An Old Babylonian Version of the Gilgamesh Epic
but at the same time an _approach_ to the real pronunciation.
VI.
Next to the new light thrown upon the names and original character
of the two main figures of the Epic, one of the chief points of
interest in the Pennsylvania fragment is the proof that it furnishes
for a striking resemblance of the two heroes, Gish and Enkidu, to one
another. In interpreting the dream of Gish, his mother. Ninsun, lays
stress upon the fact that the dream portends the coming of someone
who is like Gish, "born in the field and reared in the mountain"
(lines 18-19). Both, therefore, are shown by this description to
have come to Babylonia from a mountainous region, i.e., they are
foreigners; and in the case of Enkidu we have seen that the mountain
in all probability refers to a region in the West, while the same may
also be the case with Gish. The resemblance of the two heroes to one
another extends to their personal appearance. When Enkidu appears on
the streets of Erech, the people are struck by this resemblance. They
remark that he is "like Gish," though "shorter in stature" (lines
179-180). Enkidu is described as a rival or counterpart. [66]
This relationship between the two is suggested also by the Assyrian
version. In the creation of Enkidu by Aruru, the people urge the
goddess to create the "counterpart" (_zikru_) of Gilgamesh, someone who
will be like him (_ma-si-il_) (Tablet I, 2, 31). Enkidu not only comes
from the mountain, [67] but the mountain is specifically designated as
his birth-place (I, 4, 2), precisely as in the Pennsylvania tablet,
while in another passage he is also described, as in our tablet, as
"born in the field." [68] Still more significant is the designation of
Gilgamesh as the _talimu_, "younger brother," of Enkidu. [69] In accord
with this, we find Gilgamesh in his lament over Enkidu describing
him as a "younger brother" (_ku-ta-ni_); [70] and again in the last
tablet of the Epic, Gilgamesh is referred to as the "brother" of
Enkidu. [71] This close relationship reverts to the Sumerian version,
for the Constantinople fragment (Langdon, above, p. 13) begins with the
designation of Gish-bil-ga-mesh as "his brother." By "his" no doubt
Enkidu is meant. Likewise in the Sumerian text published by Zimmern
(above, p. 13) Gilgamesh appears as the brother of Enkidu (rev. 1, 17).
Turning to the numerous representations of Gilgamesh and Enkidu on
Seal Cylinders, [72] we find this resemblance of the two heroes to each
other strikingly confirmed. Both are represented as bearded, with the
strands arranged in the same fashion. The face in both cases is broad,
with curls protruding at the side of the head, though at times these
curls are lacking in the case of Enkidu. What is particularly striking
is to find Gilgamesh generally _a little taller_ than Enkidu, thus
bearing out the statement in the Pennsylvania tablet that Enkidu is
"shorter in stature." There are, to be sure, also some distinguishing
marks between the two. Thus Enkidu is generally represented with
animal hoofs, but not always. [73] Enkidu is commonly portrayed with
the horns of a bison, but again this sign is wanting in quite a number
of instances. [74] The hoofs and the horns mark the period when Enkidu
lived with animals and much like an animal. Most remarkable, however,
of all are cylinders on which we find the two heroes almost exactly
alike as, for example, Ward No. 199 where two figures, the one a
duplicate of the other (except that one is just a shade taller), are in
conflict with each other. Dr. Ward was puzzled by this representation
and sets it down as a "fantastic" scene in which "each Gilgamesh
is stabbing the other." In the light of the Pennsylvania tablet,
this scene is clearly the conflict between the two heroes described
in column 6, preliminary to their forming a friendship. Even in the
realm of myth the human experience holds good that there is nothing
like a good fight as a basis for a subsequent alliance. The fragment
describes this conflict as a furious one in which Gilgamesh is worsted,
and his wounded pride assuaged by the generous victor, who comforts his
vanquished enemy by the assurance that he was destined for something
higher than to be a mere "Hercules." He was singled out for the
exercise of royal authority. True to the description of the two heroes
in the Pennsylvania tablet as alike, one the counterpart of the other,
the seal cylinder portrays them almost exactly alike, as alike as two
brothers could possibly be; with just enough distinction to make it
clear on close inspection that two figures are intended and not one
repeated for the sake of symmetry. There are slight variations in the
manner in which the hair is worn, and slightly varying expressions
of the face, just enough to make it evident that the one is intended
for Gilgamesh and the other for Enkidu. When, therefore, in another
specimen, No. 173, we find a Gilgamesh holding his counterpart by the
legs, it is merely another aspect of the fight between the two heroes,
one of whom is intended to represent Enkidu, and not, as Dr. Ward
supposed, a grotesque repetition of Gilgamesh. [75]
The description of Enkidu in the Pennsylvania tablet as a parallel
figure to Gilgamesh leads us to a consideration of the relationship
of the two figures to one another. Many years ago it was pointed
out that the Gilgamesh Epic was a composite tale in which various
stories of an independent origin had been combined and brought into
more or less artificial connection with the _heros eponymos_ of
southern Babylonia. [76] We may now go a step further and point out
that not only is Enkidu originally an entirely independent figure,
having no connection with Gish or Gilgamesh, but that the latter is
really depicted in the Epic as the counterpart of Enkidu, a reflection
who has been given the traits of extraordinary physical power that
belong to Enkidu. This is shown in the first place by the fact that
in the encounter it is Enkidu who triumphs over Gilgamesh. The entire
analysis of the episode of the meeting between the two heroes as given
by Gressmann [77] must be revised. It is not Enkidu who is terrified
and who is warned against the encounter. It is Gilgamesh who, during
the night on his way from the house in which the goddess Ishhara
lies, encounters Enkidu on the highway. Enkidu "blocks the path"
[78] of Gilgamesh. He prevents Gilgamesh from re-entering the house,
[79] and the two attack each other "like oxen." [80] They grapple
with each other, and Enkidu forces Gilgamesh to the ground. Enkidu
is, therefore, the real hero whose traits of physical prowess are
afterwards transferred to Gilgamesh.
Similarly in the next episode, the struggle against Huwawa, the Yale
tablet makes it clear that in the original form of the tale Enkidu
is the real hero. All warn Gish against the undertaking--the elders
of Erech, Enkidu, and also the workmen. "Why dost thou desire to do
this?" [81] they say to him. "Thou art young, and thy heart carries
thee away. Thou knowest not what thou proposest to do." [82] This part
of the incident is now better known to us through the latest fragment
of the Assyrian version discovered and published by King. [83] The
elders say to Gilgamesh:
"Do not trust, O Gilgamesh, in thy strength!
Be warned(?) against trusting to thy attack!
The one who goes before will save his companion, [84]
He who has foresight will save his friend. [85]
Let Enkidu go before thee.
He knows the roads to the cedar forest;
He is skilled in battle and has seen fight."
Gilgamesh is sufficiently impressed by this warning to invite Enkidu
to accompany him on a visit to his mother, Ninsun, for the purpose
of receiving her counsel. [86]
It is only after Enkidu, who himself hesitates and tries to dissuade
Gish, decides to accompany the latter that the elders of Erech
are reconciled and encourage Gish for the fray. The two in concert
proceed against Huwawa. Gilgamesh alone cannot carry out the plan. Now
when a tale thus associates two figures in one deed, one of the
two has been added to the original tale. In the present case there
can be little doubt that Enkidu, without whom Gish cannot proceed,
who is specifically described as "acquainted with the way ... to the
entrance of the forest" [87] in which Huwawa dwells is the _original_
vanquisher. Naturally, the Epic aims to conceal this fact as much
as possible _ad majorem gloriam_ of Gilgamesh. It tries to put the
one who became the favorite hero into the foreground. Therefore, in
both the Babylonian and the Assyrian version Enkidu is represented
as hesitating, and Gilgamesh as determined to go ahead. Gilgamesh,
in fact, accuses Enkidu of cowardice and boldly declares that he
will proceed even though failure stare him in the face. [88] Traces
of the older view, however, in which Gilgamesh is the one for whom
one fears the outcome, crop out; as, for example, in the complaint of
Gilgamesh's mother to Shamash that the latter has stirred the heart
of her son to take the distant way to Hu(m)baba,
"To a fight unknown to him, he advances,
An expedition unknown to him he undertakes." [89]
Ninsun evidently fears the consequences when her son informs her
of his intention and asks her counsel. The answer of Shamash is not
preserved, but no doubt it was of a reassuring character, as was the
answer of the Sun-god to Gish's appeal and prayer as set forth in
the Yale tablet. [90]
Again, as a further indication that Enkidu is the real conqueror of
Huwawa, we find the coming contest revealed to Enkidu no less than
three times in dreams, which Gilgamesh interprets. [91] Since the
person who dreams is always the one to whom the dream applies, we may
see in these dreams a further trace of the primary rôle originally
assigned to Enkidu.
Another exploit which, according to the Assyrian version, the two
heroes perform in concert is the killing of a bull, sent by Anu at
the instance of Ishtar to avenge an insult offered to the goddess
by Gilgamesh, who rejects her offer of marriage. In the fragmentary
description of the contest with the bull, we find Enkidu "seizing"
the monster by "its tail." [92]
That Enkidu originally played the part of the slayer is also shown
by the statement that it is he who insults Ishtar by throwing a
piece of the carcass into the goddess' face, [93] adding also an
insulting speech; and this despite the fact that Ishtar in her rage
accuses Gilgamesh of killing the bull. [94] It is thus evident that
the Epic alters the original character of the episodes in order to
find a place for Gilgamesh, with the further desire to assign to the
latter the _chief_ rôle. Be it noted also that Enkidu, not Gilgamesh,
is punished for the insult to Ishtar. Enkidu must therefore in the
original form of the episode have been the guilty party, who is
stricken with mortal disease as a punishment to which after twelve
days he succumbs. [95] In view of this, we may supply the name of
Enkidu in the little song introduced at the close of the encounter
with the bull, and not Gilgamesh as has hitherto been done.
"Who is distinguished among the heroes?
Who is glorious among men?
[Enkidu] is distinguished among heroes,
[Enkidu] is glorious among men." [96]
Finally, the killing of lions is directly ascribed to Enkidu in the
Pennsylvania tablet:
"Lions he attacked
* * * * *
Lions he overcame" [97]
whereas Gilgamesh appears to be afraid of lions. On his long search
for Utnapishtim he says:
"On reaching the entrance of the mountain at night
I saw lions and was afraid." [98]
He prays to Sin and Ishtar to protect and save him. When, therefore,
in another passage some one celebrates Gilgamesh as the one who