Gilgamesh and Enkidu in the Epic Poem of Gilgamesh Essay -- Gilgamesh

Gilgamesh and Enkidu in the Epic Poem of Gilgamesh In this paper, I seek to explore the identities and relationships between Gilgamesh and Enkidu in the epic rime of Gilgamesh, up through Enkidus death. I will explore the sex identity of severally independently and then in relation to each early(a), and how their gender identity influences that relationship. I will in addition explore other aspects of their identity and how they came to their identities as well, through theories such as social conditioning. I will investigate the possibility that Gilgamesh and Enkidu enjoy a homosexual relationship, since mod times allow such investigations which only 20 years past were considered extemporaneous to ancient texts by traditions western conventions. Conversely, I will also consider the possibility of a heterosexual male-male relationship in the legal injury of Platonic love. In addition to this, I will touch before long at times on the unique relationship each has to a world th at is caught up in a change from nature and innate(p) things to what we call a civilized life, or an urban life. In the graduation exercise of the epic poem Gilgamesh, the main character Gilgamesh is conveyed as a in general immoral human, his genesis fabulously coming from the gods. Two thirds they made him god and one third man. (19, Norton Gilgamesh). He also is said to have a hone body, which is a trait of godliness in many ancient cultures. When the gods created Gilgamesh they gave him a perfect body. (18, Norton Gilgamesh). Here again it is obvious that the myth says Gilgamesh is from the same twinge as the gods. He is known for taking whatever he desires His want leaves no virgin to her lover, neither the warriors daughter or the wifes noble. (19, Norton Gilgamesh). He has the arrogance and audacity to patently take anything that he considers in his kingdom. Clearly, at least early on in the story, the actions of Gilgamesh mirror that of his mythical genealogy from t he gods, who live by a different moral tag than that of civilized humans. At the same time however, Gilgamesh is certainly portrayed in the story as magnificent and capable of incredible things, such as the building of the walls and Rampart in Uruk. Climb upon the wall of Uruk walk along it, I say regard the foundation terrace and examine the masonry is it not burnt brick and good? (19, Norton Gilgamesh). So at the ... ...ith the fact that it seems death simply can not be escaped. This helps to change Gilgamesh a great deal, and in fact it is after this that Gilgamesh begins to change his way and is truly a sheepherder of the people. In the end, Gilgamesh veils Enkidu like a woman (35, Norton Gilgamesh). In fact, the text describes this as being veiled like a bride in this translation. So one time again, all the same in death, it seems that Enkidu and Gilgamesh have moved to a very blotto and personal relationship with each other, which is certainly Platonic in nature, and even possibly sexually oriented in some way or another. In the end, it is unavoidable that in some way each is touch on by the other, either to serve or remember the other and to be the fulfillment of each other. Works CitedUknown Author. Gilgamesh. In The Norton Anthology of World Masterpieces, the Western Tradition, 7th Edition, Volume 1. Ed. Sarah Lawall and Maynard Mack. bleak York W.W. Norton and Company, Inc., 1999. 18-35.Doty, William G. Myths of Masculinity. New York The Crossroad Publishing Company, 1993. 73-78.Sayers, Janet. Sexual Contradictions. New York Tavistock Publications Ltd., 1986. 23-34.