An Old Babylonian Version of the Gilgamesh Epic Part 3

We find her urging him to go with her to Erech, there to meet Gilgamesh and to enjoy the pleasures of city life with plenty of beautiful maidens. Gilgamesh, she adds, will expect Enkidu, for the coming of the latter to Erech has been foretold in a dream. It is evident that here we have again the later transformation of the Enkidu Epic in order to bring the two heroes together. Will it be considered too bold if we a.s.sume that in the original form the address of the woman and the construction of the episode were such as we find preserved in part in columns 2 to 4 of the Pennsylvania tablet, which forms part of the new material that can now be added to the Epic? The address of the woman begins in line 51 of the Pennsylvania tablet:

"I gaze upon thee, Enkidu, like a G.o.d art thou."

This corresponds to the line in the a.s.syrian version (I, 4, 34) as given above, just as lines 52-53:

"Why with the cattle Dost thou roam across the field?"

correspond to I, 4, 35, of the a.s.syrian version. There follows in both the old Babylonian and the a.s.syrian version the appeal of the woman to Enkidu, to allow her to lead him to Erech where Gilgamesh dwells (Pennsylvania tablet lines 54-61 = a.s.syrian version I, 4, 36-39); but in the Pennsylvania tablet we now have a _second_ speech (lines 62-63) beginning like the first one with _al-ka_, "come:"

"Come, arise from the accursed ground."

Enkidu consents, and now the woman takes off her garments and clothes the naked Enkidu, while putting another garment on herself. She takes hold of his hand and leads him to the sheepfolds (not to Erech!!), where bread and wine are placed before him. Accustomed hitherto to sucking milk with cattle, Enkidu does not know what to do with the strange food until encouraged and instructed by the woman. The entire third column is taken up with this introduction of Enkidu to civilized life in a pastoral community, and the scene ends with Enkidu becoming a guardian of flocks. Now all this has nothing to do with Gilgamesh, and clearly sets forth an entirely different idea from the one embodied in the meeting of the two heroes. In the original Enkidu tale, the animal-man is looked upon as the type of a primitive savage, and the point of the tale is to ill.u.s.trate in the nave manner characteristic of folklore the evolution to the higher form of pastoral life. This aspect of the incident is, therefore, to be separated from the other phase which has as its chief _motif_ the bringing of the two heroes together.

We now obtain, thanks to the new section revealed by the Pennsylvania tablet, a further a.n.a.logy [107] with the story of Adam and Eve, but with this striking difference, that whereas in the Babylonian tale the woman is the medium leading man to the higher life, in the Biblical story the woman is the tempter who brings misfortune to man. This contrast is, however, not inherent in the Biblical story, but due to the point of view of the Biblical writer, who is somewhat pessimistically inclined and looks upon primitive life, when man went naked and lived in a garden, eating of fruits that grew of themselves, as the blessed life in contrast to advanced culture which leads to agriculture and necessitates hard work as the means of securing one's substance. Hence the woman through whom Adam eats of the tree of knowledge and becomes conscious of being naked is looked upon as an evil tempter, entailing the loss of the primeval life of bliss in a gorgeous Paradise. The Babylonian point of view is optimistic. The change to civilized life--involving the wearing of clothes and the eating of food that is cultivated (bread and wine) is looked upon as an advance. Hence the woman is viewed as the medium of raising man to a higher level. The feature common to the Biblical and Babylonian tales is the attachment of a lesson to early folk-tales. The story of Adam and Eve, [108] as the story of Enkidu and the woman, is told _with a purpose_. Starting with early traditions of men's primitive life on earth, that may have arisen independently, Hebrew and Babylonian writers diverged, each group going its own way, each reflecting the particular point of view from which the evolution of human society was viewed.

Leaving the a.n.a.logy between the Biblical and Babylonian tales aside, the main point of value for us in the Babylonian story of Enkidu and the woman is the proof furnished by the a.n.a.lysis, made possible through the Pennsylvania tablet, that the tale can be separated from its subsequent connection with Gilgamesh. We can continue this process of separation in the fourth column, where the woman instructs Enkidu in the further duty of living his life with the woman decreed for him, to raise a family, to engage in work, to build cities and to gather resources. All this is looked upon in the same optimistic spirit as marking progress, whereas the Biblical writer, consistent with his point of view, looks upon work as a curse, and makes Cain, the murderer, also the founder of cities. The step to the higher forms of life is not an advance according to the J doc.u.ment. It is interesting to note that even the phrase the "cursed ground" occurs in both the Babylonian and Biblical tales; but whereas in the latter (Gen. 3, 17) it is because of the hard work entailed in raising the products of the earth that the ground is cursed, in the former (lines 62-63) it is the place in which Enkidu lives _before_ he advances to the dignity of human life that is "cursed," and which he is asked to leave. Adam is expelled from Paradise as a punishment, whereas Enkidu is implored to leave it as a necessary step towards _progress_ to a higher form of existence. The contrast between the Babylonian and the Biblical writer extends to the view taken of viniculture. The Biblical writer (again the J doc.u.ment) looks upon Noah's drunkenness as a disgrace. Noah loses his sense of shame and uncovers himself (Genesis 9, 21), whereas in the Babylonian description Enkidu's jolly spirit after he has drunk seven jars of wine meets with approval. The Biblical point of view is that he who drinks wine becomes drunk; [109] the Babylonian says, if you drink wine you become happy. [110]

If the thesis here set forth of the original character and import of the episode of Enkidu with the woman is correct, we may again regard lines 149-153 of the Pennsylvania tablet, in which Gilgamesh is introduced, as a later addition to bring the two heroes into a.s.sociation. The episode in its original form ended with the introduction of Enkidu first to pastoral life, and then to the still higher city life with regulated forms of social existence.

Now, to be sure, this Enkidu has little in common with the Enkidu who is described as a powerful warrior, a Hercules, who kills lions, overcomes the giant Huwawa, and dispatches a great bull, but it is the nature of folklore everywhere to attach to traditions about a favorite hero all kinds of tales with which originally he had nothing to do. Enkidu, as such a favorite, is viewed also as the type of primitive man, [111] and so there arose gradually an Epic which began with his birth, pictured him as half-animal half-man, told how he emerged from this state, how he became civilized, was clothed, learned to eat food and drink wine, how he shaved off the hair with which his body was covered, [112] anointed himself--in short,

"He became manlike." [113]

Thereupon he is taught his duties as a husband, is introduced to the work of building, and to laying aside supplies, and the like. The fully-developed and full-fledged hero then engages in various exploits, of which _some_ are now embodied in the Gilgamesh Epic. Who this Enkidu was, we are not in a position to determine, but the suggestion has been thrown out above that he is a personage foreign to Babylonia, that his home appears to be in the undefined Amurru district, and that he conquers that district. The original tale of Enkidu, if this view be correct, must therefore have been carried to the Euphrates Valley, at a very remote period, with one of the migratory waves that brought a western people as invaders into Babylonia. Here the tale was combined with stories current of another hero, Gilgamesh--perhaps also of Western origin--whose conquest of Erech likewise represents an invasion of Babylonia. The center of the Gilgamesh tale was Erech, and in the process of combining the stories of Enkidu and Gilgamesh, Enkidu is brought to Erech and the two perform exploits in common. In such a combination, the aim would be to utilize all the incidents of _both_ tales. The woman who accompanies Enkidu, therefore, becomes the medium of bringing the two heroes together. The story of the evolution of primitive man to civilized life is transformed into the tale of Enkidu's removal to Erech, and elaborated with all kinds of details, among which we have, as perhaps embodying a genuine historical tradition, the encounter of the two heroes.

Before pa.s.sing on, we have merely to note the very large part taken in both the old Babylonian and the a.s.syrian version by the struggle against Huwawa. The entire Yale tablet--forming, as we have seen, the third of the series--is taken up with the preparation for the struggle, and with the repeated warnings given to Gilgamesh against the dangerous undertaking. The fourth tablet must have recounted the struggle itself, and it is not improbable that this episode extended into the fifth tablet, since in the a.s.syrian version this is the case. The elaboration of the story is in itself an argument in favor of a.s.suming some historical background for it--the recollection of the conquest of Amurru by some powerful warrior; and we have seen that this conquest must be ascribed to Enkidu and not to Gilgamesh.

VIII.

If, now, Enkidu is not only the older figure but the one who is the real hero of the most notable episode in the Gilgamesh Epic; if, furthermore, Enkidu is the Hercules who kills lions and dispatches the bull sent by an enraged G.o.ddess, what becomes of Gilgamesh? What is left for him?

In the first place, he is definitely the conqueror of Erech. He builds the wall of Erech, [114] and we may a.s.sume that the designation of the city as _Uruk supri_, "the walled Erech," [115] rests upon this tradition. He is also a.s.sociated with the great temple Eanna, "the heavenly house," in Erech. To Gilgamesh belongs also the unenviable tradition of having exercised his rule in Erech so harshly that the people are impelled to implore Aruru to create a rival who may rid the district of the cruel tyrant, who is described as s.n.a.t.c.hing sons and daughters from their families, and in other ways terrifying the population--an early example of "Schrecklichkeit." Tablets II to V inclusive of the a.s.syrian version being taken up with the Huwawa episode, modified with a view of bringing the two heroes together, we come at once to the sixth tablet, which tells the story of how the G.o.ddess Ishtar wooed Gilgamesh, and of the latter's rejection of her advances. This tale is distinctly a nature myth. The attempt of Gressmann [116] to find some historical background to the episode is a failure. The G.o.ddess Ishtar symbolizes the earth which woos the sun in the spring, but whose love is fatal, for after a few months the sun's power begins to wane. Gilgamesh, who in incantation hymns is invoked in terms which show that he was conceived as a sun-G.o.d, [117] recalls to the G.o.ddess how she changed her lovers into animals, like Circe of Greek mythology, and brought them to grief. Enraged at Gilgamesh's insult to her vanity, she flies to her father Anu and cries for revenge. At this point the episode of the creation of the bull is introduced, but if the a.n.a.lysis above given is correct it is Enkidu who is the hero in dispatching the bull, and we must a.s.sume that the sickness with which Gilgamesh is smitten is the punishment sent by Anu to avenge the insult to his daughter. This sickness symbolizes the waning strength of the sun after midsummer is past. The sun recedes from the earth, and this was pictured in the myth as the sun-G.o.d's rejection of Ishtar; Gilgamesh's fear of death marks the approach of the winter season, when the sun appears to have lost its vigor completely and is near to death. The entire episode is, therefore, a nature myth, symbolical of the pa.s.sing of spring to midsummer and then to the bare season. The myth has been attached to Gilgamesh as a favorite figure, and then woven into a pattern with the episode of Enkidu and the bull. The bull episode can be detached from the nature myth without any loss to the symbolism of the tale of Ishtar and Gilgamesh.

As already suggested, with Enkidu's death after this conquest of the bull the original Enkidu Epic came to an end. In order to connect Gilgamesh with Enkidu, the former is represented as sharing in the struggle against the bull. Enkidu is punished with death, while Gilgamesh is smitten with disease. Since both shared equally in the guilt, the punishment should have been the same for both. The differentiation may be taken as an indication that Gilgamesh's disease has nothing to do with the bull episode, but is merely part of the nature myth.

Gilgamesh now begins a series of wanderings in search of the restoration of his vigor, and this _motif_ is evidently a continuation of the nature myth to symbolize the sun's wanderings during the dark winter in the hope of renewed vigor with the coming of the spring. Professor Haupt's view is that the disease from which Gilgamesh is supposed to be suffering is of a venereal character, affecting the organs of reproduction. This would confirm the position here taken that the myth symbolizes the loss of the sun's vigor. The sun's rays are no longer strong enough to fertilize the earth. In accord with this, Gilgamesh's search for healing leads him to the dark regions [118] in which the scorpion-men dwell. The terrors of the region symbolize the gloom of the winter season. At last Gilgamesh reaches a region of light again, described as a landscape situated at the sea. The maiden in control of this region bolts the gate against Gilgamesh's approach, but the latter forces his entrance. It is the picture of the sun-G.o.d bursting through the darkness, to emerge as the youthful reinvigorated sun-G.o.d of the spring.

Now with the tendency to attach to popular tales and nature myths lessons ill.u.s.trative of current beliefs and aspirations, Gilgamesh's search for renewal of life is viewed as man's longing for eternal life. The sun-G.o.d's waning power after midsummer is past suggests man's growing weakness after the meridian of life has been left behind. Winter is death, and man longs to escape it. Gilgamesh's wanderings are used as ill.u.s.tration of this longing, and accordingly the search for life becomes also the quest for immortality. Can the precious boon of eternal life be achieved? Popular fancy created the figure of a favorite of the G.o.ds who had escaped a destructive deluge in which all mankind had perished. [119] Gilgamesh hears of this favorite and determines to seek him out and learn from him the secret of eternal life. The deluge story, again a pure nature myth, symbolical of the rainy season which destroys all life in nature, is thus attached to the Epic. Gilgamesh after many adventures finds himself in the presence of the survivor of the Deluge who, although human, enjoys immortal life among the G.o.ds. He asks the survivor how he came to escape the common fate of mankind, and in reply Utnapishtim tells the story of the catastrophe that brought about universal destruction. The moral of the tale is obvious. Only those singled out by the special favor of the G.o.ds can hope to be removed to the distant "source of the streams" and live forever. The rest of mankind must face death as the end of life.

That the story of the Deluge is told in the eleventh tablet of the series, corresponding to the eleventh month, known as the month of "rain curse" [120] and marking the height of the rainy season, may be intentional, just as it may not be accidental that Gilgamesh's rejection of Ishtar is recounted in the sixth tablet, corresponding to the sixth month, [121] which marks the end of the summer season. The two tales may have formed part of a cycle of myths, distributed among the months of the year. The Gilgamesh Epic, however, does not form such a cycle. Both myths have been artificially attached to the adventures of the hero. For the deluge story we now have the definite proof for its independent existence, through Dr. Poebel's publication of a Sumerian text which embodies the tale, [122] and without any reference to Gilgamesh. Similarly, Scheil and Hilprecht have published fragments of deluge stories written in Akkadian and likewise without any connection with the Gilgamesh Epic. [123]

In the Epic the story leads to another episode attached to Gilgamesh, namely, the search for a magic plant growing in deep water, which has the power of restoring old age to youth. Utnapishtim, the survivor of the deluge, is moved through pity for Gilgamesh, worn out by his long wanderings. At the request of his wife, Utnapishtim decides to tell Gilgamesh of this plant, and he succeeds in finding it. He plucks it and decides to take it back to Erech so that all may enjoy the benefit, but on his way stops to bathe in a cool cistern. A serpent comes along and s.n.a.t.c.hes the plant from him, and he is forced to return to Erech with his purpose unachieved. Man cannot hope, when old age comes on, to escape death as the end of everything.

Lastly, the twelfth tablet of the a.s.syrian version of the Gilgamesh Epic is of a purely didactic character, bearing evidence of having been added as a further ill.u.s.tration of the current belief that there is no escape from the nether world to which all must go after life has come to an end. Proper burial and suitable care of the dead represent all that can be done in order to secure a fairly comfortable rest for those who have pa.s.sed out of this world. Enkidu is once more introduced into this episode. His shade is invoked by Gilgamesh and rises up out of the lower world to give a discouraging reply to Gilgamesh's request,

"Tell me, my friend, tell me, my friend, The law of the earth which thou hast experienced, tell me,"

The mournful message comes back:

"I cannot tell thee, my friend, I cannot tell."

Death is a mystery and must always remain such. The historical Gilgamesh has clearly no connection with the figure introduced into this twelfth tablet. Indeed, as already suggested, the Gilgamesh Epic must have ended with the return to Erech, as related at the close of the eleventh tablet. The twelfth tablet was added by some school-men of Babylonia (or perhaps of a.s.syria), purely for the purpose of conveying a summary of the teachings in regard to the fate of the dead. Whether these six episodes covering the sixth to the twelfth tablets, (1) the nature myth, (2) the killing of the divine bull, (3) the punishment of Gilgamesh and the death of Enkidu, (4) Gilgamesh's wanderings, (5) the Deluge, (6) the search for immortality, were all included at the time that the old Babylonian version was compiled cannot, of course, be determined until we have that version in a more complete form. Since the two tablets thus far recovered show that as early as 2000 B.C. the Enkidu tale had already been amalgamated with the current stories about Gilgamesh, and the endeavor made to transfer the traits of the former to the latter, it is eminently likely that the story of Ishtar's unhappy love adventure with Gilgamesh was included, as well as Gilgamesh's punishment and the death of Enkidu. With the evidence furnished by Meissner's fragment of a version of the old Babylonian revision and by our two tablets, of the early disposition to make popular tales the medium of ill.u.s.trating current beliefs and the teachings of the temple schools, it may furthermore be concluded that the death of Enkidu and the punishment of Gilgamesh were utilized for didactic purposes in the old Babylonian version. On the other hand, the proof for the existence of the deluge story in the Hammurabi period and some centuries later, _independent_ of any connection with the Gilgamesh Epic, raises the question whether in the old Babylonian version, of which our two tablets form a part, the deluge tale was already woven into the pattern of the Epic. At all events, till proof to the contrary is forthcoming, we may a.s.sume that the twelfth tablet of the a.s.syrian version, though also reverting to a Babylonian original, dates as the _latest_ addition to the Epic from a period subsequent to 2000 B.C.; and that the same is probably the case with the eleventh tablet.

IX.

To sum up, there are four main currents that flow together in the Gilgamesh Epic even in its old Babylonian form: (1) the adventures of a mighty warrior Enkidu, resting perhaps on a faint tradition of the conquest of Amurru by the hero; (2) the more definite recollection of the exploits of a foreign invader of Babylonia by the name of Gilgamesh, whose home appears likewise to have been in the West; [124]

(3) nature myths and didactic tales transferred to Enkidu and Gilgamesh as popular figures; and (4) the process of weaving the traditions, exploits, myths and didactic tales together, in the course of which process Gilgamesh becomes the main hero, and Enkidu his companion.

Furthermore, our investigation has shown that to Enkidu belongs the episode with the woman, used to ill.u.s.trate the evolution of primitive man to the ways and conditions of civilized life, the conquest of Huwawa in the land of Amurru, the killing of lions and also of the bull, while Gilgamesh is the hero who conquers Erech. Identified with the sun-G.o.d, the nature myth of the union of the sun with the earth and the subsequent separation of the two is also transferred to him. The wanderings of the hero, smitten with disease, are a continuation of the nature myth, symbolizing the waning vigor of the sun with the approach of the wintry season.

The details of the process which led to making Gilgamesh the favorite figure, to whom the traits and exploits of Enkidu and of the sun-G.o.d are transferred, escape us, but of the fact that Enkidu is the _older_ figure, of whom certain adventures were set forth in a tale that once had an independent existence, there can now be little doubt in the face of the evidence furnished by the two tablets of the old Babylonian version; just as the study of these tablets shows that in the combination of the tales of Enkidu and Gilgamesh, the former is the prototype of which Gilgamesh is the copy. If the two are regarded as brothers, as born in the same place, even resembling one another in appearance and carrying out their adventures in common, it is because in the process of combination Gilgamesh becomes the _reflex_ of Enkidu. That Enkidu is not the figure created by Aruru to relieve Erech of its tyrannical ruler is also shown by the fact that Gilgamesh remains in control of Erech. It is to Erech that he returns when he fails of his purpose to learn the secret of escape from old age and death. Erech is, therefore, not relieved of the presence of the ruthless ruler through Enkidu. The "Man of Anu" formed by Aruru as a deliverer is confused in the course of the growth of the Epic with Enkidu, the offspring of Ninib, and in this way we obtain the strange contradiction of Enkidu and Gilgamesh appearing first as bitter rivals and then as close and inseparable friends. It is of the nature of Epic compositions everywhere to eliminate unnecessary figures by concentrating on one favorite the traits belonging to another or to several others.

The close a.s.sociation of Enkidu and Gilgamesh which becomes one of the striking features in the combination of the tales of these two heroes naturally recalls the "Heavenly Twins" _motif_, which has been so fully and so suggestively treated by Professor J. Rendell Harris in his _Cult of the Heavenly Twins_, (London, 1906). Professor Harris has conclusively shown how widespread the tendency is to a.s.sociate two divine or semi-divine beings in myths and legends as inseparable companions [125] or twins, like Castor and Pollux, Romulus and Remus, [126] the Acvins in the Rig-Veda, [127] Cain and Abel, Jacob and Esau in the Old Testament, the Kabiri of the Phoenicians, [128]

Herakles and Iphikles in Greek mythology, Ambrica and Fidelio in Teutonic mythology, Patollo and Potrimpo in old Prussian mythology, Cautes and Cautopates in Mithraism, Jesus and Thomas (according to the Syriac Acts of Thomas), and the various ill.u.s.trations of "Dioscuri in Christian Legends," set forth by Dr. Harris in his work under this t.i.tle, which carries the _motif_ far down into the period of legends about Christian Saints who appear in pairs, including the reference to such a pair in Shakespeare's Henry V:

"And Crispin Crispian shall ne'er go by From that day to the ending of the world."--(_Act, IV, 3, 57-58._)

There are indeed certain parallels which suggest that Enkidu-Gilgamesh may represent a Babylonian counterpart to the "Heavenly Twins." In the Indo-Iranian, Greek and Roman mythology, the twins almost invariably act together. In unison they proceed on expeditions to punish enemies. [129]

But after all, the parallels are of too general a character to be of much moment; and moreover the parallels stop short at the critical point, for Gilgamesh though worsted is _not_ killed by Enkidu, whereas one of the "Heavenly Twins" is always killed by the brother, as Abel is by Cain, and Iphikles by his twin brother Herakles. Even the trait which is frequent in the earliest forms of the "Heavenly Twins," according to which one is immortal and the other is mortal, though applying in a measure to Enkidu who is killed by Ishtar, while Gilgamesh the offspring of a divine pair is only smitten with disease, is too unsubstantial to warrant more than a general comparison between the Enkidu-Gilgamesh pair and the various forms of the "twin" _motif_ found throughout the ancient world. For all that, the point is of some interest that in the Gilgamesh Epic we should encounter two figures who are portrayed as possessing the same traits and accomplishing feats in common, which suggest a partial parallel to the various forms in which the twin-_motif_ appears in the mythologies, folk-lore and legends of many nations; and it may be that in some of these instances the duplication is due, as in the case of Enkidu and Gilgamesh, to an actual transfer of the traits of one figure to another who usurped his place.

X.

In concluding this study of the two recently discovered tablets of the old Babylonian version of the Gilgamesh Epic which has brought us several steps further in the interpretation and in our understanding of the method of composition of the most notable literary production of ancient Babylonia, it will be proper to consider the _literary_ relationship of the old Babylonian to the a.s.syrian version.

We have already referred to the different form in which the names of the chief figures appear in the old Babylonian version, dGish as against dGish-g(n)-mash, dEn-ki-du as against dEn-ki-du, Hu-wa-wa as against Hu(m)-ba-ba. Erech appears as _Uruk ribitim_, "Erech of the Plazas," as against _Uruk supri_, "walled Erech" (or "Erech within the walls"), in the a.s.syrian version. [130] These variations point to an _independent_ recension for the a.s.syrian revision; and this conclusion is confirmed by a comparison of parallel pa.s.sages in our two tablets with the a.s.syrian version, for such parallels rarely extend to verbal agreements in details, and, moreover, show that the a.s.syrian version has been elaborated.