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All nations have their heroes, and King Gilgamesh was a prominent idol in ancient Mesopotamia. The theme that permeates the Epic is that the finite, intelligent beings of the universe, driven by desire, afraid of pain, and longing for joy, are condemned to much suffering. People are left to themselves in not particularly favorable surroundings and are alone. The afterlife is equally joyless and dreary for all. It remains in the individuals interest to dispose of what is left to one before the inevitable, similarly human and independent of ones behavior, death occurs. These judgments and the issue of choosing a system of values and behavior are at the heart of the work. Gilgamesh and his friend Enkidu are opposing characters whose humanization is feasible only because of their strong friendship. The influence of others can transform a persons values and vision, and the Epic of Gilgamesh proves this point.
The Epic of Gilgamesh makes a decisive choice in favor of companionship hedonism by the entire logic of its plot construction. At the storys very beginning, both the semi-divine king Gilgamesh and the hero Enkidu are examples of isolated, self-absorbed people (Kovacs 5). They ignore or brutally trample on those around them. Enkidu is a savage who knows no people at all, while Gilgamesh drives the citizens of Uruk to the grueling construction of the walls while he amuses himself with their wives and daughters behind their backs.
The Epic, however, leads Enkidu through his love for a woman, and then both Enkidu and Gilgamesh through a mutual friendship that becomes the most critical value for both characters and the central motif of the entire narrative. Love for a woman and affection for a friend transforms both characters and makes them open to other people. Thus, Enkidu, having barely known his passion for the temple harlot Shamhat, boldly intercedes with Gilgamesh for the citizens of Uruk. Having consorted with Uruk, he immediately stops oppressing his subjects and intends to kill the demon Humbaba not only for his glory but to banish all evil from the world (Kovacs 8). These moments vividly demonstrate how a person can change after interacting with other individuals.
In the introduction and end of the Epic, walls appear as the most important symbol. It is evident from the lines: Go up on the wall of Uruk and walk around, examine its foundation, inspect its brickwork thoroughly. Is not (even the core of) the brick structure made of kiln-fired brick, and did not the Seven Sages themselves lay out its plans? (Kovacs 1). The walls are a direct sign of the only thing available to man the posthumous longevity of one work. At the same time, the lines emphasize that they are no longer a monument to Gilgameshs selfishness but a symbol of the excellent inheritance that some people can receive from others. Gilgamesh built walls that still serve the Urukites centuries later, which is what his existence ultimately boiled down to. It is uncertain what the ending would have been had Gilgamesh not met Enkidu, for their strong interrelationship coincided with the personal transformations of each of the heroes.
Thus, the instincts of Gilgamesh and Enkidu lead to a state of balance between the natural and the divine. This state can be found between the superior and the animal, and every human being has it. Gilgamesh lowers his attitude toward demigods and tyrants, becoming frightened, and passionately filled with human feelings. Furthermore, Enkidu moves from an irrational stance to a rational and emotional one. Obviously, the two characters need each other because they would never have reached the humanization stage without mutual influence.
Work Cited
Kovacs, M. G. (1989). The Epic of Gilgamesh. Stanford University Press.
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