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|Author||: John Gardner|
The story of Gilgamesh, an ancient epic poem written on clay tablets in a cuneiform alphabet, is as fascinating and moving as it is crucial to our ability to fathom the time and the place in which it was written. Gardner's version restores the poetry of the text and the lyricism that is lost in the earlier, almost scientific renderings. The principal theme of the poem is a familiar one: man's persistent and hopeless quest for immortality. It tells of the heroic exploits of an ancient ruler of the walled city of Uruk named Gilgamesh. Included in its story is an account of the Flood that predates the Biblical version by centuries. Gilgamesh and his companion, a wild man of the woods named Enkidu, fight monsters and demonic powers in search of honor and lasting fame. When Enkidu is put to death by the vengeful goddess Ishtar, Gilgamesh travels to the underworld to find an answer to his grief and confront the question of mortality.
|Author||: Jeffrey H. Tigay|
|Editor||: Bolchazy-Carducci Publishers|
Special Features- Aims to show how The Gilgamesh Epic developed from its earliest to its latest form- Systematic, step-by-step tracking of the stylistic, thematic, structural, and theological changes in The Gilgamesh Epic- Relation of changes to factors (geographical, political, religious, literary) that may have prompted them- Attempts to identify the sources (biographical, historical, literary, folkloric) of the epic's themes, and to suggest what may have been intended by use of these themes- Extensive bibliography- Indices
|Author||: Danny P. Jackson|
|Editor||: Bolchazy-Carducci Publishers|
-- 15 original woodcut illustrations -- 18 photographs of ancient artifacts This edition aims to reanimate the story of Gilgamesh and Enkidu for modern readers. The poetic rendition brings words to life through indelible images. A learned and lucid historical and cultural introduction fills in background for the narrative. An interpretative essay reviews the themes of Gilgamesh and their echoes in other literature. The total is a new edition that delights, informs, and stimulates readers to a new appreciation of this age-old tale.
|Author||: Morris Jastrow,Albert T. Clay|
|Editor||: Book Tree|
This epic poem is the oldest known to exist in history, predating Homer's Iliad by about 1500 years. Gilgamesh, the hero, discovers he has godly blood, so sets out on a journey to the land of the gods in an attempt to gain entry. It is of ancient Sumerian origin, from the land called Mesopotamia. It is an important work for those studying ancient literature, history and mythology. This Babylonian version is one of the oldest known, if not the oldest. Later renditions are more common and seem to embellish the story, so this work is important for serious researchers. From the standpoint of literature alone, it is also an interesting tale that is enjoyable to read.
|Author||: Louise M. Pryke|
Gilgamesh focuses on the eponymous hero of the world’s oldest epic and his legendary adventures. However, it also goes further and examines the significance of the story’s Ancient Near Eastern context, and what it tells us about notions of kingship, animality, and the natures of mortality and immortality. In this volume, Louise M. Pryke provides a unique perspective to consider many foundational aspects of Mesopotamian life, such as the significance of love and family, the conceptualisation of life and death, and the role of religious observance. The final chapter assesses the powerful influence of Gilgamesh on later works of ancient literature, from the Hebrew Bible, to the Odyssey, to The Tales of the Arabian Nights, and his reception through to the modern era. Gilgamesh is an invaluable tool for anyone seeking to understand this fascinating figure, and more broadly, the relevance of Near Eastern myth in the classical world and beyond.
|Author||: Stephen Mitchell|
|Editor||: Profile Books|
Vivid, enjoyable and comprehensible, the poet and pre-eminent translator Stephen Mitchell makes the oldest epic poem in the world accessible for the first time. Gilgamesh is a born leader, but in an attempt to control his growing arrogance, the Gods create Enkidu, a wild man, his equal in strength and courage. Enkidu is trapped by a temple prostitute, civilised through sexual experience and brought to Gilgamesh. They become best friends and battle evil together. After Enkidu's death the distraught Gilgamesh sets out on a journey to find Utnapishtim, the survivor of the Great Flood, made immortal by the Gods to ask him the secret of life and death. Gilgamesh is the first and remains one of the most important works of world literature. Written in ancient Mesopotamia in the second millennium B.C., it predates the Iliad by roughly 1,000 years. Gilgamesh is extraordinarily modern in its emotional power but also provides an insight into the values of an ancient culture and civilisation.
|Author||: Herbert Mason|
|Editor||: Houghton Mifflin Harcourt|
Presents a verse narrative of the ancient Babylonian epic about love, death, loss, heroes, and friendship, including an historical essay on the original poem.
|Editor||: Penguin UK|
Gilgamesh, King of Uruk, and his companion Enkidu are the only heroes to have survived from the ancient literature of Babylon, immortalized in this epic poem that dates back to the 3rd millennium BC. Together they journey to the Spring of Youth, defeat the Bull of Heaven and slay the monster Humbaba. When Enkidu dies, Gilgamesh's grief and fear of death are such that they lead him to undertake a quest for eternal life. A timeless tale of morality, tragedy and pure adventure, The Epic of Gilgamesh is a landmark literary exploration of man's search for immortality.
|Author||: Andrew Winegarner,April Rasmussen|
|Editor||: Soft Skull Press|
"As the king of Uruk, a city in ancient Mesopotamia, Gilgamesh protected his people from harm, battling a multitude of fierce demons with the steadfast help of his brother, Enkidu. But Gilgamesh's reign faced the ultimate challenge from the power-hungry goddess Ishtar, who proposed marriage only to be unceremoniously spurned by Gilgamesh. Ishtar's rage led Gilgamesh to his greatest battle, a battle that shook Gilgamesh to his core and led him to travel further than any other man--to the land of the gods on a quest to find immortality"--Page 4 of cover.
|Author||: Geraldine McCaughrean|
|Editor||: Eerdmans Books for Young Readers|
This is one of the oldest stories in the world, and it's about things that still matter to us today: friendship, fame, courage, happiness. Gilgamesh and Enkidu are friends -- best friends. Together they can work wonders, fight monsters, brave earthquakes, travel the world! But waiting in the dark is the one enemy they can never overcome. Retold by award-winning author Geraldine McCaughrean, and illustrated with great power by David Parkins, Gilgamesh the Hero is a story that will linger in the imagination long after the book has been put down.
|Editor||: Penguin UK|
The ancient Sumerian poem The Epic of Gilgamesh is one of the oldest written stories in existence, translated with an introduction by Andrew George in Penguin Classics. Miraculously preserved on clay tablets dating back as much as four thousand years, the poem of Gilgamesh, king of Uruk, is the world's oldest epic, predating Homer by many centuries. The story tells of Gilgamesh's adventures with the wild man Enkidu, and of his arduous journey to the ends of the earth in quest of the Babylonian Noah and the secret of immortality. Alongside its themes of family, friendship and the duties of kings, The Epic of Gilgamesh is, above all, about mankind's eternal struggle with the fear of death. The Babylonian version has been known for over a century, but linguists are still deciphering new fragments in Akkadian and Sumerian. Andrew George's gripping translation brilliantly combines these into a fluid narrative and will long rank as the definitive English Gilgamesh. If you enjoyed The Epic of Gilgamesh, you might like Homer's Iliad, also available in Penguin Classics. 'A masterly new verse translation' The Times 'Andrew George has skilfully bridged the gap between a scholarly re-edition and a popular work' London Review of Books
|Author||: Eren Sarı|
Gilgamesh is the semi-mythic King of Uruk best known from The Epic of Gilgamesh (written c. 2150-1400 BCE) the great Sumerian/Babylonian poetic work which pre-dates Homer’s writing by 1500 years and, therefore, stands as the oldest piece of epic western literature. Gilgamesh’s father was the Priest-King Lugalbanda (who is featured in two poems concerning his magical abilities which pre-date Gilgamesh) and his mother the goddess Ninsun (the Holy Mother and Great Queen) and, accordingly, Gilgamesh was a demi-god who was said to have lived an exceptionally long life (The Sumerian King List records his reign as 126 years) and to be possessed of super-human strength. Known as 'Bilgames’ in the Sumerian, 'Gilgamos’ in Greek, and associated closely with the figure of Dumuzi from the Sumerian poem The Descent of Inanna, Gilgamesh is widely accepted as the historical 5th king of Uruk whose influence was so profound that myths of his divine status grew up around his deeds and finally culminated in the tales found in The Epic of Gilgamesh. In the Sumerian tale of Inanna and the Huluppu Tree, in which the goddess Inanna plants a troublesome tree in her garden and appeals to her family for help with it, Gilgamesh appears as her loyal brother who comes to her aid. In this story, Inanna (the goddess of love and war and one of the most powerful and popular of Mesopotamian deities) plants a tree in her garden with the hope of one day making a chair and bed from it. The tree becomes infested, however, by a snake at its roots, a female demon (lilitu) in its center, and an Anzu bird in its branches. No matter what, Inanna cannot rid herself of the pests and so appeals to her brother, Utu, god of the sun, for help. Utu refuses but her plea is heard by Gilgamesh who comes, heavily armed, and kills the snake. The demon and Anzu bird then flee and Gilgamesh, after taking the branches for himself, presents the trunk to Inanna to build her bed and chair from. This is thought to be the first appearance of Gilgamesh in heroic poetry and the fact that he rescues a powerful and potent goddess from a difficult situation shows the high regard in which he was held even early on.The historical king was eventually accorded completely divine status as a god. He was seen as the brother of Inanna, one of the most popular goddesses, if not the most popular, in all of Mesopotamia. Prayers found inscribed on clay tablets address Gilgamesh in the afterlife as a judge in the Underworld comparable in wisdom to the famous Greek judges of the Underworld, Rhadamanthus, Minos, and Aeacus. GILGAMESH IS WIDELY ACCEPTED AS THE HISTORICAL 5TH KING OF URUK WHOSE INFLUENCE WAS SO PROFOUND THAT MYTHS DEVELOPED OF HIS DIVINE STATUS. In The Epic of Gilgamesh, the great king is thought to be too proud and arrogant by the gods and so they decide to teach him a lesson by sending the wild man, Enkidu, to humble him. Enkidu and Gilgamesh, after a fierce battle in which neither are bested, become friends and embark on adventures together. When Enkidu is struck with death, Gilgamesh falls into a deep grief and, recognizing his own mortality through the death of his friend, questions the meaning of life and the value of human accomplishment in the face of ultimate extinction. Casting away all of his old vanity and pride, Gilgamesh sets out on a quest to find the meaning of life and, finally, some way of defeating death. In doing so, he becomes the first epic hero in world literature. The grief of Gilgamesh, and the questions his friend's death evoke, resonate with every human being who has wrestled with the meaning of life in the face of death. Although Gilgamesh ultimately fails to win immortality in the story, his deeds live on through the written word and, so, does he. Part of Tablet V, the Epic of Gilgamesh Since The Epic of Gilgamesh existed in oral form long before it was written down, there has been much debate over whether the extant tale is more early Sumerian or later Babylonian in cultural influence. The best preserved version of the story comes from the Babylonian writer Shin-Leqi-Unninni (wrote 1300-1000 BCE) who translated, edited, and may have embellised upon, the original story. Regarding this, the Sumerian scholar Samuel Noah Kramer writes: Of the various episodes comprising The Epic of Gilgamesh, several go back to Sumerian prototypes actually involving the hero Gilgamesh. Even in those episodes which lack Sumerian counterparts, most of the individual motifs reflect Sumerian mythic and epic sources. In no case, however, did the Babylonian poets slavishly copy the Sumerian material. They so modified its content and molded its form, in accordance with their own temper and heritage, that only the bare nucleus of the Sumerian original remains recognizable. As for the plot structure of the epic as a whole - the forceful and fateful episodic drama of the restless, adventurous hero and his inevitable disillusionment - it is definitely a Babylonian, rather than a Sumerian, development and achievement. (History Begins at Sumer, 270). Historical evidence for Gilgamesh’s existence is found in inscriptions crediting him with the building of the great walls of Uruk (modern day Warka, Iraq) which, in the story, are the tablets upon which he first records his great deeds and his quest for the meaning of life. There are other references to him by known historical figures of his time (26th century BCE) such as King Enmebaragesi of Kish and, of course, the Sumerian King List and the legends which grew up around his reign. In the present day, Gilgamesh is still spoken of and written about. A German team of Archaeologists claim to have discovered the Tomb of Gilgamesh in April of 2003 CE. Archaeological excavations, conducted through modern technology involving magnetization in and around the old riverbed of the Euphrates, have revealed garden enclosures, specific bulidings, and structures described in The Epic of Gilgamesh including the great king’s tomb. According to legend, Gilgmesh was buried at the bottom of the Euphrates when the waters parted upon his death.
A retelling of the ancient legend od Gilgamesh, part god part man, whose wanderings and adventures in search of his faithful companion Enkidu provide the source for later mythological and religious epics.
|Author||: Michael Clarke|
|Editor||: Cambridge University Press|
Interprets the poetic meaning of the Iliad in relation to the heroic literature of the Ancient Near East.
|Author||: Derrek Hines|
In his thrillingly contemporary retelling of the world’s oldest epic, award-winning poet Derrek Hines brings us as close as we may ever come to re-creating the power it had over its original listeners more than four thousand years ago in the ancient Near East. Gilgamesh, the semi-divine ruler of Uruk, is a larger-than-life bully and abuser of his people. In order to tame the arrogant king, the gods create the wild and handsome Enkidu. But after Enkidu and Gilgamesh become fast friends, they defy the gods in a series of outsized adventures that brings Gilgamesh face to face with both loss and death itself. Hines energizes this timeless tale with vivid and electrifyingly modern images, from the goddess Ishtar cracking the sound barrier, to a battlefield nightmare of spectral snipers and exploding hand grenades, to the CAT-scan image of a dying friend. The themes of love and friendship, grief, despair, and hope had their first great expression in this story, and this dazzling new interpretation brings us into its thrall again.
|Author||: John R. Maier|
|Editor||: Bolchazy-Carducci Publishers|
The evolution of the Gilgamesh epic" (1982) / Jeffrey H. Tigay -- From "Gilgamesh in literature and art: the second and first millennia" (1987) / Wilfred G. Lambert -- From "Gilgamesh: sex, love and the ascent of knowledge" (1987) / Benjamin Foster -- "Images of women in the Gilgamesh epic" (1990) / Rivkah Harris -- "The marginalization of the goddesses" (1992) / Tikva Frymer-Kensky -- "Mourning the death of a friend: some assyriological notes" (1993) / Tzvi Abusch -- "Liminality, altered states, and the Gilgamesh epic" (1996) / Sara Mandell -- "Origins: new light on eschatology in Gilgamesh's mortuary journey" (1996) / Raymond J. Clark -- From "a Babylonian in Batavia: Mesopotamian literature and lore in The sunlight dialogues" (1982) / Greg Morris -- "Charles Olson and the poetic uses of Mesopotamian scholarship" / John Maier -- From "'Or also a godly singer, ' Akkadian and early Greek literature" (1984) / Walter Burkert -- From "Gilgamesh and Genesis" (1987) / David Damrosch -- "Praise for death" (1990) / Donald Hall -- From "Gilgamesh in the Arabian nights" (1991) / Stephanie Dalley -- "Ovid's Blanda voluptas and the humanization of Enkidu" (1991) / William L. Moran -- From "the Yahwist's primeval myth" (1992) / Bernard F. Batto -- "Gilgamesh and Philip Roth's Gil Gamesh" (1996) / Marianthe Colakis -- From "The epic of Gilgamesh" (1982) / J. Tracy Luke and Paul W. Pruyser -- From "Gilgamesh and the Sundance Kid: the myth of male friendship" (1987) / Dorothy Hammond and Alta Jablow -- "Gilgamesh and other epics" (1990) / Albert B. Lord -- From "Reaching for abroad: departures" (1991) / Eric J. Leed -- From "Introduction" to he who saw everything (1991) / Robert Temple -- "The oral aesthetic and the bicameral mind" (1991) / Carl Lindahl -- From "Point of view in anthropological discourse: the ethnographer as Gilgamesh" (1991) / Miles Richardson -- From "The wild man: the epic of Gilgamesh" (1992) / Thomas Van Nortwick.
|Editor||: Oxford University Press|
The ancient civilization of Mesopotamia thrived between the rivers Tigris and Euphrates over 4,000 years ago. The myths collected here, originally written in cuneiform on clay tablets, include parallels with the biblical stories of the Creation and the Flood, and the famous Epic of Gilgamesh, the tale of a man of great strength, whose heroic quest for immortality is dashed through one moment of weakness. Recent developments in Akkadian grammar and lexicography mean that this new translation, complete with notes, a glossary of deities, place-names, and key terms, and illustrations of the mythical monsters featured in the text, will replace all other versions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
|Author||: Jens Harder|
Jens Harder fait une pause dans son "grand récit". Entre BETA 1 et BETA 2, il nous propose une splendide adaptation de l'Épopée de Gilgamesh, le roi mésopotamien, premier super-héros de l'histoire.