Enkidu

Enkidu and Gilgamesh, cylinder seal from Ur III

Fertile Crescent
myth series

'''Mesopotamian
Levantine
Arabian
Mesopotamia
Primordial beings
7 gods who command
The great gods
Spirits and monsters
Tales from Babylon
Demigods and Heroes
Adapa, Enkidu
Enmerkar, Geshtinanna
Gilgamesh, Lugalbanda
Shamhat, Siduri
Tammuz, Utnapishtim

Enkidu appears in Sumerian mythology as a mythical wild-man raised by animals; his beast-like ways are finally tamed by a courtesan named Shamhat. Later he adventures with Gilgamesh until his death in the Epic of Gilgamesh. Older sources sometimes transliterate his name as Enkimdu, Eabani or Enkita.

Contents

1 First Tablet
2 Enkidu later in the Epic of Gilgamesh
3 Historical Analysis
4 Literary Analysis
5 Popular Cultural References
6 Themes of
7 Bibliography
8 See also

First Tablet

Enkidu is the quintessential savage man in the beginning of the epic:

"The whole of his body was hairy and his (uncut) locks were like a woman's or the hair of the goddess of grain. Moreover, he knew nothing of settled fields or human beings and was clothed (in skins) like a deity of flocks."

Enkidu roamed with the beasts of the wilderness. He protected the animals, destroying the hunters' traps, and lurked around the watering holes to protect the game. These actions were much to the chagrin of a local trapper. The trapper went to King Gilgamesh to ask for help. Gilgamesh offered the advice "Trapper, go back, take with you a harlot, a child of pleasure ... he will embrace her and the game of the wilderness will surely reject him." The trapper did what he was told, and hired the harlot Shamhat to corrupt the wild man. Enkidu was immediately taken with the harlot and bedded her. Over six days of lust, Enkidu is tainted by the harlot. The animals begin to avoid him, the bond he once shared with them having been broken. Now "he scattered the wolves, he chased away the lions" and the herders could lie down in peace, for Enkidu was now their watchman.

After the abandonment of his animal brethren, Enkidu is introduced to a pastoralist way of life. He works for the trapper and shepherds, hunting and killing the animals he once served. Soon he grows restless, looking for a greater challenge.

Shamhat tells of a great king in the city Uruk (Gilgamesh) and says, too, that he would be a worthy challenge for Enkidu. Gilgamesh is surprised by Enkidu. The two wrestle fiercely for sometime, until suddenly Gilgamesh gains the upper hand and throws Enkidu to the ground. Knowing his defeat, Enkidu praises Gilgamesh and both swear an oath of friendship. For the remainder of the epic they cohabit, as lovers according to some interpretations.^{[[Citing sources citation needed]]}

Enkidu later in the Epic of Gilgamesh

Enkidu assists Gilgamesh in his fight against Humbaba, the guardian monster of the Cedar forest. Contrary to Enkidu's conscience, he cooperates in killing the defeated Humbaba. Afterwards, he again assists his companion Gilgamesh in slaying the Bull of Heaven, which the gods have sent as reprisal. The goddess Ishtar demands that the pair should pay for its destruction. Shamash argues to the other gods to spare both of them, but could only save Gilgamesh. The gods pass judgment that Enkidu had no justification for fighting the Bull of Heaven and was interfering with the will of the gods. Enkidu then is overcome by a severe illness. Near death, he has visions of a gloomy afterlife, and curses the trapper and Shamhat for civilizing him. He retracts his curse on Shamhat, however, after she reminds him of the greatness of civilization, which she showed him.

Gilgamesh mourns over the body of Enkidu for several desperate days. In a vivid line repeated in the epic, Gilgamesh only allows his friend to be buried after a maggot falls out of the corpse's nose. Gilgamesh's close observation of rigor mortis and the slow decomposition of Enkidu's body provides the hero with the impetus for his quest for eternal life, and his visit to Utnapishtim.

There is another non-canonical tablet in which Enkidu journeys into the underworld, but many scholars consider the tablet to be a sequel or add-on to the original epic.

Historical Analysis

In many ways, Enkidu's transformation may represent the seductive power of the Mesopotamian city-states. His origins upon the steppe and his life as a companion of the wild beast suggests the hunter-gatherers living on the fringes of the territory of southern Iraq's early farmers. His subsequent transformation and acceptance of life in Uruk becomes a mythologized account of their slow approach to and assimilation within the boundaries of horticultural civilization.

On a more personal level, the taming of Enkidu by the harlot could be symbolic of the influence of the ego and material desires on the individual, leading them away from a natural, and into an artificial existence.

Literary Analysis

Enkidu acts as a foil to Gilgamesh in the beginning of the story, and as a sidekick in the remainder. (The author expressly states to the reader that the main character of the epic is Gilgamesh rather than Enkidu.) Enkidu also acts as a form of balance and dialogue opportunity for Gilgamesh.

Enkidu's status as a beloved companion makes his death serve as a sufficient motive for Gilgamesh to pursue an apparently impossible quest in the remainder of the story.

Popular Cultural References

Enkidu and the Gilgamesh Epic have had considerable influence on western, world and popular culture--being the model of the heroic adventure story.

In the show Lost the character Locke fills in a crossword clue pertaining to Enkidu from the Epic of Gilgamesh in Collision.

In the show Captain Picard relates the story of Enkidu and Gilgamesh from the Epic of Gilgamesh to a dying Tamarian Captain Dathon in the episode "Darmok". The adventures of Enkidu and Gilgamesh serve as a metaphor for the motivation of the Star Trek characters in the episode.

The song "Defiling the Gates of Ishtar" by death metal band Nile (from their album Black Seeds of Vengeance) is based on an obscure variation of the Enkidu myth. In this more extreme version, a blasphemous Enkidu commits acts of sacrilege in the temple of the goddess Ishtar. The episode comes to a climax with Enkidu attempting to summon an army of the dead from the underworld.

The novel "To the Land of the Living" by Robert Silverberg is a major adaption of the legend.

Themes of
This does not cite its .
You can Wikipedia by introducing appropriate citations.
Both characters suffer ennui — primarily Gilgamesh. He and Enkidu journey to prove that they are not just mere mortals, but god-men. This leads to the conflict involving the other deities who believe the pair have overstepped their bounds.
Enkidu, at the moment of his death and vision of a bleak afterlife, relates the wish that he had never coupled with Shamhat or adventured with Gilgamesh. This could be interpreted as a form of angst.

Bibliography

The Epic of Gilgamesh, Foster, Benjamin R. trans. & edit. New York: W.W. Norton & Company, 2001. ISBN 0-393-97516-9