Yahweh

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Yahweh

 

Moabite Stone, circa 840 BCE, earliest mention of the Hebrew god Yahweh, appearing as יהוה (YHWH)

 

Yahweh was the national god of the kingdoms of Israel (Samaria) and Judah with origins reaching at least to the early Iron Age and apparently to the Late Bronze.

In the oldest biblical literature, Yahweh is a storm-and-warrior deity who leads the heavenly army against Israel's enemies. At that time the Israelites worshipped Yahweh alongside a variety of Canaanite gods and goddesses, including El, Asherah and Baal, but in time El and Yahweh became conflated, El-linked epithets such as El Shaddai came to be applied to Yahweh alone, and other gods and goddesses such as Baal and Asherah were absorbed into the Yahwistic religion. In the 9th through to the 6th centuries the Yahwistic religion separated itself from its Canaanite heritage as Yahweh became the main god of the Kingdom of Israel (Samaria) and of Judah, and over time the royal court and Temple in Jerusalem promoted Yahweh as the god of the entire cosmos, possessing all the positive qualities previously attributed to the other gods and goddesses. By the end of the Babylonian captivity (6th century BCE), the very existence of foreign gods was denied, and Yahweh was proclaimed as the creator of the cosmos and the one true God of all the world.

Bronze Age origins

There is almost no agreement on the meaning and origins of the name Yahweh, which is not attested other than among the Israelites, and seems not to have any plausible etymology: Ehyeh ašer ehyeh ("I Am that I Am"), the explanation presented in Exodus 3:14, appears to be a late theological gloss invented to explain Yahweh's name at a time when the original meaning had been forgotten. One scholarly theory connected with this holds that 'Yahweh' is a shortened form of the phrase ˀel ḏū yahwī ṣabaˀôt, (Phoenician: 𐤀𐤋 𐤃 𐤉𐤄𐤅𐤄 𐤑𐤁𐤀𐤕) "El who creates the hosts", meaning the heavenly host accompanying El, the chief god of the Canaanites, as he marched beside the earthly armies of Israel. The argument has numerous weaknesses, including, among others, the dissimilar characters of the two gods El and Yahweh, and the fact that el dū yahwī ṣaba’ôt is nowhere attested either inside or outside the Bible.

He does not appear to have been a Canaanite god, although the Israelites were originally Canaanites. The current scholarly consensus is that Yahweh was originally a "divine warrior from the southern region associated with Seir, Edom, Paran and Teman". The oldest plausible recorded occurrence of his name is in the phrase "land of Shasu of yhw", in an Egyptian inscription from the time of Amenhotep III (1402–1363 BCE), the Shasu being nomads from Midian and Edom in northern Arabia. In this case a plausible etymology for the name could be from the root HWY, which would yield the meaning "he blows", appropriate to a weather divinity. There is considerable but not universal support for this view, but it raises the question of how he made his way to the north. The widely accepted Kenite hypothesis holds that traders brought Yahweh to Israel along the caravan routes between Egypt and Canaan. The strength of the Kenite hypothesis is that it ties together various points of data, such as the absence of Yahweh from Canaan, his links with Edom and Midian in the biblical stories, and the Kenite or Midianite ties of Moses. However, while it is entirely plausible that the Kenites and others may have introduced Yahweh to Israel, it is unlikely that they did so outside the borders of Israel or under the aegis of Moses, as the Exodus story has it.

Iron Age I (1200–930 BCE): El, Yahweh, and the origins of Israel

Israel emerges into the historical record in the last decades of the 13th century BCE, at the very end of the Late Bronze Age when the Canaanite city-state system was ending, and the milieu from which Israelite religion emerged was accordingly Canaanite. El, "the kind, the compassionate", "the creator of creatures", was the chief of the Canaanite gods, and he, not Yahweh, was the original "God of Israel"—the word "Israel" is based on the name El rather than Yahweh. He lived in a tent on a mountain from whose base originated all the fresh waters of the world, with the goddess Asherah as his consort. This pair made up the top tier of the Canaanite pantheon; the second tier was made up of their children, the "seventy sons of Athirat" (a variant of the name Asherah). Prominent in this group was Baal, who had his home on Mount Zaphon; over time Baal became the dominant Canaanite deity, so that El became the executive power and Baal the military power in the cosmos. Baal's sphere was the thunderstorm with its life-giving rains, so that he was also a fertility god, although not quite the fertility god. Below the seventy second-tier gods was a third tier made up of comparatively minor craftsman and trader deities, with a fourth and final tier of divine messengers and the like. El and his sons made up the Assembly of the Gods, each member of which had a human nation under his care, and a textual variant of Deuteronomy 32:8–9 describes El dividing the nations of the world among his sons, with Yahweh receiving Israel:

When the Most High (’elyôn) gave to the nations their inheritance,
when he separated humanity,
he fixed the boundaries of the peoples
according to the number of divine beings.
For Yahweh's portion is his people,
Jacob his allotted heritage.

The Israelites initially worshipped Yahweh alongside a variety of Canaanite gods and goddesses, including El, Asherah and Baal. In the period of the Judges and the first half of the monarchy, El and Yahweh became conflated in a process of religious syncretism. As a result, ’el (Hebrew: אל) became a generic term meaning "god", as opposed to the name of a worshipped deity, and epithets such as El Shaddai came to be applied to Yahweh alone, diminishing the worship of El and strengthening the position of Yahweh. Features of Baal, El, and Asherah were absorbed into the Yahwistic religion, Asherah possibly becoming embodied in the feminine aspects of the Shekinah or divine presence, and Baal's nature as a storm and weather god becoming assimilated into Yahweh's own identification with the storm. In the next stage the Yahwistic religion separated itself from its Canaanite heritage, first by rejecting Baal-worship in the 9th century, then through the 8th to 6th centuries with prophetic condemnation of Baal, the asherim, sun-worship, worship on the "high places", practices pertaining to the dead, and other matters.

In the earliest literature such as the Song of the Sea (Exodus 15:1–18, celebrating Yahweh's victory over Egypt at the exodus), Yahweh is a warrior for his people, a storm-god typical of ancient Near Eastern myths, marching out from a region to the south or south-east of Israel with the heavenly host of stars and planets that make up his army. Israel's battles are Yahweh's battles, Israel's victories are his victories, and while other peoples have other gods, Israel's god is Yahweh, who will procure a fertile resting-place for them:

There is none like God, O Jeshurun (i.e., Israel)
who rides through the heavens to your help ...
he subdues the ancient gods, shatters the forces of old ...
so Israel lives in safety, untroubled is Jacob's abode ...
Your enemies shall come fawning to you,
and you shall tread on their backs.

— Deuteronomy 33:26–29

Iron Age II (1000–586 BCE): Yahweh as God of Israel

Solomon dedicates the Temple at Jerusalem (painting by James Tissot or follower, c. 1896–1902)

 

Iron Age Yahweh was the national god of the kingdoms of Israel and Judah, and appears to have been worshipped only in these two kingdoms; this was unusual in the Ancient Near East but not unknown—the god Ashur, for example, was worshipped only by the Assyrians.

After the 9th century BCE the tribes and chiefdoms of Iron Age I were replaced by ethnic nation states, Israel, Judah, Moab, Ammon and others, each with its national god, and all more or less equal. Thus Chemosh was the god of the Moabites, Milcom the god of the Ammonites, Qaus the god of the Edomites, and Yahweh the "God of Israel" (no "God of Judah" is mentioned anywhere in the Bible). In each kingdom the king was also the head of the national religion and thus the viceroy on Earth of the national god; in Jerusalem this was reflected each year when the king presided over a ceremony at which Yahweh was enthroned in the Temple.

The centre of Yahweh's worship lay in three great annual festivals coinciding with major events in rural life: Passover with the birthing of lambs, Shavuot with the cereal harvest, and Sukkot with the fruit harvest. These probably pre-dated the arrival of the Yahweh religion, but they became linked to events in the national mythos of Israel: Passover with the exodus from Egypt, Shavuot with the law-giving at Biblical Mount Sinai, and Sukkot with the wilderness wanderings. The festivals thus celebrated Yahweh's salvation of Israel and Israel's status as his holy people, although the earlier agricultural meaning was not entirely lost. His worship presumably involved sacrifice, but many scholars have concluded that the rituals detailed in Leviticus 1–16, with their stress on purity and atonement, were introduced only after the Babylonian exile, and that in reality any head of a family was able to offer sacrifice as occasion demanded. (A number of scholars have also drawn the conclusion that infant sacrifice, whether to the underworld deity Molech or to Yahweh himself, was a part of Israelite/Judahite religion until the reforms of King Josiah in the late 7th century BCE). Sacrifice was presumably complemented by the singing or recital of psalms, but again the details are scant. Prayer played little role in official worship.

The Hebrew Bible gives the impression that the Jerusalem temple was always meant to be the central or even sole temple of Yahweh, but this was not the case: the earliest known Israelite place of worship is a 12th-century open-air altar in the hills of Samaria featuring a bronze bull reminiscent of Canaanite "Bull-El" (El in the form of a bull), and the archaeological remains of further temples have been found at Dan on Israel's northern border and at Arad in the Negev and Beersheba, both in the territory of Judah. Shiloh, Bethel, Gilgal, Mizpah, Ramah and Dan were also major sites for festivals, sacrifices, the making of vows, private rituals, and the adjudication of legal disputes.

Yahweh-worship was famously aniconic, meaning that the god was not depicted by a statue or other image. This is not to say that he was not represented in some symbolic form, and early Israelite worship probably focused on standing stones, but according to the Biblical texts the temple in Jerusalem featured Yahweh's throne in the form of two cherubim, their inner wings forming the seat and a box (the Ark of the Covenant) as a footstool, while the throne itself was empty. No satisfactory explanation of Israelite aniconism has been advanced, and a number of recent scholars have argued that Yahweh was in fact represented prior to the reforms of Hezekiah and Josiah late in the monarchic period: to quote one recent study, "[a]n early aniconism, de facto or otherwise, is purely a projection of the post-exilic imagination" (MacDonald, 2007).

Yahweh and the rise of monotheism

Image on a pithos sherd found at Kuntillet Ajrud below the inscription "Yahweh and his Asherah". The two standing figures are sometimes seen as a representation of the divine couple, while the seated lyre-player behind them is an entertainer. Alternatively, many art historians identify the standing figures as representations of the Egyptian dwarf-god Bes, on account of their distinctively bovine faces. Ziony Zevit has argued that Yahweh was represented as a Bes-figure, though there is little evidence for this. It is also possible that the images on the pot have nothing to do with the inscription at all.

 

Pre-exilic Israel, like its neighbours, was polytheistic, and Israelite monotheism was the result of unique historical circumstances. The original god of Israel was El, as the name demonstrates—its probable meaning is "may El rule" or some other sentence-form involving the name of El. In the early tribal period, each tribe would have had its own patron god; when kingship emerged, the state promoted Yahweh as the national god of Israel, supreme over the other gods, and gradually Yahweh absorbed all the positive traits of the other gods and goddesses. Yahweh and El merged at religious centres such as Shechem, Shiloh and Jerusalem, with El's name becoming a generic term for "god" and Yahweh, the national god, appropriating many of the older supreme god's titles such as El Shaddai (Almighty) and Elyon (Most High).

Asherah, formerly the wife of El, was worshipped as Yahweh's consort or mother; potsherds discovered at Khirbet el-Kôm and Kuntillet Ajrûd make reference to "Yahweh and his Asherah", and various biblical passages indicate that her statues were kept in his temples in Jerusalem, Bethel, and Samaria. Yahweh may also have appropriated Anat, the wife of Baal, as his consort, as Anat-Yahu ("Anat of Yahu", i.e., Yahweh) is mentioned in 5th century BCE records from the Jewish colony at Elephantine in Egypt. A goddess called the Queen of Heaven was also worshipped, probably a fusion of Astarte and the Mesopotamian goddess Ishtar, possibly a title of Asherah. Worship of Baal and Yahweh coexisted in the early period of Israel's history, but they were considered irreconcilable after the 9th century BCE, following the efforts of King Ahab and his queen Jezebel to elevate Baal to the status of national god, although the cult of Baal did continue for some time.

The worship of Yahweh alone began at the earliest with Elijah in the 9th century BCE, but more likely with the prophet Hosea in the 8th; even then it remained the concern of a small party before gaining ascendancy in the exilic and early post-exilic period. The early supporters of this faction are widely regarded as being monolatrists rather than true monotheists; they did not believe that Yahweh was the only god in existence, but instead believed that he was the only god the people of Israel should worship. Finally, in the national crisis of the exile, the followers of Yahweh went a step further and outright denied that the other deities aside from Yahweh even existed, thus marking the transition from monolatrism to true monotheism.

Second Temple Judaism

Modern reconstruction of what the Second Temple of Yahweh would have looked like after its renovation during the reign of Herod I

 

In 539 BCE Babylon itself fell to the Persian conqueror Cyrus, and in 538 BCE the exiles were permitted to return to Yehud Medinata, as the Persian province of Judah was known. The Temple is commonly said to have been rebuilt in the period 520–515 BCE, but it seems probable that this is an artificial date chosen so that 70 years could be said to have passed between the destruction and the rebuilding, fulfilling a prophecy of Jeremiah.

In recent decades, it has become increasingly common among scholars to assume that much of the Hebrew bible was assembled, revised and edited in the 5th century BCE to reflect the realities and challenges of the Persian era. The returnees had a particular interest in the history of Israel: the written Torah (the books of Genesis, Exodus, Leviticus, Numbers and Deuteronomy), for example, may have existed in various forms during the Monarchy (the period of the kingdoms of Israel and Judah), but it was in the Second Temple that it was edited and revised into something like its current form, and the Chronicles, a new history written at this time, reflects the concerns of the Persian Yehud in its almost-exclusive focus on Judah and the Temple.

Prophetic works were also of particular interest to the Persian-era authors, with some works being composed at this time (the last ten chapters of Isaiah and the books of Haggai, Zechariah, Malachi and perhaps Joel) and the older prophets edited and reinterpreted. The corpus of Wisdom books saw the composition of Job, parts of Proverbs, and possibly Ecclesiastes, while the book of Psalms was possibly given its modern shape and division into five parts at this time (although the collection continued to be revised and expanded well into Hellenistic and even Roman times).

Second Temple Judaism was centered not on synagogues, which began to appear only in the 3rd century BCE, and the reading and study of scripture, but on the Temple itself, and on a cycle of continual blood sacrifice (meaning the sacrifice of live animals). Torah, or ritual law, was also important, and the Temple priests were responsible for teaching it, but the concept of scripture developed only slowly. While the written Torah (the Pentateuch) and the Prophets were accepted as authoritative by the 1st century CE, beyond this core the different Jewish groups continued to accept different groups of books as authoritative.

During the Second Temple period, speaking the name of Yahweh in public became regarded as taboo. When reading from the scriptures, Jews began to substitute the divine name with the word adonai (אֲדֹנָי‬), meaning "Lord". The High Priest of Israel was permitted to speak the name once in the Temple during the Day of Atonement, but at no other time and in no other place. During the Hellenistic period, the scriptures were translated into Greek by the Jews of the Egyptian diaspora. Greek translations of the Hebrew scriptures render both the tetragrammaton and adonai as kyrios (κύριος), meaning "the Lord". After the Temple was destroyed in 70 CE, the original pronunciation of the tetragrammaton was forgotten.

The period of Persian rule saw the development of expectation in a future human king who would rule purified Israel as Yahweh's representative at the end of time–that is, a messiah. The first to mention this were Haggai and Zechariah, both prophets of the early Persian period. They saw the messiah in Zerubbabel, a descendant of the House of David who seemed, briefly, to be about to re-establish the ancient royal line, or in Zerubbabel and the first High Priest, Joshua (Zechariah writes of two messiahs, one royal and the other priestly). These early hopes were dashed (Zerubabbel disappeared from the historical record, although the High Priests continued to be descended from Joshua), and thereafter there are merely general references to a Messiah of (meaning descended from) David. From these ideas, Christianity, Rabbinic Judaism, and Islam would later emerge. 

Graeco-Roman syncretism

A 4th century BCE drachm (quarter shekel) coin from the Persian province of Yehud Medinata, possibly representing Yahweh seated on a winged and wheeled sun-throne.

 

Yahweh is frequently invoked in Graeco-Roman magical texts dating from the second century BCE to the fifth century CE, most notably in the Greek Magical Papyri, under the names Iao, Adonai, Sabaoth, and Eloai. In these texts, he is often mentioned alongside traditional Graeco-Roman deities and Egyptian deities. The archangels Michael, Gabriel, Raphael, and Ouriel and Jewish cultural heroes such as Abraham, Jacob, and Moses are also invoked frequently. The frequent occurrence of Yahweh's name was likely due to Greek and Roman folk magicians seeking to make their spells more powerful through the invocation of a prestigious foreign deity.

Tacitus, John the Lydian, and Cornelius Labeo all identify Yahweh with the Greek god Dionysus. Jews themselves frequently used symbols that were also associated with Dionysus such as kylixes, amphorae, leaves of ivy, and clusters of grapes. In his Quaestiones Convivales, the Greek writer Plutarch writes that the Jews hail their god with cries of "Euoi" and "Sabi", phrases associated with the worship of Dionysus. According to Sean M. McDonough, Greek-speakers may have confused Aramaic words such as Sabbath, Alleluia, or even possibly some variant of the name Yahweh itself for more familiar terms associated with Dionysus.

Flood myth

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Flood_myth

 

"The Deluge", frontispiece to Gustave Doré's illustrated edition of the Bible.

 

A flood myth or deluge myth is a narrative in which a great flood, usually sent by a deity or deities, destroys civilization, often in an act of divine retribution. Parallels are often drawn between the flood waters of these myths and the primaeval waters found in certain creation myths, as the flood waters are described as a measure for the cleansing of humanity, in preparation for rebirth. Most flood myths also contain a culture hero, who "represents the human craving for life".

The flood myth motif is found among many cultures as seen in the Mesopotamian flood stories, Deucalion and Pyrrha in Greek mythology, the Genesis flood narrative, Pralaya in Hinduism, the Gun-Yu in Chinese mythology, Bergelmir in Norse mythology, in the arrival of the first inhabitants of Ireland with Cessair in Irish mythology, in the lore of the K'iche' and Maya peoples in Mesoamerica, the Lac Courte Oreilles Ojibwa tribe of Native Americans in North America, the Muisca, and Cañari Confederation, in South America, Africa, and some Aboriginal tribes in Australia. 

Mythologies

Tablet XI or the Flood Tablet of the Epic of Gilgamesh

 

Though the account of Noah in the Hebrew Bible has long been the most studied flood story by scholars, in the 19th century Assyriologist George Smith translated the first Babylonian account of a great flood. Further discoveries produced several versions of the Mesopotamian flood myth, with the account closest to that in Genesis found in a 700 BC Babylonian copy of the Epic of Gilgamesh. The known versions of the Mesopotamian flood myths have as their protagonists Atrahasis (in the 18th century BC Atrahasis Epic), Ziusudra (in the 17th century BC Sumerian Flood Story), and Utnapishtim (in the 7th century BC Gilgamesh flood myth). The Sumerian King List relies on the flood motif to divide its history into preflood (antediluvian) and postflood periods. The preflood kings were claimed to have had enormous lifespans, whereas postflood lifespans in the list were much reduced. The Sumerian flood myth found in the Deluge Tablet was the epic of Ziusudra, who heard the gods' plan to destroy humanity, in response to which he constructed a vessel that delivered him from great waters. In the more detailed Mesopotamian accounts of the flood, the Gilgamesh flood myth and the epic of Atrahasis, the highest god Enlil decides to destroy the world with a flood because humans have become too noisy. The god Ea, who created humans out of clay and divine blood, secretly warns the hero Utnapishtim of the impending flood and gives him detailed instructions for building a boat so that life may survive.

George Smith, who discovered and translated the Epic of Gilgamesh

 

In the c. 6th century BC Book of Genesis, the god Yahweh, who created man out of the dust of the ground, decides to flood the earth because of the sinful state of mankind. It is also Yahweh who then gives the protagonist Noah instructions to build an ark in order to preserve human and animal life. When the ark is completed, Noah, his family, and representatives of all the animals of the earth are called upon to enter the ark. When the destructive flood begins, all life outside of the ark perishes. After the waters recede, all those aboard the ark disembark and have Yahweh's promise that he will never judge the earth with a flood again. He causes a rainbow to form as the sign of this promise.

In Hindu mythology, texts such as the Satapatha Brahmana (dated to around the 6th century BC) and the Puranas contain the story of a great flood, "Pralaya", wherein the Matsya Avatar of the Vishnu warns the first man, Manu, of the impending flood, and also advises him to build a giant boat.

In Plato's Timaeus, written c. 360 BC, Timaeus describes a flood myth similar to the earlier versions. In it, the Bronze race of humans angers the high god Zeus with their constant warring. Zeus decides to punish humanity with a flood. The Titan Prometheus, who had created humans from clay, tells the secret plan to Deucalion, advising him to build an ark in order to be saved. After nine nights and days, the water starts receding and the ark lands on a mountain.

Historicity

A world-wide deluge, such as described in Genesis, is incompatible with modern scientific understanding of natural history, especially geology and paleontology.

In ancient Mesopotamia, the Sumerian King List reads

After kingship came down from heaven .... the kingship was taken to Shuruppak. In Shuruppak, Ubara-Tutu became king; he ruled for 5 sars and 1 ner. In 5 cities 8 kings; they ruled for 241,200 years. Then the flood swept over.

Excavations in Iraq have revealed evidence of localized flooding at Shuruppak (modern Tell Fara, Iraq) and various other Sumerian cities. A layer of riverine sediments, radiocarbon dated to about 2900 BC, interrupts the continuity of settlement, extending as far north as the city of Kish, which took over hegemony after the flood. Polychrome pottery from the Jemdet Nasr period (3000–2900 BC) was discovered immediately below the Shuruppak flood stratum. Other sites, such as Ur, Kish, Uruk, Lagash, and Ninevah, all present evidence of flooding. However, this evidence comes from different time periods. The Shuruppak flood seems to have been a localised event caused through the damming of the Karun River through the spread of dunes, flooding into the Tigris, and simultaneous heavy rainfall in the Nineveh region, spilling across into the Euphrates. In Israel, there is no such evidence of a widespread flood. Given the similarities in the Mesopotamian flood story and the Biblical account, it would seem that they have a common origin in the memories of the Shuruppak account.

Earth's sea level rose dramatically in the millennia after the Last Glacial Maximum

 

Floods in the wake of the last glacial period may have inspired myths that survive to this day. It has been postulated that the deluge myth in North America may be based on a sudden rise in sea levels caused by the rapid draining of prehistoric Lake Agassiz at the end of the last Ice Age, about 8,400 years ago.

The geography of the Mesopotamian area was considerably changed by the filling of the Persian Gulf after sea waters rose following the last glacial period. Global sea levels were about 120 m (390 ft) lower around 18,000 BP and rose until 8,000 BP when they reached current levels, which are now an average 40 m (130 ft) above the floor of the Gulf, which was a huge (800 km × 200 km (500 mi × 120 mi)) low-lying and fertile region in Mesopotamia, in which human habitation is thought to have been strong around the Gulf Oasis for 100,000 years. A sudden increase in settlements above the present water level is recorded at around 7,500 BP.

Adrienne Mayor promoted the hypothesis that global flood stories were inspired by ancient observations of seashells and fish fossils in inland and mountain areas. The ancient Greeks, Egyptians, and Romans all documented the discovery of such remains in these locations; the Greeks hypothesized that Earth had been covered by water on several occasions, citing the seashells and fish fossils found on mountain tops as evidence of this history.

Another hypothesis is that a meteor or comet crashed into the Indian Ocean around 3000–2800 BC, created the 30-kilometre (19 mi) undersea Burckle Crater, and generated a giant tsunami that flooded coastal lands. Some of the largest tsunamis in history, resulting from the Chicxulub impact, 66 million years ago, were thought to have affected roughly the entire Americas (or nearly all of the Western Hemisphere).

In the late 17th century, there were famous speculations accounting for the Genesis flood by natural causes. Thomas Burnet’s Telluris Theoria Sacra (Sacred Theory of the Earth) had water rising from the hollow earth. William Whiston's A New Theory of the Earth postulated that major changes in the earth’s history could be attributed to the action of comets.

Speculation regarding the Deucalion myth has also been introduced, whereby a large tsunami in the Mediterranean Sea, caused by the Thera eruption (with an approximate geological date of 1630–1600 BC), is the myth's historical basis. Although the tsunami hit the South Aegean Sea and Crete, it did not affect cities in the mainland of Greece, such as Mycenae, Athens, and Thebes, which continued to prosper, indicating that it had a local rather than a regionwide effect.

One quite controversial hypotheses of long term flooding is the Black Sea deluge hypothesis, which argues for a catastrophic deluge about 5600 BC from the Mediterranean Sea into the Black Sea. This has been the subject of considerable discussion. The Younger Dryas impact hypothesis is another proposed natural explanation for flood myths, but this idea is similarly controversial.

Epic of Gilgamesh

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Epic_of_Gilgamesh

Epic of Gilgamesh 

The Deluge tablet of the Gilgamesh epic in Akkadian
Written	c. 1800 BC
Country	Mesopotamia
Language	Sumerian
Media type	Clay tablet

The Epic of Gilgamesh (/ˈɡɪlɡəmɛʃ/) is an epic poem from ancient Mesopotamia that is often regarded as the earliest surviving great work of literature and the second oldest religious text, after the Pyramid Texts. 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 (c. 2100 BC). 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 Kings"). Only a few tablets of it have survived. The later "standard" version compiled by Sîn-lēqi-unninni 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. After Enkidu becomes civilized through sexual initiation with a prostitute, he travels to Uruk, where he challenges Gilgamesh to a test of strength. Gilgamesh wins the contest; nonetheless, the two become friends. Together, they make a six-day journey to the legendary Cedar Forest, where they plan to slay the Guardian, Humbaba the Terrible, and cut down the sacred Cedar. The goddess Ishtar sends the Bull of Heaven to punish Gilgamesh for spurning her advances. Gilgamesh and Enkidu kill the Bull of Heaven after which the gods decide to sentence Enkidu to death and kill him.

In the second half of the epic, distress over Enkidu's death causes Gilgamesh to undertake a long and perilous journey to discover the secret of eternal life. He eventually learns that "Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands". However, because of his great building projects, his account of Siduri's advice, and what the immortal man Utnapishtim told him about the Great Flood, Gilgamesh's fame survived well after his death with expanding interest in the Gilgamesh story which has been translated into many languages and is featured in works of popular fiction.

History

Ancient Assyrian statue currently in the Louvre, possibly representing Gilgamesh

Distinct sources exist from over a 2000-year timeframe. The earliest Sumerian poems are now generally considered to be distinct stories, rather than parts of a single epic. They date from as early as the Third Dynasty of Ur (c. 2100 BC). The Old Babylonian tablets (c. 1800 BC), are the earliest surviving tablets for a single Epic of Gilgamesh narrative. The older Old Babylonian tablets and later Akkadian version are important sources for modern translations, with the earlier texts mainly used to fill in gaps (lacunae) in the later texts. Although several revised versions based on new 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 (c. 1200 BC), 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.

...this discovery is evidently destined to excite a lively controversy. For the present the orthodox people are in great delight, and are very much prepossessed by the corroboration which it affords to Biblical history. It is possible, however, as has been pointed out, that the Chaldean inscription, if genuine, may be regarded as a confirmation of the statement that there are various traditions of the deluge apart from the Biblical one, which is perhaps legendary like the rest

The New York Times, front page, 1872

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. The first modern translation was published in the early 1870s by George Smith. Smith then made further discoveries of texts on his later expeditions, which culminated in his final translation which is given in his book The Chaldaean Account of Genesis (1880).

The most definitive modern translation is a two-volume critical work by Andrew George, published by Oxford University Press in 2003. A book review by the Cambridge scholar, Eleanor Robson, claims that George's is the most significant critical work on Gilgamesh in the last 70 years. George discusses the state of the surviving material, and provides a tablet-by-tablet exegesis, with a dual language side-by-side translation. In 2004, Stephen Mitchell supplied a controversial version that takes many liberties with the text and includes modernized allusions and commentary relating to the Iraq War of 2003.

The first direct Arabic translation from the original tablets was made in the 1960s by the Iraqi archaeologist Taha Baqir.

The discovery of artifacts (c. 2600 BC) associated with Enmebaragesi of Kish, mentioned in the legends as the father of one of Gilgamesh's adversaries, has lent credibility to the historical existence of Gilgamesh.

In 1998, American historian Theodore Kwasman discovered a piece believed to have contained the first lines of the epic in the storeroom of the British Museum, the fragment, found in 1878 and dated to between 600BC and 100BC, had remained unexamined by experts for more than a century since its recovery. The fragment read "He who saw all, who was the foundation of the land, who knew (everything), was wise in all matters: Gilgamesh."

Versions

From the diverse sources found, two main versions of the epic have been partially reconstructed: the standard Akkadian version, or He who saw the deep, and the Old Babylonian version, or Surpassing all other kings. Five earlier Sumerian poems about Gilgamesh have been partially recovered, some with primitive versions of specific episodes in the Akkadian version, others with unrelated stories. 

Standard Akkadian version

The standard version was discovered by Hormuzd Rassam in the library of Ashurbanipal in Nineveh in 1853. It was written in a dialect of Akkadian that was used for literary purposes. This version was compiled by Sin-liqe-unninni sometime between 1300 and 1000 BC from earlier texts. 

The standard Akkadian version has different opening words, or 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 of Atrahasis. 

The 12th tablet is a sequel to the original 11, and was probably added at a later date. It bears little relation to the well-crafted 11-tablet epic; the lines at the beginning of the first tablet are quoted at the end of the 11th tablet, giving it circularity and finality. Tablet 12 is a near copy of an earlier Sumerian tale, a prequel, in which Gilgamesh sends Enkidu to retrieve some objects of his from the Underworld, and he returns in the form of a spirit to relate the nature of the Underworld to Gilgamesh.

Content of the standard version tablets

This summary is based on Andrew George's translation.

Tablet one

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 who will be able to stop his oppression. This is the primitive man, Enkidu, who is covered in hair and lives in the wild with the animals. He is spotted by a trapper, whose livelihood is being ruined because Enkidu is uprooting his traps. The trapper tells the sun-god Shamash about the man, and it is arranged for Enkidu to be seduced by Shamhat, a temple prostitute, his first step towards being tamed. After six days and seven nights (or two weeks, according to more recent scholarship) of lovemaking and teaching Enkidu about the ways of civilization, she takes Enkidu to a shepherd's camp to learn how to be civilized. Gilgamesh, meanwhile, has been having dreams about the imminent arrival of a beloved new companion and asks his mother, Ninsun, to help interpret these dreams. 

Tablet two

Shamhat brings Enkidu to the shepherds' camp, where he is introduced to a human diet and becomes the night watchman. Learning from a passing stranger about Gilgamesh's treatment of new brides, Enkidu is incensed and travels to Uruk to intervene at a wedding. When Gilgamesh attempts to visit the wedding chamber, Enkidu blocks his way, and they fight. After a fierce battle, Enkidu acknowledges Gilgamesh's 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. 

Tablet three

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.

Tablet four

Gilgamesh and Enkidu journey to the Cedar Forest. Every few days they camp on a mountain, and perform a dream ritual. Gilgamesh has five terrifying dreams about falling mountains, thunderstorms, wild bulls, and a thunderbird that breathes fire. Despite similarities between his dream figures and earlier descriptions of Humbaba, Enkidu interprets these dreams as good omens, and denies that the frightening images represent the forest guardian. As they approach the cedar mountain, they hear Humbaba bellowing, and have to encourage each other not to be afraid.

Tablet five

Tablet V of the Epic of Gilgamesh
div>

Reverse side of the newly discovered tablet V of the Epic of Gilgamesh. It dates back to the old Babylonian period, 2003–1595 BC and is currently housed in the Sulaymaniyah Museum, Iraq

The heroes enter the cedar forest. Humbaba, the guardian of the Cedar Forest, insults and threatens them. He accuses Enkidu of betrayal, and vows to disembowel Gilgamesh and feed his flesh to the birds. Gilgamesh is afraid, but with some encouraging words from Enkidu the battle commences. The mountains quake with the tumult and the sky turns black. The god Shamash sends 13 winds to bind Humbaba, and he is captured. Humbaba pleads for his life, and Gilgamesh pities him. He offers to make Gilgamesh king of the forest, to cut the trees for him, and to be his slave. Enkidu, however, argues that Gilgamesh should kill Humbaba to establish his reputation forever. Humbaba curses them both and Gilgamesh dispatches him with a blow to the neck, as well as killing his seven sons. The two heroes cut down many cedars, including a gigantic tree that Enkidu plans to fashion into a gate for the temple of Enlil. They build a raft and return home along the Euphrates with the giant tree and (possibly) the head of Humbaba.

Tablet six

Gilgamesh rejects the advances of the goddess Ishtar because of her mistreatment of previous lovers like Dumuzi. Ishtar asks her father Anu to send Gugalanna, the Bull of Heaven, to avenge her. When Anu rejects her complaints, Ishtar threatens to raise the dead who will "outnumber the living" and "devour them". Anu becomes frightened, and gives in to her. Ishtar leads Gugalanna to Uruk, and it causes widespread devastation. It lowers the level of the Euphrates river, and dries up the marshes. It opens up huge pits that swallow 300 men. Without any divine assistance, Enkidu and Gilgamesh attack and slay it, and offer up its heart to Shamash. When Ishtar cries out, Enkidu hurls one of the hindquarters of the bull at her. The city of Uruk celebrates, but Enkidu has an ominous dream about his future failure.

Tablet seven

In Enkidu's dream, the gods decide that one of the heroes must die because they killed Humbaba and Gugalanna. Despite the protestations of Shamash, Enkidu is marked for death. Enkidu curses the great door he has fashioned for Enlil's temple. He also curses the trapper and Shamhat for removing him from the wild. Shamash reminds Enkidu of how Shamhat fed and clothed him, and introduced him to Gilgamesh. Shamash tells him that Gilgamesh will bestow great honors upon him at his funeral, and will wander into the wild consumed with grief. Enkidu regrets his curses and blesses Shamhat instead. In a second dream, however, he sees himself being taken captive to 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.

Tablet eight

Gilgamesh delivers a lament for Enkidu, in which he calls upon mountains, forests, fields, rivers, wild animals, and all of Uruk to mourn for his friend. Recalling their adventures together, Gilgamesh tears at his hair and clothes in grief. He commissions a funerary statue, and provides grave gifts from his treasury to ensure that Enkidu has a favourable reception in the realm of the dead. A great banquet is held where the treasures are offered to the gods of the Netherworld. Just before a break in the text there is a suggestion that a river is being dammed, indicating a burial in a river bed, as in the corresponding Sumerian poem, The Death of Gilgamesh.

Tablet nine

Tablet nine opens with Gilgamesh roaming the wild wearing animal skins, grieving for Enkidu. Having now become fearful of his own death, he decides to seek Utnapishtim ("the Faraway"), and learn the secret of eternal life. Among the few survivors of the Great Flood, Utnapishtim and his wife are the only humans to have been granted immortality by the gods. Gilgamesh crosses a mountain pass at night and encounters a pride of lions. Before sleeping he prays for protection to the moon god Sin. Then, waking from an encouraging dream, he kills the lions and uses their skins for clothing. After a long and perilous journey, 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 arrives at the Garden of the gods, a paradise full of jewel-laden trees.

Tablet ten

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 that can help them cross the Waters of Death, which are deadly to the touch. Urshanabi instructs Gilgamesh to cut down 120 trees and fashion them into punting poles. When they reach the island where Utnapishtim lives, Gilgamesh recounts his story, asking him for his help. Utnapishtim reprimands him, declaring that fighting the common fate of humans is futile and diminishes life's joys.

Tablet eleven

George Smith, the man who transliterated and read the so-called "Babylonian Flood Story" of Tablet XI

Gilgamesh observes that Utnapishtim seems no different from himself, and asks him how he obtained his immortality. Utnapishtim explains that the gods decided to send a great flood. To save Utnapishtim the god Ea told him to 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. When the raven fails to return, he opens the ark and frees its inhabitants. Utnapishtim offers a sacrifice to the gods, who smell the sweet savor and gather around. Ishtar vows that just as she will never forget the brilliant necklace that hangs around her neck, she will always remember this time. When Enlil arrives, angry that there are survivors, she condemns him for instigating the flood. Ea also castigates him for sending a disproportionate punishment. Enlil blesses Utnapishtim and his wife, and rewards them with eternal life. This account matches the flood story that concludes the Epic of Atra-Hasis.

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 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.

There is a plant that looks like a box-thorn, it has prickles like a dogrose, and will prick one who plucks it. But if you can possess this plant, you'll be again as you were in your youth
This plant, Ur-shanabi, is the "Plant of Heartbeat", with it a man can regain his vigour. To Uruk-the-sheepfold I will take it, to an ancient I will feed some and put the plant to the test!

Unfortunately, when Gilgamesh stops to bathe, it is stolen by a serpent, who sheds its skin as it departs. Gilgamesh weeps at the futility of his efforts, because he has now lost all chance of immortality. He returns to Uruk, where the sight of its massive walls prompts him to praise this enduring work to Urshanabi.

Tablet twelve

This tablet is mainly an Akkadian translation of an earlier Sumerian poem, "Gilgamesh and the Netherworld" (also known as "Gilgamesh, Enkidu, and the Netherworld" and variants), although it has been suggested that it is derived from an unknown version of that story. The contents of this last tablet are inconsistent with previous ones: Enkidu is still alive, despite having died earlier in the epic. Because 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 one and the same theme, that of "seeing" (= understanding, discovery, etc.), with which it began."

Gilgamesh complains to Enkidu that various of his possessions (the tablet is unclear exactly what — different translations include a drum and a ball) have fallen into the underworld. Enkidu offers to bring them back. Delighted, Gilgamesh tells Enkidu what he must and must not do in the underworld if he is to return. Enkidu does everything which he was told not to do. The underworld keeps him. Gilgamesh prays to the gods to give him back his friend. Enlil and Suen don't reply, but Ea and Shamash decide to help. Shamash makes a crack in the earth, and Enkidu's ghost jumps out of it. The tablet ends with Gilgamesh questioning Enkidu about what he has seen in the underworld.

Old Babylonian versions

This version of the epic, called in some fragments Surpassing all other kings, is composed of tablets and fragments from diverse origins and states of conservation. It remains incomplete in its majority, with several tablets missing and big lacunae in those found. They are named after their current location or the place where they were found.

Pennsylvania tablet

Surpassing all other kings Tablet II, greatly correlates with tablets I-II of the standard version. Gilgamesh tells his mother Ninsun about two dreams he had. His mother explains that they mean that a new companion will soon arrive at Uruk. In the meanwhile the wild Enkidu and the priestess (here called Shamkatum) are making love. She tames him in company of the shepherds by offering him bread and beer. Enkidu helps the shepherds by guarding the sheep. They travel to Uruk to confront Gilgamesh and stop his abuses. Enkidu and Gilgamesh battle but Gilgamesh breaks off the fight. Enkidu praises Gilgamesh.

Yale tablet

Surpassing all other kings Tablet III, partially matches tablets II-III of the standard version. For reasons unknown (the tablet is partially broken) Enkidu is in a sad mood. In order to cheer him up Gilgamesh suggests going to the Pine Forest to cut down trees and kill Humbaba (known here as Huwawa). Enkidu protests, as he knows Huwawa and is aware of his power. Gilgamesh talks Enkidu into it with some words of encouragement, but Enkidu remains reluctant. They prepare, and call for the elders. The elders also protest, but after Gilgamesh talks to them, they agree to let him go. After Gilgamesh asks his god (Shamash) for protection, and both he and Enkidu equip themselves, they leave with the elder's blessing and counsel.

Philadelphia fragment

Possibly another version of the contents of the Yale Tablet, practically irrecoverable.

Nippur school tablet

In the journey to the cedar forest and Huwawa, Enkidu interprets one of Gilgamesh's dreams.

Tell Harmal tablets

Fragments from two different versions/tablets tell how Enkidu interprets one of Gilgamesh's dreams on the way to the Forest of Cedar, and their conversation when entering the forest.

Ishchali tablet

After defeating Huwawa, Gilgamesh refrains from slaying him, and urges Enkidu to hunt Huwawa's "seven auras". Enkidu convinces him to smite their enemy. After killing Huwawa and the auras, they chop down part of the forest and discover the gods' secret abode. The rest of the tablet is broken.

The auras are not referred to in the standard version, but are in one of the Sumerian poems.

Partial fragment in Baghdad

Partially overlapping the felling of the trees from the Ishchali tablet.

Sippar tablet

Partially overlapping the standard version tablets IX–X. Gilgamesh mourns the death of Enkidu wandering in his quest for immortality. Gilgamesh argues with Shamash about the futility of his quest. After a lacuna, Gilgamesh talks to Siduri about his quest and his journey to meet Utnapishtim (here called Uta-na'ishtim). Siduri attempts 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 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."

Sumerian poems

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 in the underlying stories such as the fact that Enkidu is Gilgamesh's servant in the Sumerian version:

1. The lord to the Living One's Mountain and Ho, hurrah! correspond to the Cedar Forest episode (standard version tablets II–V). Gilgamesh and Enkidu travel with other men to the Forest of Cedar. There, trapped by Huwawa, Gilgamesh tricks him (with Enkidu's assistance in one of the versions) into giving up his auras, thus losing his power.
2. Hero in battle corresponds to the Bull of Heaven episode (standard version tablet VI) in the Akkadian version. The Bull's voracious appetite causes drought and hardship in the land while Gilgamesh feasts. Lugalbanda convinces him to face the beast and fights it alongside Enkidu.
3. The envoys of Akka has no corresponding episode in the epic, but the themes of whether to show mercy to captives, and counsel from the city elders, also occur in the standard version of the Humbaba story. In the poem, Uruk faces a siege from a Kish army led by King Akka, whom Gilgamesh defeats and forgives.
4. In those days, in those far-off days, otherwise known as Gilgamesh, Enkidu, and the Netherworld, is the source for the Akkadian translation included as tablet XII in the standard version, telling of Enkidu's journey to the Netherworld. It is also the main source of information for the Sumerian creation myth and the story of "Inanna and the Huluppu Tree".^[25]
5. The great wild bull is lying down, a poem about Gilgamesh's death, burial and consecration as a semigod, reigning and giving judgement over the dead. After dreaming of how the gods decide his fate after death, Gilgamesh takes counsel, prepares his funeral and offers gifts to the gods. Once deceased, he is buried under the Euphrates, taken off its course and later returned to it.
   

Later influence

 

Relationship to the Bible

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.

Garden of Eden

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 accepts food from the woman, covers his nakedness, and must leave his former realm, unable to return. The presence of a snake that steals a plant of immortality from the hero later in the epic is another point of similarity.

Advice from Ecclesiastes

Several scholars suggest direct borrowing of Siduri's advice by the author of Ecclesiastes.

A rare proverb about the strength of a triple-stranded rope, "a triple-stranded rope is not easily broken", is common to both books.

Noah's flood

Andrew George submits that the Genesis flood narrative matches that in Gilgamesh so closely that "few doubt" that it derives from a Mesopotamian account. What is particularly noticeable is the way the Genesis flood story follows the Gilgamesh flood tale "point by point and in the same order", even when the story permits other alternatives. In a 2001 Torah commentary released on behalf of the Conservative Movement of Judaism, rabbinic scholar Robert Wexler stated: "The most likely assumption we can make is that both Genesis and Gilgamesh drew their material from a common tradition about the flood that existed in Mesopotamia. These stories then diverged in the retelling." Ziusudra, Utnapishtim and Noah are the respective heroes of the Sumerian, Akkadian and biblical flood legends of the ancient Near East.

Additional biblical parallels

Matthias Henze suggests that Nebuchadnezzar's madness in the biblical Book of Daniel draws on the Epic of Gilgamesh. He claims that the author uses elements from the description of Enkidu to paint a sarcastic and mocking portrait of the king of Babylon.

Many characters in the Epic have mythical biblical parallels, most notably Ninti, the Sumerian goddess of life, was created from Enki's rib to heal him after he had eaten forbidden flowers. It is suggested that this story served as the basis for the story of Eve created from Adam's rib in the Book of 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.

Book of Giants

Gilgamesh is mentioned in one version of The Book of Giants which is related to the Book of Enoch presumably written by biblical grandfather of Noah. The Book of Giants version found at Qumran mentions the Sumerian hero Gilgamesh and the monster Humbaba with the Watchers and giants.

Influence on Homer

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 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."

In popular culture

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.