When was the Epic of Gilgamesh discovered?
80028#4
The "Epic of Gilgamesh" was discovered by Austen Henry Layard, Hormuzd Rassam, and W. K. Loftus in 1853. The central character of Gilgamesh was initially reintroduced to the world as ""Izdubar"", before the cuneiform logographs in his name could be pronounced accurately. The first modern translation was published in the early 1870s by George Smith. Smith then made further discoveries of texts on his later expeditions, which culminated in his final translation which is given in his book "The Chaldaean Account of Genesis" (1880).
Epic of Gilgamesh
13151#21
The Akkadian text of the "Epic of Gilgamesh" was first discovered in 1849 AD by the English archaeologist Austen Henry Layard in the Library of Ashurbanipal at Nineveh. Layard was seeking evidence to confirm the historicity of the events described in the Christian Old Testament, which, at the time, was believed to contain the oldest texts in the world. Instead, his excavations and those of others after him revealed the existence of much older Mesopotamian texts and showed that many of the stories in the Old Testament may actually be derived from earlier myths told throughout the ancient Near East. The first translation of the "Epic of Gilgamesh" was produced in the early 1870s by George Smith, a scholar at the British Museum, who published the Flood story from Tablet XI in 1880 under the title "The Chaldean Account of Genesis". Gilgamesh's name was originally misread as "Izdubar".
Gilgamesh
13151#29
Starting in the late twentieth century, the "Epic of Gilgamesh" began to be read again in Iraq. Saddam Hussein, the former President of Iraq, had a lifelong fascination with Gilgamesh. Hussein's first novel "Zabibah and the King" (2000) is an allegory for the Gulf War set in ancient Assyria that blends elements of the "Epic of Gilgamesh" and the "One Thousand and One Nights". Like Gilgamesh, the king at the beginning of the novel is a brutal tyrant who misuses his power and oppresses his people, but, through the aid of a commoner woman named Zabibah, he grows into a more just ruler. When the United States pressured Hussein to step down in February 2003, Hussein gave a speech to a group of his generals posing the idea in a positive light by comparing himself to the epic hero.
Gilgamesh
80028#0
The Epic of Gilgamesh () is an epic poem from ancient Mesopotamia that is often regarded as the earliest surviving great work of literature. The literary history of Gilgamesh begins with five Sumerian poems about Bilgamesh (Sumerian for "Gilgamesh"), king of Uruk, dating from the Third Dynasty of Ur (). These independent stories were later used as source material for a combined epic in Akkadian. The first surviving version of this combined epic, known as the "Old Babylonian" version, compiled by Sîn-lēqi-unninni, dates to the 18th century BC and is titled after its "incipit", Shūtur eli sharrī ("Surpassing All Other Kings"). Only a few tablets of it have survived. The later "standard" version dates from the 13th to the 10th centuries BC and bears the "incipit" Sha naqba īmuru ("He who Saw the Abyss", in modern terms: "He who Sees the Unknown"). Approximately two thirds of this longer, twelve-tablet version have been recovered. Some of the best copies were discovered in the library ruins of the 7th-century BC Assyrian king Ashurbanipal.
Epic of Gilgamesh
80028#2
In the second half of the epic, distress over Enkidu's death causes Gilgamesh to undertake a long and perilous journey to discover the secret of eternal life. He eventually learns that "Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands". However, because of his great building projects, his account of Siduri's advice, and what the immortal man Utnapishtim told him about the Great Flood, Gilgamesh's fame survived well after his death with expanding interest in the "Gilgamesh" story which has been translated into many languages and is featured in works of popular fiction.
Epic of Gilgamesh
50521#45
A prime example of cuneiform writing would be a lengthy poem that was discovered in the ruins of Uruk. "The Epic of Gilgamesh" was written in the standard Sumerian cuneiform. It tells of a king from the early Dynastic II period named Gilgamesh or "Bilgamesh" in Sumerian. The story is based around the fictional adventures of Gilgamesh and his companion, Enkidu. It was laid out on several clay tablets and is claimed to be the earliest example of a fictional, written piece of literature discovered so far.
Sumer
13151#10
Eventually, according to Kramer, "Gilgamesh became the hero par excellence of the ancient world—an adventurous, brave, but tragic figure symbolizing man's vain but endless drive for fame, glory, and immortality". By the Old Babylonian Period ( 1830 – 1531 BC), stories of Gilgamesh's legendary exploits had been woven into one or several long epics. The "Epic of Gilgamesh", the most complete account of Gilgamesh's adventures, was composed in Akkadian during the Middle Babylonian Period ( 1600 — 1155 BC) by a scribe named Sîn-lēqi-unninni. The most complete surviving version of the "Epic of Gilgamesh" is recorded on a set of twelve clay tablets dating to the seventh century BC, found in the Library of Ashurbanipal in the Assyrian capital of Nineveh. The epic survives only in a fragmentary form, with many pieces of it missing or damaged. Some scholars and translators choose to supplement the missing parts of the epic with material from the earlier Sumerian poems or from other versions of the "Epic of Gilgamesh" found at other sites throughout the Near East.
Gilgamesh
80028#27
This tablet is mainly an Akkadian translation of an earlier Sumerian poem, Gilgamesh and the Netherworld (also known as "Gilgamesh, Enkidu, and the Netherworld" and variants), although it has been suggested that it is derived from an unknown version of that story. The contents of this last tablet are inconsistent with previous ones: Enkidu is still alive, despite having died earlier in the epic. Because of this, its lack of integration with the other tablets, and the fact that it is almost a copy of an earlier version, it has been referred to as an 'inorganic appendage' to the epic. Alternatively, it has been suggested that "its purpose, though crudely handled, is to explain to Gilgamesh (and the reader) the various fates of the dead in the Afterlife" and in "an awkward attempt to bring closure", it both connects the Gilgamesh of the epic with the Gilgamesh who is the King of the Netherworld, and is "a dramatic capstone whereby the twelve-tablet epic ends on one and the same theme, that of "seeing" (= understanding, discovery, etc.), with which it began."
Epic of Gilgamesh
13151#17
The "Epic of Gilgamesh" exerted substantial influence on the "Iliad" and the "Odyssey", two epic poems written in ancient Greek during the eighth century BC. According to Barry B. Powell, an American classical scholar, early Greeks were probably exposed to Mesopotamian oral traditions through their extensive connections to the civilizations of the ancient Near East and this exposure resulted in the similarities that are seen between the "Epic of Gilgamesh" and the Homeric epics. Walter Burkert, a German classicist, observes that the scene in Tablet VI of the "Epic of Gilgamesh" in which Gilgamesh rejects Ishtar's advances and she complains before her mother Antu, but is mildly rebuked by her father Anu, is directly paralleled in Book V of the "Iliad". In this scene, Aphrodite, the later Greek adaptation of Ishtar, is wounded by the hero Diomedes and flees to Mount Olympus, where she cries to her mother Dione and is mildly rebuked by her father Zeus.
Gilgamesh
13151#27
"The Quest of Gilgamesh", a 1953 radio play by Douglas Geoffrey Bridson, helped popularize the epic in Britain. In the United States, Charles Olson praised the epic in his poems and essays and Gregory Corso believed that it contained ancient virtues capable of curing what he viewed as modern moral degeneracy. The 1966 postfigurative novel "Gilgamesch" by Guido Bachmann became a classic of German "queer literature" and set a decades-long international literary trend of portraying Gilgamesh and Enkidu as homosexual lovers. This trend proved so popular that the "Epic of Gilgamesh" itself is included in "The Columbia Anthology of Gay Literature" (1998) as a major early work of that genre. In the 1970s and 1980s, feminist literary critics analyzed the "Epic of Gilgamesh" as showing evidence for a transition from the original matriarchy of all humanity to modern patriarchy. As the Green Movement expanded in Europe, Gilgamesh's story began to be seen through an environmentalist lens, with Enkidu's death symbolizing man's separation from nature.
Gilgamesh