Epic of Gilgamesh

The epic of Gilgamesh introduces Gilgamesh, king of Uruk, who was one-third man and two-thirds god. His activities that are seen in the story are building magnificent temple towers, surrounding his city its high walls, and laid out fields and orchards. The epic’s preludes his physical beauty, sagacious and immense strength.

He was godlike in body and mind he began his kingship as cruel tyrant ruler. Gilgamesh is involved in activities that were not pleasing at all such as raping any woman who struck his fancy; he never considered whether she was one of his warrior’s wife or the noble man’s daughter. The gods of Uruk heard his subjects and so conceived an image in her mind that was the stuff of Anu of the firmament, this brought the creation of Enkidu. Enkidu was to keep Gilgamesh in check. The creature was just as magnificent as Gilgamesh.

Point Of View: Third Person Frame.

The point of view of the text as it comes out clear, the narrator tries to involve the third person (omniscient) into the story with some styles thrown for good measure. For the most of the story, both the narrator and the third person are not in the action. The text starts with the descriptive lines all about Gilgamesh: He saw the secret, brought the information of the time before the occurrence of the flood, and he went on a distant journey.

This makes you get the idea: it is a lot of event description from the outside, which the narrator takes us inside the characters thought. The first taste of this is after Enkidu had finished his frolicking with shamhat. He, therefore, realized he would like a friend (naturally) after all that loving with temple-prostitute. Before even Enkidu tells shamhat that, the narrator, therefore, lets us inside his head for a moment.

Narrator’s point of view also comes in when at some points the characters talk in their voices about things that had taken place into their lives in the past still this comes in the third person frame.


Love as a topic in the story.

From epic of Gilgamesh love comes in as the motivating force both erotic and platonic, it motivates change in Gilgamesh. Enkidu on the other end from wild man to a nobleman because of Gilgamesh and friendship between the two, Enkidu and Gilgamesh changes from tyrant and bully into an exemplary king and hero.

The inevitability of death.

Death is an inescapable and inevitable fact of human life; this becomes the greatest lesson that Gilgamesh learns. Bitterness grew in Gilgamesh that only the gods could live forever. Life is short this is from the two warriors talking on their way to Cedar forest

The gods are dangerous

Both Enkidu and Gilgamesh learn it too well that the gods are dangerous to mortals. Gods live on their own and irrationally and emotionally behaves as children


Two seductions are important in Gilgamesh one is the failure and one successful. When the temple prostitute seduces Enkidu, he lost his animal characteristics but gained his humanity

Religious symbols

The kingdom of Uruk under the throne of Gilgamesh was rich in religious symbolism. These religious rituals involved festivals, sacrifices, sex, shamanic magic and dream interpretation, all that takes the course in the story. The walls of Uruk symbolized the great accomplishments of which mortals are capable. Bulls on the other side represented explosive, destructive natural power; the ability to wrestle a bull shows the human ability to control physical power.

The epic of Enkidu’s creation begins in the wilderness. He lived with the animals, which is not of a normal being, suckling at their breasts, drinking at their watering places and grazing in the meadows. Here comes a hunter who discovers him and sends a woman to tame him in the wilderness bringing forth the animals to reject him. The article further gives an assumption that during those times sex and women were considered calming forces, which to my opinion it was wrong of the society to have such views towards the women

Gilgamesh and Enkidu became great friends, and the king’s heart was shattered when Enkidu died of an illness that as inflicted by the gods. After the death Enkidu, the death of Enkidu who was the check on the king who was oppressing his subjects it becomes so chaotic in the hearts of Gilgamesh subjects since the strongest man compared to their king who had instilled hopes in their hearts was no more to be seen.

Poetic /literary element


Throughout the story, symbolism comes out in many scenes as articulated below


These in literature only meant the renewal and rebirth. We get massive flood that wipes out every last human this only said renewal


These are dangerous characters that can mess you up as it has been used in the poem epic of Gilgamesh; they are symbolized by the Bible story of the snake and Eve.

Odyssey and Gilgamesh comparison

Both are heroes from two different times that were driven by the motive of searching the meaning of life. The epics of Gilgamesh were developed from early Mesopotamia and the Odyssey in early Greece. Gilgamesh popularity in Mesopotamia was because it was treasured to the historian of Mesopotamia culture because it revealed much about the religious world, example their attributes towards the gods, how heroes were regarded and defined, death and friendship views

Odyssey was also famous in its time. It was set in the ancient Greece where mythology was the heart of everyday life. This culture turned to myth to explaining phenomenon that they had no scientific explanations, and this was eminent in the epic the Odyssey.

In conclusion, I critically conquer with some of the cultural activities that were taking place during the times of Gilgashem as their king. However, he was an oppressive king but it has brought into the adoption of the activities in Mesopotamia, which is between two rivers to be of great pride in provision agricultural products than surrounding areas. It is therefore of significant concerns about the issue that was brought by the people of the Uruk Kingdom of women being the asexual tool in the community as articulated from the story.


Sandars, Nancy, Ed. The epic of Gilgamesh. Penguin, 1972.


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