will vanquish Huwawa and cut down the tallest Cedar in the Forest. This is significant because it represents humanity’s struggle against nature. Gilgamesh tells Enkidu that Huwawa must be destroyed and that Gilgamesh and Enkidu must go together. This emphasizes the importance of the male-to-male bond in this tale. Male-to-male bonding is representative of an attainment of full humanity and a transition of Gilgamesh and Enkidu to becoming more civilized. Enkidu says that he is afraid of battling Huwawa who is described as a beast of nature. I believe that Huwawa is representative of the literal forces of nature. His “mouth is fire; his roar the floodwater; his breath is death. This symbolizes the destructive power of fire, flooding, and the death and despair that accompanies them. Therefore, when Gilgamesh says that he will go and fight Huwawa, he is really saying that he will venture out to fight against nature. This ties into the theme of nature versus civilization. Gilgamesh and Enkidu will set out to vanquish nature with civilized tools, which are weapons and knowledge. This is told to us in the lines following the passage. The two heroes go to the armor makers for weapons and Enkidu uses his knowledge to guide Gilgamesh. After Huwawa has been destroyed, Gilgamesh exclaims that he will cut down the tallest Cedar tree, which will bring him glory. I see the Cedar as a trophy that Gilgamesh desires. The Cedar represents the epitome of nature: a massive, strong, and stable entity that will most likely last for hundreds of years if it is not destroyed by humanity. Eventually Gilgamesh will make this Cedar into a gate for his city. This symbolizes the ultimate triumph of Gilgamesh over nature. He has taken civilization and all of its tools to vanquish the forces of nature. Now, that which once stood for the epitome of nature will represent the epitome of civilization. As a gate, the Cedar will stand as a monument to humanity. As a human passes through the gate, they will enter the city and become civilized. It will also serve as a mechanism to keep nature out of the city. Gilgamesh intends for the gate to stand as a monument to his conquest of nature for a long time as he proclaims that his fame will be secure to all his sons.

Gilgamesh vs Huwawa

p. 17 (5 verses): “If I should fall, my fame will be secure. ... My fame will be secure to all my sons.”

In this passage Gilgamesh is speaking about fighting Huwawa, guardian of the forest. In the very beginning Gilgamesh mentions how just an attempt at beating Huwawa, not even a victory, will be sufficient to secure his fame. Even at this early stage of the story Gilgamesh is trying to obtain some sort of magnificent goal. But he has not yet arrived at his ultimate goal of achieving immortality. At this point he is still content with achieving fame. His fame has not yet become a tool to achieve immortality because he has not yet experienced the horrific nature of death. Furthermore, Gilgamesh’s desire to defeat Huwawa is reminiscent of the theme, Man vs Nature. But this case is slightly different. Normally in the Man vs Nature theme, Man is trying to protect himself from the elements of nature by using his technology and tools. Man is usually the victim and in response he creates walls and other technology to defend himself from Nature. In this case, though, Gilgamesh (Man) is going out of his way to attack Huwawa (nature) with no reason to do so. The roles are reversed in this situation of Man vs Nature. Nature is the victim and Man is the aggressor. This might have much to do for why the gods punished Enkidu and Gilgamesh. The actions of Gilgamesh might have been potentially dangerous because they were creating a reversal of roles in the Man vs Nature conflict. And in order to maintain the status quo the gods killed Enkidu. Another interesting part of the passage is when it says “It is Gilgamesh who will […] cut the Cedar down”. In this part it seems as if Gilgamesh will be the one who cuts down the largest tree, but in reality it is Enkidu who performs the action. This discrepancy is essential because if Gilgamesh had been the one to cut down the tree he might have been the one to be killed by the gods.

Gilgamesh - Close Reading 1

“If I should fall, my fame will be secure…My fame will be secure to all my sons” (17).

Throughout the epic novel we find Gilgamesh constantly striving for a seemingly unattainable monument—everlasting fame. In this passage this is very much true. Although he is unable (and unaware at this point) to remove the very fabric of his existence, human mortality, Gilgamesh is motivated and inspired by glory to perform great acts of heroism. He appreciates immortality because it has blessed him with strength and reputation. For that reason, Gilgamesh spends his life searching for a way to achieve it and escape his mortal restraint. Gilgamesh derives his courage from a confidence in the legacy that will survive through his “sons,” which highlights both the ancient misogynistic culture and another historical form of legacy and fame: the transfer of reputation and wealth down generations of royalty. Though the author emphasizes Gilgamesh’s divine characteristics here in the beginning of the epic, we are reminded with diction like “venture” that Gilgamesh is led by human curiosity, aggression, and naivety. The human part of Gilgamesh inevitably sets him against nature in that he must face the undeniable fate of death as well as support civilization and the destructive impact it has on nature. Evidence of his human capacity lies in his triumphant challenge versus Huwawa, the guardian of the forest. Both “Forest” and “Cedar” are capitalized as a way of depicting the importance of nature as well as to personify it as Gilgamesh’s counterpart or opponent. In both cases Gilgamesh tends to destroy the precious products of nature and use the glory and wood obtained to serve civilization. Gilgamesh’s humanity is further indicated by the juxtaposition of his courage to Enkidu’s lack of such. Immediately prior to the passage given, Enkidu expresses his fear and caution to pursue a journey to the Forest, the very type of community Enkidu used to represent and protect. Since he has found companionship with the king of Uruk, and will soon embark on a mission to demolish nature’s resources, we see the complete transformation of Enkidu here.

Enkidu: from wilderness to civilization

p. 40 (10 verses): “Because of her you eat the food and drink… Gilgamesh the king will build a statue / to celebrate the fame of Enkidu.”

In these verses, Shamash questions why Enkidu would want to curse Shamhat the harlot for she is the one that brought him to the luxury of civilization. He tells Enkidu that if it weren’t for Shamhat, he would never had had the “food and drink the palace affords” or the “garments suitable for a prince to wear.” Enkidu, who used to roam with the wild animals, has become civilized and come to love the comfort of human creations. He now seeks the comfort of true human life in which he does not need to search or hunt for food as he had to in the wilderness; he is instead treated like a prince next to Gilgamesh and dressed properly as well. His life after meeting Shamhat differs greatly from the past in that he did not have clothes to wear in the past nor did he feel the need to be well-clothed; however, now that he has become civilized, he cherishes the qualities of life in the city and cannot readjust to life in the wilderness anymore. Shamash’s comments suggest that civilization is better than nature and that Enkidu’s position now is more preferable than his past one with the animals. In accordance to his new higher position, Shamash also adds that Gilgamesh will have the people “build a statue to celebrate the fame of Enkidu.” The purpose of this statue is to show a sense of immortality for Enkidu based on the idea that he will always have a statue of him around that people will remember him by even after his death. When he used to live in nature in the past, he did not seek this need for fame or immortality; however, his life in a civilized city has revealed to him the pride that people take in honor, power, and respect. He has become adjusted to a lifestyle in which hierarchy plays a large role and immortality is equivalent to admiration and respect from the rest of the common people. The statue that is to be made for Enkidu is a symbol of his immortality to the people of Uruk and their undying respect for his companionship and adventures with Gilgamesh in which, together, they were able to overcome their fears. However, when Enkidu faces death, he is alone and incapable of fending off this fate. Likewise, Gilgamesh will soon be alone as well as the mortal side of him overcomes his divine side and he will ultimately have to face his biggest fear—death.

Niall's Reading Pg. 17 The Acquisition of Immortality

Pg. 17 (5 verses): "If I should fall, my fame will be secure .... My fame will be secure to all my sons."

This passage in David Ferry's translation of Gilgamesh is significant in how it provides insight on how many people in that time were to make a name for themselves and be remembered in death. A main theme in Gilgamesh is how one is perceived after they die. The epic finds the idea important that in order for an individual to be recognized after death, they must be monumentalized. This mentality becomes apparent when Gilgamesh proclaims what his action's end results will be: "If I should fall, my fame will be secure [...] My fame will be secure to all my sons" (Ferry 17). Gilgamesh will not only be remembered, but his offspring will carry his fame as well. Gilgamesh cares little about self-preservation and instead focuses on the notion that he will be famous and remembered for his exploits. Gilgamesh furthers this attitude by speaking of himself in the third person almost memorializing his actions and setting up the epic: "It was Gilgamesh who fought against Huwawa! It is Gilgamesh who will venture into the Forest and cut down the Cedar down and win glory" (17). Gilgamesh goes to the Cedar Forest for no other reason than to kill Huwawa and to gain glory and recognition for himself. As a ruler he does not mention that the Cedar Forest will be a good source of timber or that he goes there for the good of his people. Instead he wishes to merely make repute for himself and to erect monuments in his name such as the gate that he creates from the tallest cedar in the Cedar Forest. Gilgamesh does this because through the walls, gates, and other monuments that bear an individual's name is how anyone is long remembered and lives on after the mortal has died. This idea of being immortalized seems to be one theme in Gilgamesh and the chosen verse portrays that having grand adventures, momentous battles, or establishing monuments are possible avenues in order for humans to reach immortality.

Enkidu's Humanity

Passage: p. 40 : “Because of her you eat the food and drink.... Gilgamesh the king will build a statue / to celebrate the fame of Enkidu.”

After Enkidu curses Shamhat for bringing him to the city and civilizing him, Shamash reminds him that she was also the one to bring him to Gilgamesh. Shamash’s comments indicate that civilization is superior to nature, implying that Enkidu should be thankful that “because of her [he can] eat the food and drink the palace affords… [and] wear the garments suitable for a prince.” According to Shamash, Enkidu now rises above the animals that he once associated with, adding that “the great ones of the earth bow down before [him].” Though Enkidu resents Shamhat at first for removing him from nature, he comes to agree with Shamash in that he has gained more from civilization and blesses the harlot instead. The idea of immortality is suggested in Shamash’s claim that “Gilgamesh the king will build a statue to celebrate the fame of Enkidu.” This way, Enkidu would gain immortality with a lasting tribute and with his fame, both of which would supposedly endure past his death. Gilgamesh also tries to gain this sort of immortality through his dangerous quests in the hopes of becoming famous. Even though Enkidu first appears more beast than man, he becomes more human in nature through his encounter with Shamhat and his friendship with Gilgamesh. He is mortal and is susceptible to sickness just as any other man. Though Gilgamesh is considered more divine than human, he is also mortal and will inevitably die despite his attempts to evade death.

Pg. 42: Death is a Regression

pg. 42 (6 verses) “No one comes back who ever enters there. ... dead chanters and anointers, bearers of ointments;”

Enkidu’s perceives his transition from living to the dead not as transcending his plane of existence, but as a permanent regression. Upon his death, Enkidu is forced on a garment of feathers, a spiritual statement of his death, as feathers are associated with birds who are used to symbolize the departure of a soul from an earthly body. He is not just stripped of his humanity, but his human form and is now regarded as a lesser being. From the verse, the dead are perceived with low regard and are considered inferior to humans and even nature. Evidence for that is how Enkidu describes the "food they eat is clay, the drink is dirt" because the luxury to eat anything cultivated or organic is no longer possible. Enkidu acknowledges that in the Underworld, he will lose his identity and distinction, as kings and chanters alike were sentenced to the same fate despite their disparity in social status. This is idea supplemented by how humans originated from clay and since the dead can only feed on clay, it is a circular reminder of their baser origins. So regardless of hierarchy in civilization, humans were all created the same way and upon their end, will end up in the same place.

The verse of how “stillness and dust are on the door and door bolt” reveals that human technology, although present in the underworld, is pointless. The stillness and dust can imply that those items have been untouched or even ignored by the dead. This additionally contributes to the idea that the dead are of lesser entities, as they cannot recognize and use man-made products, therefore have lost their ability to form thoughts and make rationale decisions. Although animals do not possess human logic, they are curious by nature and would have at least touched or approached those objects, but the dead just ignore them. The door’s presence can be viewed as a mockery to the dead, who no longer capable of independent thinking and the helplessness of their situation. Enkidu also comments how "there is no light of any sort at all" in the Underworld, which represents a loss of vitality. Without light there is no nourishment or growth, just an atmosphere of perpetual darkness and inactivity; any hope for development is impossible. Death is an inevitable regression, as all mortals will lose their human form, identity, comforts, rationale, and need for progress.

The Transformation of Enkidu

p. 40 (10 verses): “Because of her you eat the food and drink…. Gilgamesh the king will build a statue / to celebrate the fame of Enkidu.”

In these verses, Shamash points out to Enkidu the favorable differences between life in the wild and life in a city when Enkidu curses the harlot. The main point of it is that Shamhat should not be cursed because she brought him to civilization. “The food and drink the palace affords” Shamash describes Enkidu now has access to is in contrast to the grass and water holes that Enkidu ate and drank at while he lived in the forest—one is processed and refined by mankind while one is crude and natural. Shamash also points out that Enkidu now wears “garments suitable for a prince to wear.” Again, the new clothes are a symbol of Enkidu’s introduction to living with other humans and their society. These are all the basic things that Shamash is exposed to because of Shamhat.

Not only does Enkidu become part of a civilization, he also becomes part of a community. The sun god goes on to mention that Enkidu has secured the “place of honor nearest the king; the great ones of the earth bow down before [him].” For a man in the wild, having that status of importance would mean nothing. Only to a man who is part of a community would understand it as something to be desired, a symbol of status and respect to be proud of. The same concept applies to Gilgamesh’s predicted grief over Enkidu’s death and the “woe and wailing in the city.” The individual friendship of a companion and the close relationship with other beings of the same species are also things that Enkidu realizes he has gained from coming to the city--things that he would not have been able to experience with animals in the wild. Also, Gilgamesh says that he will build a statue to celebrate Enkidu’s fame. The idea of glory and being remembered in the future would mean little to an animal, but a human amongst humans would be glad to know that he will not be forgotten in death. The fact Enkidu then retracts the curse to Shamhat shows that all of these things now mean a lot to him, which marks the thorough transformation of Enkidu from wildebeast to civilized man.

the nature of death--pg42

One of the major themes considered throughout the epic of Gilgamesh is the notion of man’s mortality. It is an idea that Gilgamesh himself grapples with and, as his metaphorical brother, so too does Enkidu. This specific passage focuses on the nature of death as related to Gilgamesh by Enkidu. Through the dream-laden words of Enkidu as he lies on his death-bed, the finality of death is proposed. Once an individual has passed to the “House of Darkness,” there is no possibility of returning to the living world, “no one comes back who ever enters there.” The stillness and dust on the door further point to the immutability of death. The door is permanently shut with no inclination of ever being opened for the prospect of escape. The absence of light casts away any sense of hope; the inhabitants of the “House of No Return” are forever trapped in darkness and sorrow. Additionally, death is characterized by an association with Nature. The dead are adorned in garments made of plumage, indicating that their man-made clothes have been removed or ripped away. They are depicted as eating clay and drinking dirt, thus as their bodies decompose and become part of the earth, they are also consuming soil and thereby rejoining Nature from the inside out. Finally, as Enkidu looks on in his dream, he notices many individuals of high social status. This implies that while their positions may have linked them to the higher echelons of civilization during life, they have all nonetheless been reclaimed by death. Regardless of age, wealth, or cultural refinement, they have all been forced to face the limitation of man’s mortality. Conclusively, I think this passage focuses on describing the nature of death: its finality, intimate association with Nature, and impartiality.