query: who builds the boat in the epic of gilgamesh

pos: Gilgamesh flood myth Gilgamesh to stay awake for six days and seven nights. However, as soon as Utnapishtim finishes speaking Gilgamesh falls asleep. Utnapishtim instructs his wife to bake a loaf of bread for every day he is asleep so that Gilgamesh cannot deny his failure. Gilgamesh, who wants to overcome death, cannot even conquer sleep. As Gilgamesh is leaving, Utnapishtim's wife asks her husband to offer a parting gift. Utnapishtim tells Gilgamesh of a boxthorn-like plant at the very bottom of the ocean that will make him young again. Gilgamesh obtains the plant by binding stones to his feet so he can

pos: Jewish mythology offers a sacrifice to God, who smells "the sweet savour" and promises never to destroy the earth by water again - making the rainbow a symbol of this promise. Similarly, in the Mesopotamian "Epic of Gilgamesh", the bustle of humanity disturbs the gods, who decide to send a flood. Warned by one of the gods, a man named Utnapishtim builds a boat and takes his family and animals inside. After the flood, Utnapishtim sends a dove, then a swallow, then a raven to check whether the waters have subsided. After exiting the boat, Utnapishtim offers a sacrifice to the gods,

pos: Mount Nisir locality that is hidden, inaccessible, or secluded. Hence the boat may have grounded on an inaccessible hill. Mount Nisir Mount Nisir (also spelled Mount Niṣir, and also called Mount Nimush), mentioned in the ancient Mesopotamian "Epic of Gilgamesh", is supposedly the mountain known today as Pir Omar Gudrun (elevation 9000 ft. (approx. 2743 m)), near the city Sulaymaniyah in Iraqi Kurdistan. The name may mean "Mount of Salvation". According to the "Epic of Gilgamesh", Mt. Nisir is the resting place of the ship built by Utnapishtim. Despite the precise descriptions in the "Epic of Gilgamesh", those curious have never attempted

pos: Epic of Gilgamesh (see also Gilgamesh flood myth). The main point seems to be that when Enlil granted eternal life it was a unique gift. As if to demonstrate this point, Utnapishtim challenges Gilgamesh to stay awake for six days and seven nights. Gilgamesh falls asleep, and Utnapishtim instructs his wife to bake a loaf of bread on each of the days he is asleep, so that he cannot deny his failure to keep awake. Gilgamesh, who is seeking to overcome death, cannot even conquer sleep. After instructing Urshanabi the ferryman to wash Gilgamesh, and clothe him in royal robes, they depart for

pos: Epic of Gilgamesh incipit, from the older version. The older version begins with the words "Surpassing all other kings", while the standard version has "He who saw the deep" ("ša nagba īmuru"), "deep" referring to the mysteries of the information brought back by Gilgamesh from his meeting with Uta-Napishti (Utnapishtim) about Ea, the fountain of wisdom. Gilgamesh was given knowledge of how to worship the gods, why death was ordained for human beings, what makes a good king, and how to live a good life. The story of Utnapishtim, the hero of the flood myth, can also be found in the Babylonian Epic

pos: Epic of Gilgamesh Uruk. As they are leaving, Utnapishtim's wife asks her husband to offer a parting gift. Utnapishtim tells Gilgamesh that at the bottom of the sea there lives a boxthorn-like plant that will make him young again. Gilgamesh, by binding stones to his feet so he can walk on the bottom, manages to obtain the plant. Gilgamesh proposes to investigate if the plant has the hypothesized rejuvenation ability by testing it on an old man once he returns to Uruk. Unfortunately, when Gilgamesh stops to bathe, it is stolen by a serpent, who sheds its skin as it departs. Gilgamesh weeps

pos: Epic of Gilgamesh arrives at the Garden of the gods, a paradise full of jewel-laden trees. Gilgamesh meets alewife Siduri, who assumes that he is a murderer or thief because of his disheveled appearance. Gilgamesh tells her about the purpose of his journey. She attempts to dissuade him from his quest, but sends him to Urshanabi the ferryman, who will help him cross the sea to Utnapishtim. Gilgamesh, out of spontaneous rage, destroys the stone charms that Urshanabi keeps with him. He tells him his story, but when he asks for his help, Urshanabi informs him that he has just destroyed the objects

pos: Mount Nisir Mount Nisir Mount Nisir (also spelled Mount Niṣir, and also called Mount Nimush), mentioned in the ancient Mesopotamian "Epic of Gilgamesh", is supposedly the mountain known today as Pir Omar Gudrun (elevation 9000 ft. (approx. 2743 m)), near the city Sulaymaniyah in Iraqi Kurdistan. The name may mean "Mount of Salvation". According to the "Epic of Gilgamesh", Mt. Nisir is the resting place of the ship built by Utnapishtim. Despite the precise descriptions in the "Epic of Gilgamesh", those curious have never attempted to search for the remains of the giant ship on Mt. Nisir. An alternative translation of "Mount

pos: Gilgamesh own mortality, travels a great distance and overcomes many obstacles to find the home of Utnapishtim, the sole survivor of the Great Flood, who was rewarded with immortality by the gods. The journey to Utnapishtim involves a series of episodic challenges, which probably originated as major independent adventures, but, in the epic, they are reduced to what Joseph Eddy Fontenrose calls "fairly harmless incidents." First, Gilgamesh encounters and slays lions in the mountain pass. Upon reaching the mountain of Mashu, Gilgamesh encounters a scorpion man and his wife; their bodies flash with terrifying radiance, but, once Gilgamesh tells them his

pos: Apocalyptic and post-apocalyptic fiction of human society. Many of which also included stories that refer back to the Biblical Noah or describe a similar flood. The "Epic of Gilgamesh", written ca. 2000–1500 BC, details a myth where the angry gods send floods to punish humanity, but the ancient hero Utnapishtim and his family are saved through the intervention of the god Ea. A similar story about the Genesis flood narrative is found in Sura 71 of the Quran, where the Islamic counterpart of Noah, Nūḥ (نُوح ), builds the ark and rebuilds humanity. Even in the Hindu Dharmasastra, the apocalyptic deluge plays a prominent

pos: Epic of Gilgamesh build a boat. He gave him precise dimensions, and it was sealed with pitch and bitumen. His entire family went aboard together with his craftsmen and "all the animals of the field". A violent storm then arose which caused the terrified gods to retreat to the heavens. Ishtar lamented the wholesale destruction of humanity, and the other gods wept beside her. The storm lasted six days and nights, after which "all the human beings turned to clay". Utnapishtim weeps when he sees the destruction. His boat lodges on a mountain, and he releases a dove, a swallow, and a raven.

pos: Khidr cow instead of the wife. The next house, as in the al-Khiḍr story, is that of a rich miser, and Elijah repairs his wall so that he will not, in having it repaired, find the treasure hidden under it. A third potential parallel to the legend surrounding al-Khiḍr is the Epic of Gilgamesh. The episode in question takes place after the death of king Gilgamesh's closest friend Enkidu. Gilgamesh goes on a journey to find his ancestor Utnapishtim, a wise figure who was granted immortal life and who lives at the mouth of rivers. Ultimately, although Gilgamesh finds Utnapishtim, he

neg: MÁ and EA 245. In the "Epic of Gilgamesh", Tablet XI (chapter) (the Flood Story) uses the "ship/boat" sumerogram; elsewhere Gilgamesh is taken by boat in other chapters of the Epic. MÁ The cuneiform sign MÁ, the sumerogram (capital letter (majuscule)) is the sign for English language ""ship"", or ""boat"", Akkadian language "eleppu". When written in cuneiform texts, "MÁ" is preceded by the determinative for items made of wood, namely "GIŠ", (GIŠ (wood Sumerogram). For "ship", or "boat" it is written as: "GIŠ.MÁ", or .MÁ, . As examples of words using "GIŠ" from the "Epic of Gilgamesh", giš (cuneiform), lists 16-uses

neg: Gilgamesh flood myth brought aboard my wife and made her kneel at my side. Standing between us, he touched our foreheads to bless us." In the first sentence "Then dingir-kabtu came aboard the boat" the Akkadian determinative dingir is usually translated as "god", but can also mean "priest" Dingir-kabtu literally means "divine important-person". Translating this as Enlil is the translator's conjecture. Gilgamesh flood myth The Gilgamesh flood myth is a flood myth in the "Epic of Gilgamesh". Many scholars believe that the flood myth was added to Tablet XI in the "standard version" of the Gilgamesh Epic by an editor who utilized the

neg: Urshanabi Urshanabi Urshanabi was the ferryman of the Hubur, river of the dead in Mesopotamian mythology. His equivalent in Greek Mythology was Charon. He is first mentioned in the myth of Enlil and Ninlil, where he is called SI.LU.IGI and described as a man. In the Epic of Gilgamesh, Urshanabi is a companion of Gilgamesh after Enkidu dies. They meet when Urshanabi is involved in the curious occupation of collecting an unintelligible type of ""urnu"-snakes" in the forest. Urshanabi's ferry is at first powered by unintelligible "stone things", that are destroyed by Gilgamesh, who proceeds to power the boat with 120

neg: Gilgamesh "Epic of Gilgamesh" was composed by a scribe named Sîn-lēqi-unninni, probably during the Middle Babylonian Period ( – ), based on much older source material. In the epic, Gilgamesh is a demigod of superhuman strength who befriends the wildman Enkidu. Together, they go on adventures, defeating Humbaba (the East Semitic name for Huwawa) and the Bull of Heaven, who, in the epic, is sent to attack them by Ishtar (the East Semitic equivalent of Inanna) after Gilgamesh rejects her offer for him to become her consort. After Enkidu dies of a disease sent as punishment from the gods, Gilgamesh becomes

neg: Gilgamesh flood myth Gilgamesh flood myth The Gilgamesh flood myth is a flood myth in the "Epic of Gilgamesh". Many scholars believe that the flood myth was added to Tablet XI in the "standard version" of the Gilgamesh Epic by an editor who utilized the flood story from the Epic of Atrahasis. A short reference to the flood myth is also present in the much older Sumerian Gilgamesh poems, from which the later Babylonian versions drew much of their inspiration and subject matter. Gilgamesh’s supposed historical reign is believed to have been approximately 2700 BCE, shortly before the earliest known written stories. The

neg: Epic of Gilgamesh with the wanderings and marvels of the "Odyssey". It is a work of adventure, but is no less a meditation on some fundamental issues of human existence." The "Epic of Gilgamesh" has inspired many works of literature, art, and music, as Theodore Ziolkowski points out in his book "Gilgamesh Among Us: Modern Encounters With the Ancient Epic" (2011). It was only after World War I that the "Gilgamesh" epic reached a modern audience, and only after World War II that it was featured in a variety of genres. Epic of Gilgamesh The Epic of Gilgamesh () is an epic poem

neg: The Epic of Gilgamesh (Martinů) The Epic of Gilgamesh (Martinů) Gilgameš (English: The Epic of Gilgamesh) is an oratorio by Bohuslav Martinů composed 1954–1955 near Nice in France and premiered in 1958 in Basel, Switzerland, with a title and text in German, as "Das Gilgamesch-Epos". The text comprises a sectional portrait of the original "Epic of Gilgamesh" in three parts. The premiere of the oratorio took place on 24 January 1958 with the Basel Chamber Orchestra and the Basel Chamber Choir conducted by Paul Sacher. The United Kingdom premiere in 1959 was conducted by Sir Malcolm Sargent, who had been very impressed with it on

neg: Epic of Gilgamesh 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

neg: Hubur paradise and heroes and deities such as Gilgamesh, Enlil, Enki and Ninlil. The Hubur was suggested to be between the twin peaks of Mount Mashu to the east in front of the gates of the netherworld. The Sumerian myth of Enlil and Ninlil tells the tale of the leader of the gods, Enlil being banished to the netherworld followed by his wife Ninlil. It mentions the river and its ferryman, SI.LU.IGI, who crosses the river in a boat. Themes of this story are repeated later in the Epic of Gilgamesh where the ferryman is called Urshanabi. In later Assyrian times,

neg: Enmebaragesi describing him as the "lugal" of Kish. He is also mentioned in a section of the original Sumerian "Epic of Gilgamesh", "Bilgamesh and Aga", as the father of the Aga who laid siege to Uruk. The Sumerian king list and the "Tummal Inscription" concur with the "Epic of Gilgamesh" in making him the father of Aga, who was the final king of the 1st dynasty of Kish. Thus the fragments verifying Enmebaragesi's historicity enhance the notion that Gilgamesh is also historical. The later Sumerian Renaissance (Ur III) king Shulgi addressed one of his praise poems to Gilgamesh, that credits Gilgamesh

neg: Uruk relates that Enmerkar constructed the "House of Heaven" (Sumerian: "e-anna"; Cuneiform: E.AN) for the goddess Inanna in the Eanna District of Uruk. In the "Epic of Gilgamesh", Gilgamesh builds the city wall around Uruk and is king of the city. Uruk went through several phases of growth, from the Early Uruk period (4000–3500 BC) to the Late Uruk period (3500–3100 BC). The city was formed when two smaller Ubaid settlements merged. The temple complexes at their cores became the Eanna District and the Anu District dedicated to Inanna and Anu, respectively. The Anu District was originally called 'Kullaba' (Kulab or

neg: Epic of Gilgamesh Epic of Gilgamesh 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, dates to the 18th century BC and is titled after its "incipit", Shūtur eli sharrī ("Surpassing All Other

neg: Gilgamesh death due to his lack of compassion for Huwawa. In "Gilgamesh and the Bull of Heaven", Gilgamesh and Enkidu slay the Bull of Heaven, who has been sent to attack them by the goddess Inanna. The plot of this poem differs substantially from the corresponding scene in the later Akkadian "Epic of Gilgamesh". In the Sumerian poem, Inanna does not seem to ask Gilgamesh to become her consort as she does in the later Akkadian epic. Furthermore, while she is coercing her father An to give her the Bull of Heaven, rather than threatening to raise the dead to eat

neg: Gilgamesh 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

neg: The Epic of Gilgamesh, or This Unnameable Little Broom The Epic of Gilgamesh, or This Unnameable Little Broom The Epic of Gilgamesh, or This Unnameable Little Broom (aka Little Songs of the Chief Officer of Hunar Louse) is a 1985 stop motion short film by The Brothers Quay. The film is loosely based on the first tablet of "Epic of Gilgamesh". Boasting the longest title in the Quays' entire output, this 1985 film is generally known as "This Unnameable Little Broom". The short began life as a proposed hour-long program Channel 4 exploring aspects of the ancient Babylonian "Epic of Gilgamesh", one of the oldest known surviving works of

neg: Cedar Forest sky-god Anu, to let her have the Bull of Heaven to wreak vengeance on Gilgamesh and his city: Cedar Forest The Cedar Forest is the glorious realm of the gods of Mesopotamian mythology. It is guarded by the demigod Humbaba and was once entered by the hero Gilgamesh who dared cut down trees from its virgin stands during his quest for fame. The Cedar Forest is described in Tablets 4-6 of the great Epic of Gilgamesh. Earlier Sumerian versions of the Epic of Gilgamesh say that Gilgamesh travelled east, presumably, to the Zagros mountains of Iran (ancient Elam) to the

neg: Gilgamesh Heaven. 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

neg: Gilgamesh 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". Early interest in the "Epic of Gilgamesh" was almost exclusively on account of the flood story from Tablet XI. The flood story attracted enormous public attention and drew widespread scholarly controversy, while the rest of the epic was largely ignored. Most attention towards the "Epic of Gilgamesh" in the late nineteenth and early twentieth centuries came from German-speaking countries, where controversy raged over the

neg: Cedar Forest Cedar Forest The Cedar Forest is the glorious realm of the gods of Mesopotamian mythology. It is guarded by the demigod Humbaba and was once entered by the hero Gilgamesh who dared cut down trees from its virgin stands during his quest for fame. The Cedar Forest is described in Tablets 4-6 of the great Epic of Gilgamesh. Earlier Sumerian versions of the Epic of Gilgamesh say that Gilgamesh travelled east, presumably, to the Zagros mountains of Iran (ancient Elam) to the cedar forest, yet the later more extensive Babylonian examples place the cedar forests west in Lebanon. Tablet four

neg: Gilgamesh the epic context in which he originally became known. (As analogous examples one might think, for instance, of the Minotaur or Frankenstein's monster.)" The "Epic of Gilgamesh" has been translated into many major world languages and has become a staple of American world literature classes. Many contemporary authors and novelists have drawn inspiration from it, including an American avant-garde theater collective called "The Gilgamesh Group" and Joan London in her novel "Gilgamesh" (2001). "The Great American Novel" (1973) by Philip Roth features a character named "Gil Gamesh", who is the star pitcher of a fictional 1930s baseball team called the

neg: The Epic of Gilgamesh, or This Unnameable Little Broom experience helped create the paranoid atmosphere that saturates the film. The Epic of Gilgamesh, or This Unnameable Little Broom The Epic of Gilgamesh, or This Unnameable Little Broom (aka Little Songs of the Chief Officer of Hunar Louse) is a 1985 stop motion short film by The Brothers Quay. The film is loosely based on the first tablet of "Epic of Gilgamesh". Boasting the longest title in the Quays' entire output, this 1985 film is generally known as "This Unnameable Little Broom". The short began life as a proposed hour-long program Channel 4 exploring aspects of the ancient Babylonian "Epic

neg: Gilgamesh symphony about Gilgamesh. "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

neg: Bull of Heaven scene in the later Akkadian "Epic of Gilgamesh". In the Sumerian poem, Inanna does not seem to ask Gilgamesh to become her consort as she does in the later Akkadian epic. Furthermore, while she is coercing her father An to give her the Bull of Heaven, rather than threatening to raise the dead to eat the living as she does in the later epic, she merely threatens to let out a "cry" that will reach the earth. In Tablet VI of the standard Akkadian "Epic of Gilgamesh", after Gilgamesh repudiates her sexual advances, Ishtar goes to Heaven, where she complains

neg: Gilgamesh 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. In the epic, Gilgamesh is introduced as "two thirds divine and one third mortal". At the beginning of the poem, Gilgamesh is described as a brutal, oppressive ruler. This is usually interpreted to mean either that he compels all his subjects to engage in forced labor

neg: Epic poetry they could memorize the epic as received in tradition and add to the epic in their performances. Hence aside from writers like Dante, Camões, and Milton, Apollonius of Rhodes in his "Argonautica" and Virgil in "Aeneid" adopted and adapted Homer's style and subject matter, but used devices available only to those who write, and in their works Nonnus' "Dionysiaca" and Tulsidas' "Sri Ramacharit Manas" also used stylistic elements typical of epics. The oldest epic recognized is the "Epic of Gilgamesh" (), which was recorded In ancient Sumer during the Neo-Sumerian Empire. The poem details the exploits of Gilgamesh, the king

neg: Epic of Gilgamesh discoveries have been published, the epic remains incomplete. Analysis of the Old Babylonian text has been used to reconstruct possible earlier forms of the "Epic of Gilgamesh". The most recent Akkadian version (), also referred to as the standard version, consisting of twelve tablets, was edited by Sin-liqe-unninni and was found in the Library of Ashurbanipal in Nineveh. 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.

neg: Me (cuneiform) vowel "e" ( or "ì", "i" ), all the four vowels, "a, e, i," and "u", can also be interchanged in the formation of words. The "me" sign usage in the "Epic of Gilgamesh" is as follows: "me"-(98 times); "mì"-(9), "sip"-(1), "šeb"-(3), "šep"-(1), "šib"-(12), "šip"-(2), "ME"-(5 times) Me (cuneiform) The cuneiform me sign is a common multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for ME in the "Epic of Gilgamesh". Because of its extensive syllabic multi-use (in the Epic of Gilgamesh), its grammatical usage would

neg: Sa (cuneiform) "SA" in the "Epic of Gilgamesh" is a logogram for Akkadian "Šer'ānu", translated as: ""muscle, sinew"". The "sa" sign usage in the "Epic of Gilgamesh" is as follows: "sa"-(89 times); and "SA"-(2). Sa (cuneiform) The cuneiform sa sign is a less common-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for SA in the "Epic of Gilgamesh". The structure of the cuneiform sign is similar to, Ir (cuneiform), . The "sa" sign has the syllabic usage for "sa", and a sumerogram usage for "SA". Alphabetically "sa" can

neg: Gilgamesh flood myth common theme, the hunger and thirst of the gods during the flood." Although the 18th century BC copy of the Atrahasis (Atra-Hasis) epic post-dates the early Gilgamesh epic, we do not know whether the Old-Akkadian Gilgamesh tablets included the flood story, because of the fragmentary nature of surviving tablets. Some scholars argue that they did not. Tigay, for example, maintains that three major additions to the Gilgamesh epic, namely the prologue, the flood story (tablet XI), and tablet XII, were added by an editor or editors, possibly by Sin-leqi-unninni, to whom the entire epic was later attributed. According to this

neg: Gilgamesh early work "Symbole der Wandlung" (1911-1912). He, for instance, cites Ishtar's sexual attraction to Gilgamesh as an example of the mother's incestuous desire for her son, Humbaba as an example of an oppressive father-figure whom Gilgamesh must overcome, and Gilgamesh himself as an example of a man who forgets his dependence on the unconscious and is punished by the "gods", who represent it. In the years following World War II, Gilgamesh, formerly an obscure figure known only by a few scholars, gradually became increasingly popular with modern audiences. The "Epic of Gilgamesh"'s existential themes made it particularly appealing to German

neg: Gilgamesh Gilgamesh Gilgamesh was a historical king of the Sumerian city-state of Uruk, a major hero in ancient Mesopotamian mythology, and the protagonist of the "Epic of Gilgamesh", an epic poem written in Akkadian during the late second millennium BC. He probably ruled sometime between 2800 and 2500 BC and was posthumously deified. He became a major figure in Sumerian legends during the Third Dynasty of Ur ( 2112 – 2004 BC). Tales of Gilgamesh's legendary exploits are narrated in five surviving Sumerian poems. The earliest of these is probably "Gilgamesh, Enkidu, and the Netherworld", in which Gilgamesh comes to the

neg: Epic of Gilgamesh Genesis. Esther J. Hamori, in "Echoes of Gilgamesh in the Jacob Story", also claims that the myth of Jacob and Esau is paralleled with the wrestling match between Gilgamesh and Enkidu. Numerous scholars have drawn attention to various themes, episodes, and verses, indicating that the "Epic of Gilgamesh" had a substantial influence on both of the epic poems ascribed to Homer. These influences are detailed by Martin Litchfield West in "The East Face of Helicon: West Asiatic Elements in Greek Poetry and Myth". According to Tzvi Abusch of Brandeis University, the poem "combines the power and tragedy of the "Iliad"

neg: Gilgamesh 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 Gilgamesh was a historical king of the Sumerian city-state of Uruk, a major hero in ancient Mesopotamian mythology, and the protagonist of the "Epic of Gilgamesh", an epic poem written in Akkadian during the late second millennium BC. He probably ruled sometime between 2800 and 2500 BC and was posthumously deified. He became a major figure in Sumerian legends during

neg: Epic of Gilgamesh superior strength and they become friends. Gilgamesh proposes a journey to the Cedar Forest to slay the monstrous demi-god Humbaba in order to gain fame and renown. Despite warnings from Enkidu and the council of elders, Gilgamesh is not deterred. The elders give Gilgamesh advice for his journey. Gilgamesh visits his mother, the goddess Ninsun, who seeks the support and protection of the sun-god Shamash for their adventure. Ninsun adopts Enkidu as her son, and Gilgamesh leaves instructions for the governance of Uruk in his absence. Gilgamesh and Enkidu journey to the Cedar Forest. Every few days they camp on

neg: Gilgamesh woman who can turn men into animals: Ishtar (for Gilgamesh) and Circe (for Odysseus). In the "Odyssey", Odysseus blinds a giant Cyclops named Polyphemus, an incident which bears similarities to Gilgamesh's slaying of Humbaba in the "Epic of Gilgamesh". Both Gilgamesh and Odysseus visit the Underworld and both find themselves unhappy whilst living in an otherworldly paradise in the presence of an attractive woman: Siduri (for Gilgamesh) and Calypso (for Odysseus). Finally, both heroes have an opportunity for immortality but miss it (Gilgamesh when he loses the plant, and Odysseus when he leaves Calypso's island). In the Qumran scroll known

neg: Gilgamesh the immortal Gilgamesh the immortal Gilgamesh the immortal is an Argentine comic book created by Lucho Olivera and published by Editorial Columba. It is freely based in the famous "Epic of Gilgamesh", and features Gilgamesh as an ancient king that met an alien who turned him into immortal by using his advanced technology. The story of the character spans from that point to the death of the human race during an atomic holocaust, a space journey, the establishment of the human race on another planet and his eventual return to earth. The comic book was first published in 1969. "Gilgamesh" was initially

neg: Statue of Gilgamesh, University of Sydney Statue of Gilgamesh, University of Sydney The Statue of Gilgamesh at the University of Sydney, Camperdown, was created by Lewis Batros on commission from the Assyrian community, and unveiled in 2000. The 2.5m statue depicts Gilgamesh, an ancient Sumerian king of the city-state of Uruk whose legendary exploits are told in the "Epic of Gilgamesh", an Akkadian epic poem written during the late second millennium BC, based on much earlier material. The Gilgamesh Cultural Centre, on behalf of the Assryian community, presented the statue to the University to commemorate its sesquicentenary. The statue was unveiled by Dame Leonie Kramer, A.C.,

neg: Ta (cuneiform) Ta (cuneiform) The cuneiform ta sign is a common, multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for TA, for example in the "Epic of Gilgamesh", for Akkadian language ""ultu"", English language for "from", or "since", but in only (1) location in the 12 tablet "Epic of Gilgamesh". Sumerogram "TA" is used elsewhere in the Epic, (7) more times. In the formation of words in text, "ta" can be a syllabic for "ta", or as a syllabic for "t", or "a". (It could also be used

neg: The Epic of Gilgamesh, or This Unnameable Little Broom Gilgamesh resurfaces, retrieving the ensnared Enkidu by means of a giant gold cloth. Gilgamesh binds his captive with twine, beats him with a spiked club, and brushes his wings before cutting them off with scissors. Gilgamesh cuts the twine binding Enkidu and as the gold cloth falls to the ground the viewer is given a shot of Enkidu’s forest. The same fluff that Gilgamesh was eating earlier litters the forest floor and the viewer is allowed to observe an insect husk rapidly decay. In the end, Gilgamesh is seen riding frenzied circles around Enkidu, who is now trapped beneath the

neg: Bull of Heaven Bull of Heaven In ancient Mesopotamian mythology, the Bull of Heaven is a mythical beast fought by the hero Gilgamesh. The story of the Bull of Heaven has two different versions: one recorded in an earlier Sumerian poem and a later version in the standard Akkadian "Epic of Gilgamesh". In the Sumerian poem, the Bull is sent to attack Gilgamesh by the goddess Inanna for reasons that are unclear. The more complete Akkadian account comes from Tablet VI of the "Epic of Gilgamesh", in which Gilgamesh refuses the sexual advances of the goddess Ishtar, the East Semitic equivalent of Inanna,

neg: Lugalbanda the brother of Gilgamesh. Sin-Kashid of Uruk also refers to Lugalbanda and Ninsun as his divine parents, and names Lugalbanda as his god. In the Akkadian Epic of Gilgamesh and in earlier Sumerian stories about the hero, the king of Uruk, Gilgamesh, calls himself the son of Lugalbanda and Ninsun. In the "Gilgamesh and Huwawa" tale, the hero consistently uses the assertive phrase: “By the life of my own mother Ninsun and of my father, holy Lugalbanda!”. In Akkadian versions of the epic, Gilgamesh also refers to Lugalbanda as his personal god, and in one episode presents the oil filled

neg: MÁ MÁ The cuneiform sign MÁ, the sumerogram (capital letter (majuscule)) is the sign for English language ""ship"", or ""boat"", Akkadian language "eleppu". When written in cuneiform texts, "MÁ" is preceded by the determinative for items made of wood, namely "GIŠ", (GIŠ (wood Sumerogram). For "ship", or "boat" it is written as: "GIŠ.MÁ", or .MÁ, . As examples of words using "GIŠ" from the "Epic of Gilgamesh", giš (cuneiform), lists 16-uses of "wood-related" words, among them Akkadian "eleppu", for "ship". Some of the Amarna letters using the sumerogram for "ship", or "boat", are Amarna letters: EA 86, EA 153, EA 149,

neg: Ta (cuneiform) last-line occurs in EA 19, Para II. Ta (cuneiform) The cuneiform ta sign is a common, multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for TA, for example in the "Epic of Gilgamesh", for Akkadian language ""ultu"", English language for "from", or "since", but in only (1) location in the 12 tablet "Epic of Gilgamesh". Sumerogram "TA" is used elsewhere in the Epic, (7) more times. In the formation of words in text, "ta" can be a syllabic for "ta", or as a syllabic for "t",

neg: The Epic of Gilgamesh (Martinů) hearing during a visit to Prague. Alvar Liddell was the narrator. This was recorded. Vernon Handley conducted the work in Guildford in 1970. Jiří Bělohlávek conducted a performance in the Festival Hall with the BBC Symphony Orchestra and Jack Shepherd as narrator in 1995, issued on CD by the BBC. The Epic of Gilgamesh (Martinů) Gilgameš (English: The Epic of Gilgamesh) is an oratorio by Bohuslav Martinů composed 1954–1955 near Nice in France and premiered in 1958 in Basel, Switzerland, with a title and text in German, as "Das Gilgamesch-Epos". The text comprises a sectional portrait of the original "Epic

neg: Gilgamesh the last part of "Gilgamesh, Enkidu, and the Netherworld". For these reasons, scholars conclude this narrative was probably relegated to the end of the epic because it did not fit the larger narrative. In it, Gilgamesh sees a vision of Enkidu's ghost, who promises to recover the lost items and describes to his friend the abysmal condition of the Underworld. Although stories about Gilgamesh were wildly popular throughout ancient Mesopotamia, authentic representations of him in ancient art are extremely rare. Popular works often identify depictions of a hero with long hair, containing four or six curls, as representations of Gilgamesh,

neg: Gilgamesh the immortal that was mortal once. He is proposed to move to yet another higher level of existence, but requests instead to live his life again. This event relates with the relaunch of the series mentioned earlier. Gilgamesh the immortal Gilgamesh the immortal is an Argentine comic book created by Lucho Olivera and published by Editorial Columba. It is freely based in the famous "Epic of Gilgamesh", and features Gilgamesh as an ancient king that met an alien who turned him into immortal by using his advanced technology. The story of the character spans from that point to the death of the

neg: Ur (cuneiform) compressed cuneiform character that individual strokes are overwritten, and difficult to identify. Cuneiform "ur" has many sub-uses in the "Epic of Gilgamesh". The following can be found: "leq"--(1) time, "lik"--(37), "liq"--(3), "tas"--(1), "taṣ"--(2), "taš"--(15), "tés"--(1), "téš"--(1), "ur"--(93), "UR"--(16) times. Ur (cuneiform) The cuneiform sign ur () is a common-use sign in the "Epic of Gilgamesh", the Amarna letters, and other cuneiform texts. It has multiple sub-uses in the "Epic of Gilgamesh", as well as use for the sumerogram (capital letter (majuscule)), UR. In the Epic, "UR" is used to spell Akkadian language "barbaru", "wolf", as "UR.BAR.RA (in Tablet VI, and

neg: Cedar Forest the demon, but Humbaba, who knows Gilgamesh is a king, taunts the king for taking orders from a nobody like Enkidu. Turning his face into a hideous mask, Humbaba begins to threaten the pair, and Gilgamesh runs and hides. Enkidu shouts at Gilgamesh, inspiring him with courage, and Gilgamesh appears from hiding and the two begin their epic battle with Humbaba. Shamash intrudes on the battle, helping the pair, and Humbaba is defeated. On his knees, with Gilgamesh's sword at his throat, Humbaba begs for his life and offers Gilgamesh all the trees in the forest and his eternal servitude.

neg: Rainbows in mythology "The Epic of Gilgamesh", who was an ancient Sumerian king (ca.3000 BC), is our first detailed written evidence of human civilization. In a Victorian translation of a Gilgamesh variant, Leonidas Le Cenci Hamilton's Epic of Ishtar and Izdubar, King Izdubar sees "a mass of colors like the rainbow’s hues" that are "linked to divine sanction for war." Later in the epic, Izdubar sees the "glistening colors of the rainbow rise" in the fountain of life next to Elam’s Tree of Immortality. The Sumerian farmer god Ninurta defends Sumer with a bow and arrow, and wore a crown described as a

neg: Epic of Gilgamesh based on Andrew George's translation. The story introduces Gilgamesh, king of Uruk. Gilgamesh, two-thirds god and one-third man, is oppressing his people, who cry out to the gods for help. For the young women of Uruk this oppression takes the form of a "droit du seigneur", or "lord's right", to sleep with brides on their wedding night. For the young men (the tablet is damaged at this point) it is conjectured that Gilgamesh exhausts them through games, tests of strength, or perhaps forced labour on building projects. The gods respond to the people's pleas by creating an equal to Gilgamesh

neg: Siduri that the similarity of Odysseus's and Gilgamesh's journeys to the edges of the earth are the result of the influence of the Gilgamesh epic upon the Odyssey. Siduri's name means "young woman" in Hurrian, and may be an epithet of Ishtar. Siduri Siduri is a character in the Epic of Gilgamesh. She is an "alewife", a wise female divinity associated with fermentation (specifically beer and wine). In the earlier Old Babylonian version of the Epic, she attempts to dissuade Gilgamesh in his quest for immortality, urging him to be content with the simple pleasures of life. In the later Akkadian

neg: Qut Qut The cuneiform qut sign, (also qud, aspirated 't', unaspirated 'd') sign is found in both the 14th century BC Amarna letters and the Epic of Gilgamesh. It is a multi-use sign with 9 syllabic/alphabetic uses in the Epic of Gilgamesh; in the Amarna letters it is extremely common in the prostration formula, typical first paragraph of a letter, saying typically: ""7 and 7 times," I bow down" (to the Pharaoh, when addressed to the Pharaoh); a small group of Amarna letters are addressed to a different distinct personage in Egypt, under the Pharaoh. In the Epic of Gilgamesh, the

neg: Epic of Gilgamesh has been suggested that a "prior form of the story – earlier even than that preserved on the Old Babylonian fragment – may well have ended with Siduri sending Gilgamesh back to Uruk..." and "Utnapistim was not originally part of the tale." There are five extant Gilgamesh stories in the form of older poems in Sumerian. These probably circulated independently, rather than being in the form of a unified epic. Some of the names of the main characters in these poems differ slightly from later Akkadian names; for example, "Bilgamesh" is written instead of "Gilgamesh", and there are some differences

neg: Jonah Jonah is swallowed by a gargantuan whale. The film was Big Idea Entertainment's first full-length theatrical release and, on its first weekend, it earned approximately $6.5 million. Joseph Campbell suggests that the story of Jonah parallels a scene from the "Epic of Gilgamesh", in which Gilgamesh obtains a plant from the bottom of the sea. In the Book of Jonah, a worm (in Hebrew "tola'ath", "maggot") bites the shade-giving plant's root causing it to wither; whereas in the "Epic of Gilgamesh", Gilgamesh ties stones to his feet and plucks his plant from the floor of the sea. Once he returns

neg: Sumer king authenticated through archaeological evidence is Enmebaragesi of Kish (c. 26th century BC), whose name is also mentioned in the Gilgamesh epic—leading to the suggestion that Gilgamesh himself might have been a historical king of Uruk. As the Epic of Gilgamesh shows, this period was associated with increased war. Cities became walled, and increased in size as undefended villages in southern Mesopotamia disappeared. (Both Enmerkar and Gilgamesh are credited with having built the walls of Uruk). c. 2500–2270 BC The dynasty of Lagash, though omitted from the king list, is well attested through several important monuments and many archaeological finds.

neg: Gilgamesh 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. Powell observes that the opening lines of the "Odyssey" seem to echo the opening lines of the "Epic of Gilgamesh". The storyline of the "Odyssey" likewise bears numerous similarities to that of the "Epic of Gilgamesh". Both Gilgamesh and Odysseus encounter a

neg: Gilgamesh Testament entirely could Christians finally believe in the true, Aryan message of the New Testament. The first modern literary adaptation of the "Epic of Gilgamesh" was "Ishtar and Izdubar" (1884) by Leonidas Le Cenci Hamilton, an American lawyer and businessman. Hamilton had rudimentary knowledge of Akkadian, which he had learned from Archibald Sayce's 1872 "Assyrian Grammar for Comparative Purposes". Hamilton's book relied heavily on Smith's translation of the "Epic of Gilgamesh", but also made major changes. For instance, Hamilton omitted the famous flood story entirely and instead focused on the romantic relationship between Ishtar and Gilgamesh. "Ishtar and Izdubar" expanded

neg: Comparative mythology uncovered a number of parallels between the myths of different cultures, including some very widespread recurring themes and plot elements. Here are some examples. Cultures around the world tell stories about a great flood. In many cases, the flood leaves only one survivor or group of survivors. For example, both the Babylonian "Epic of Gilgamesh" and the Hebrew Bible tell of a global flood that wiped out humanity and of a man who saved the Earth's species by taking them aboard a boat. Similar stories of a single flood survivor appear in Hindu mythology as well as Greek, Norse mythology

neg: Pa (cuneiform) the "Epic of Gilgamesh": Its usage numbers from the "Epic of Gilgamesh" are as follows: "hat"-(21), "pa"-(209), "PA"-(11), "SÀG"-(1). In the Amarna letters the start of "messenger Xxxxx" is often spelled in cuneiform characters: "LÚ.PA.X.y.z" (etc.), (LÚ the beginning determinative for "Man"). Pa (cuneiform) The cuneiform pa sign, (as sumerogram, PA), has many uses in both the 14th century BC Amarna letters and the "Epic of Gilgamesh". It is routinely and commonly used to spell the Akkadian language word "pānu", "face, presence", and with a preposition (ex. ana pānu), "before". In the photo of the obverse of EA 364, it

neg: History of poetry depends on conveying meaning through non-musical grammatical, tonal and rhythmic rules imitating speech. Although, these performances could be included in those of griots. The oldest surviving speculative fiction poem is the "Tale of the Shipwrecked Sailor", written in "Hieratic" and ascribed a date around 2500 B.C.E. Other sources ascribe the earliest written poetry to the "Epic of Gilgamesh" written in "cuneiform"; however, it is most likely that "The Tale of the Shipwrecked Sailor" predates "Gilgamesh" by half a millennium. The oldest epic poetry besides the "Epic of Gilgamesh" are the Greek epics "Iliad" and "Odyssey" and the Indian Sanskrit epics

neg: Ib (cuneiform) Ib (cuneiform) The cuneiform sign ib, (or ip) is a common-use sign in the "Epic of Gilgamesh", the Amarna letters, and other cuneiform texts. Its common usage is syllabic for "ib" (or "ip"), or alphabetic for "i" or "b"/"p"; the "i" is also exchanged for "e" when spelling specific words in the Akkadian language. Cuneiform "ib" also can be found as sumerogram "URTA", (a capital letter (majuscule)), and for example it is used in the "Epic of Gilgamesh" for the god's name: Ninurta, spelled NIN.URTA. Cuneiform "ib" has other sub-uses in the "Epic of Gilgamesh". The following can be found:

neg: The Epic of Gilgamesh, or This Unnameable Little Broom materials are organized into representations of male genitals then pierced with tailor’s pins. In the epic poem Gilgamesh is King of Uruk and oppresses his citizens. In the Quays’ adaption he is lord over an isolated kingdom where he is the sole denizen. In the Epic Enkidu is a Wildman created by the gods to distract Gilgamesh from his questionable activities. Enkidu is spotted uprooting traps, ruining a trapper’s trade. Enkidu is then seduced by Shamhat, a temple prostitute, the first step in civilizing him. The Brothers version shows Enkidu first being seduced by Shamhat, leading him into a trap

neg: Iš (cuneiform) Iš (cuneiform) The cuneiform sign iš is a common use sign in the Amarna letters and the "Epic of Gilgamesh." It is used syllabically for "iš"; also for "mel", "mil", and a Sumerogramic usage for "IŠ" (Epic of Gilgamesh). Alphabetically as "iš", its most common usage, it can be used for "i" or "š". In Akkadian, the four vowels "a, e, i, o", are all interchangeable, and the three different "s", can also be interchanged: "s, ṣ, š". For the "Epic of Gilgamesh", the following usage is found in Tablets I-XII: "iš"-(134 times); "mel"-(1); "mil"-(8); IŠ-(18 times). One of the

neg: Giš "eṣ/ez". Besides "giš", it can alphabetically be used for: "e", "i", "s", "ṣ", or "z". The usage numbers for "giš" in the "Epic of Gilgamesh" are as follows: "eṣ"-(2) times, "ez", (3), "giš", (1), "is", (46), "iṣ", (77), "iz", (17), and "GIŠ" (355) times. The following list of Akkadian language words are from the sumerograms used in the "Epic of Gilgamesh". Giš The cuneiform giš sign, (also common for is, iṣ, and iz), is a common, multi-use sign, in the "Epic of Gilgamesh", the Amarna letters, and other cuneiform texts. It also has a major usage as a sumerogram, GIŠ,

neg: Zi (cuneiform) are interchangeable with each other. The "zi" sign usage in the "Epic of Gilgamesh" is as follows: "ze"-(6 times); "gi"-(46), "ZI"-(32 times). Zi (cuneiform) The cuneiform zi sign is a common multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for ZI in the "Epic of Gilgamesh". The structure of the cuneiform sign is like its twin, Gi (cuneiform), . The "zi" sign has the syllabic usage for "ze" and "zi", and a sumerogram usage for "ZI". Alphabetically "zi" can be used for "z" ("z" can be

neg: Gi (cuneiform) u" are interchangeable with each other. The "gi" sign usage in the "Epic of Gilgamesh" is as follows: "ge"-(4 times); "gi"-(17), "GI"-(20 times). Gi (cuneiform) The cuneiform gi sign is a common multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for GI in the "Epic of Gilgamesh". The structure of the cuneiform sign is like its twin, Zi (cuneiform), . The "gi" sign has the syllabic usage for "ge" and "gi", and a sumerogram usage for "GI". Alphabetically "gi" can be used for "g" ("g" can

neg: Me (cuneiform) Me (cuneiform) The cuneiform me sign is a common multi-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna letters, and other cuneiform texts. It also has a sumerogrammic usage for ME in the "Epic of Gilgamesh". Because of its extensive syllabic multi-use (in the Epic of Gilgamesh), its grammatical usage would be as follows: all the syllabic usages possible, but for alphabetic usage, as follows; for consonants, it could be used for "m", "s", "š", "b", and "p". ("b" and "p" are interchangeable, and "s" can also be substituted for "š", and vice-versa for all four). For the

neg: Gilgamesh "Das Alte Testament im Lichte des alten Orients", the German Assyriologist Alfred Jeremias equated Gilgamesh with the king Nimrod from the Book of Genesis and argued that Gilgamesh's strength must come from his hair, like the hero Samson in the Book of Judges, and that he must have performed Twelve Labors like the hero Heracles in Greek mythology. In his 1906 book "Das Gilgamesch-Epos in der Weltliteratur", the Orientalist Peter Jensen declared that the "Epic of Gilgamesh" was the source behind nearly all the stories in the Old Testament, arguing that Moses is "the Gilgamesh of Exodus who saves the

neg: Humbaba newly discovered tablet in Sulaymaniyah is somewhat positive about Humbaba: The tablet goes on to portray Gilgamesh as an aggressor who destroys a forest unnecessarily, and his death is lamented by Enkidu. Humbaba is first mentioned in Tablet II of the "Epic of Gilgamesh": after Gilgamesh and Enkidu become friends following their initial fight, they set out on an adventure to the Cedar Forest beyond the seventh mountain range, to slay Humbaba (Huwawa): "Enkidu," Gilgamesh vows, "since a man cannot pass beyond the final end of life, I want to set off into the mountains, to establish my renown there."

neg: Shamhat Shamhat Shamhat (or Šamhat, also called Shamkat in the old Babylonian version of Gilgamesh") is a female character who appears in Tablets I and II of the Epic of Gilgamesh and is mentioned in Tablet VII. She is a sacred prostitute who plays a significant role in bringing the wild man Enkidu into contact with civilization. Shamhat plays the integral role in Tablet I, of taming the wild man Enkidu, who was created by the gods as the rival to the mighty Gilgamesh. Shamhat was a sacred temple prostitute or "harimtu". She was asked to use her attractiveness to tempt

neg: Epic of Gilgamesh Gilgamesh arrives at the twin peaks of Mount Mashu at the end of the earth. He comes across a tunnel, which no man has ever entered, guarded by two scorpion monsters, who appear to be a married couple. The husband tries to dissuade Gilgamesh from passing, but the wife intervenes, expresses sympathy for Gilgamesh, and (according to the poem's editor Benjamin Foster) allows his passage. He passes under the mountains along the Road of the Sun. In complete darkness he follows the road for 12 "double hours", managing to complete the trip before the Sun catches up with him. He

neg: Lilith identifying the Akkadian "Lil-itu" as a loan from the Sumerian "lil" "air" — specifically from "Ninlil", "lady air", goddess of the south wind (and wife of Enlil) — and "itud", "moon". Samuel Noah Kramer (1932, published 1938) translated "ki-sikil-lil-la-ke" as "Lilith" in "Tablet XII" of the Epic of Gilgamesh dated c.600 BC. "Tablet XII" is not part of the Epic of Gilgamesh, but is a later Assyrian Akkadian translation of the latter part of the Sumerian poem of "Gilgamesh, Enkidu, and the Netherworld". The "ki-sikil-lil-la-ke" is associated with a serpent and a zu bird. In "Gilgamesh, Enkidu, and the Netherworld",

neg: Epic of Gilgamesh to dissuade Gilgamesh in his quest for immortality, urging him to be content with the simple pleasures of life. After one more lacuna, Gilgamesh smashes the "stone ones" and talks to the ferryman Urshanabi (here called Sur-sunabu). After a short discussion, Sur-sunabu asks him to carve 300 oars so that they may cross the waters of death without needing the "stone ones". The rest of the tablet is missing. The text on the Old Babylonian Meissner fragment (the larger surviving fragment of the Sippar tablet) has been used to reconstruct possible earlier forms of the "Epic of Gilgamesh", and it

neg: Ereshkigal in the Third Millennium B.C.", the renowned scholar of ancient Sumer, Samuel Noah Kramer writes that, according to the introductory passage of the ancient Sumerian epic poem, "Gilgamesh, Enkidu, and the Netherworld," Ereshkigal was forcibly abducted, taken down to the Underworld by the Kur, and was forced to become queen of the Underworld against her will. In order to avenge the abduction of Ereshkigal, Enki, the god of water, set out in a boat to slay the Kur. The Kur defends itself by pelting Enki with rocks of many sizes and by sending the waves beneath Enki's boat to attack

neg: Du (cuneiform) (k/g, k/q), thus the relationship between "kup", and sumerogram "GUB" is explained (k/G). For the sumerogram "GUB", "GUB" in the Akkadian language becomes "uzuzzu", English language for "to stand", or "to be present"; in the Epic of Gilgamesh, "GUB" is only used (2)-times for "uzuzzu", and is used elsewhere in the Tablets I-XII (chapters), (15)-times. The usage numbers for "du" in the "Epic of Gilgamesh" are as follows: "du"-(148) times, "kup"-(1), and "DU"-(17) times. Du (cuneiform) The cuneiform du sign, also kup, and sumerograms DU and GUB, is a common-use sign of the "Epic of Gilgamesh", the 1350 BC Amarna

neg: Id (cuneiform) has other sub-uses in the "Epic of Gilgamesh". The following can be found: "á"--(5) times, "ed"--(4), "et"--(11), "eṭ"--(13), "id"--(27), "it"--(121), "iṭ"--(21), and "Á"--(3) times. (or ip) is a common-use sign in the "Epic of Gilgamesh", the Amarna letters, and other cuneiform texts. Its common usage is syllabic for "ib" (or "ip"), or alphabetic for "i" or "b"/"p"; the "i" is also exchanged for "e" when spelling specific words in the Akkadian language. Cuneiform "ib" also can be found as sumerogram "URTA", (a capital letter (majuscule)), and for example it is used in the "Epic of Gilgamesh" for the god's name:

neg: Dan (cuneiform) Dan (cuneiform) The cuneiform "dan" sign is a multi-use sign found in both the 14th century BC Amarna letters and the Epic of Gilgamesh. Besides dan, (and tan), the following are its uses (from Epic of Gilgamesh): As sumerogram GURUŠ, it is only used for its Akkadian language meaning "eṭlu"-("young man"). Half of the spellings of "eṭlu" use GURUŠ combined with other signs, and half spell "eṭlu" alphabetically/syllabically. The quantities used for specific meanings of the sign, in the Epic of Gilgamesh are as follows: "dan"-(27), "kal"-(23), "lab"-(19), "lap"-(3), "lép"-(1), "líb"-(7), "líp"-(3), "reb"-(7), "rib"-(2), "tan"-(10), "GURUŠ"-(23). Combined with "is", (is

neg: History of science fiction to science or technology puts them closer to fantasy rather than science fiction. One of the earliest and most commonly-cited texts for those looking for early precursors to science fiction is the ancient Mesopotamian "Epic of Gilgamesh", with the earliest text versions identified as being from about 2000 BCE. American science fiction author Lester del Rey was one such supporter of using Gilgamesh as an origin point, arguing that "science fiction is precisely as old as the first recorded fiction. That is the Epic of Gilgamesh." French science fiction writer Pierre Versins also argued that "Gilgamesh" was the first science

neg: Epic poetry of Uruk. Although recognized as a historical figure, Gilgamesh, as represented in the epic, is a largely legendary or mythical figure. The longest epic written is the ancient Indian "Mahabharata", which consists of 100,000 ślokas or over 200,000 verse lines (each shloka is a couplet), as well as long prose passages, so that at about 1.8 million words it is about four times the length of the "Rāmāyaṇa", and roughly ten times the length of the "Iliad" and the "Odyssey" combined. Famous examples of epic poetry include the Sumerian "Epic of Gilgamesh", the ancient Indian "Mahabharata" and "Rāmāyaṇa", the Tamil

neg: U (cuneiform) or bite (the) hand back!?"..." He continues to then discuss the men who have taken a city, (and a cult statue), and defends his past, and future actions. Partial list of signs beginning with "u", from the "Epic of Gilgamesh" (Parpola, 1971), and the Amarna letters: Also: U (cuneiform) The cuneiform U sign, is found in both the 14th century BC Amarna letters and the "Epic of Gilgamesh". It can be used for the alphabetic "u", instead of the more common 2nd u, (ú). It has two other uses, commonly. It can be used for the number 10 (especially the

neg: Jewish mythology in "The Epic of Gilgamesh". In the Hebrew Bible flood story (Genesis 6:5-22), God decides to flood the world and start over, due to mankind's sinfulness. However, God sees that a man named Noah was righteous (because he walked with God) and blameless among the people. God instructs Noah to build an ark and directs him to bring at least two of every animal inside the boat, along with his family. The flood comes and covers the world. After 40 days, Noah sends a raven to check whether the waters have subsided, then a dove; after exiting the boat, Noah

neg: Epic of Gilgamesh 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. The first half of the story discusses Gilgamesh, king of Uruk, and Enkidu, a wild man created by the gods to stop Gilgamesh from oppressing the people of Uruk.

neg: Epic of Gilgamesh in the underlying stories such as the fact that Enkidu is Gilgamesh's servant in the Sumerian version: Various themes, plot elements, and characters in the "Epic of Gilgamesh" have counterparts in the Hebrew Bible—notably, the accounts of the Garden of Eden, the advice from Ecclesiastes, and the Genesis flood narrative. The parallels between the stories of Enkidu/Shamhat and Adam/Eve have been long recognized by scholars. In both, a man is created from the soil by a god, and lives in a natural setting amongst the animals. He is introduced to a woman who tempts him. In both stories the man

neg: Te (cuneiform) Te (cuneiform) The cuneiform te sign is found in both the 14th century BC Amarna letters and the Epic of Gilgamesh; it is also notable in the Hittite language, and for that language, besides its usage as "te", it is a sumerogram (logogram or ideogram), and is used as a component in the word for "envoy", (LÚ-ȚE-mu), or LÚ-ṬE-mi, . 'Envoy' is used in the famous Hittite annals, narrating the story of Prince Zannanza who after going to Egypt to become husband (and Pharaoh) to Queen Nefertiti, was intercepted and killed. The usage of "te" in the Epic of Gilgamesh,

neg: Gudea of his exploits were later added to the Gilgamesh Epic (N. K. Sandars, 1972, "The Epic of Gilgamesh"). Following Gudea, the influence of Lagaš declined, until it suffered a military defeat by Ur-Nammu, whose Third Dynasty of Ur then became the reigning power in Southern Mesopotamia. Gudea Gudea (Sumerian "Gu-de-a") was a ruler ("ensi") of the state of Lagash in Southern Mesopotamia who ruled c. 2144–2124 BC. He probably did not come from the city, but had married Ninalla, daughter of the ruler Ur-Baba (2164–2144 BC) of Lagash, thus gaining entrance to the royal house of Lagash. He was succeeded

neg: KÁ of letter) The city gate is also discussed in the Amarna letter from Tjaru. ---- KÁ The cuneiform sign KÁ, for "gate" is the sumerogram-(logogram) used in the Amarna letters and the Epic of Gilgamesh; as just "KÁ" it means "gate" or "doorway", Akkadian language, "bābu"; as "Gate-Great", KÁ.GAL for City-Gate, it is from Akkadian "abullu", ("(city) gate"). Both uses are in the Epic of Gilgamesh. In the Epic, it is only used as the sumerogram, a total of 19 times, (7 times for 'abullu', city gate). In the Epic, all spellings for city gate use KÁ.GAL; for gate ('bābu')

neg: Homosexuality taxes. Some scholars argue that there are examples of homosexual love in ancient literature, like in the Mesopotamian Epic of Gilgamesh as well as in the Biblical story of David and Jonathan. In the Epic of Gilgamesh, the relationship between the main protagonist Gilgamesh and the character Enkidu has been seen by some to be homosexual in nature. Similarly, David's love for Jonathan is "greater than the love of women." In many societies of Melanesia, especially in Papua New Guinea, same-sex relationships were an integral part of the culture until the middle of the 1900s. The Etoro and Marind-anim for

neg: Gilgamesh 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

neg: Epic of Gilgamesh the Netherworld by a terrifying Angel of Death. The underworld is a "house of dust" and darkness whose inhabitants eat clay, and are clothed in bird feathers, supervised by terrifying beings. For 12 days, Enkidu's condition worsens. Finally, after a lament that he could not meet a heroic death in battle, he dies. In a famous line from the epic, Gilgamesh clings to Enkidu's body and denies that he has died until a maggot drops from the corpse's nose. Gilgamesh delivers a lament for Enkidu, in which he calls upon mountains, forests, fields, rivers, wild animals, and all of Uruk