Now the harlot urges Enkidu to enter the
beautiful
city, to clothe
himself like other men and to learn the ways of civilization.
himself like other men and to learn the ways of civilization.
Epic of Gilgamesh
?
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Title: The Epic of Gilgamish
A Fragment of the Gilgamish Legend in Old-Babylonian Cuneiform
Author: Stephen Langdon
Release Date: July 23, 2006 [EBook #18897]
Language: EN
*** START OF THIS PROJECT GUTENBERG EBOOK THE EPIC OF GILGAMISH ***
Produced by Jeroen Hellingman and the Online Distributed
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The Epic of Gilgamish
by
Stephen Langdon
University of Pennsylvania
The University Museum
Publications of the Babylonian Section
Vol. X No. 3
INTRODUCTION
In the year 1914 the University Museum secured by purchase a large
six column tablet nearly complete, carrying originally, according to
the scribal note, 240 lines of text. The contents supply the South
Babylonian version of the second book of the epic _sa nagba imuru_,
"He who has seen all things," commonly referred to as the Epic of
Gilgamish. The tablet is said to have been found at Senkere, ancient
Larsa near Warka, modern Arabic name for and vulgar descendant
of the ancient name Uruk, the Biblical Erech mentioned in Genesis
X. 10. This fact makes the new text the more interesting since the
legend of Gilgamish is said to have originated at Erech and the
hero in fact figures as one of the prehistoric Sumerian rulers of
that ancient city. The dynastic list preserved on a Nippur tablet
[1] mentions him as the fifth king of a legendary line of rulers at
Erech, who succeeded the dynasty of Kish, a city in North Babylonia
near the more famous but more recent city Babylon. The list at Erech
contains the names of two well known Sumerian deities, Lugalbanda
[2] and Tammuz. The reign of the former is given at 1,200 years and
that of Tammuz at 100 years. Gilgamish ruled 126 years. We have to
do here with a confusion of myth and history in which the real facts
are disengaged only by conjecture.
The prehistoric Sumerian dynasties were all transformed into the realm
of myth and legend. Nevertheless these rulers, although appearing
in the pretentious nomenclature as gods, appear to have been real
historic personages. [3] The name Gilgamish was originally written
_d_Gi-bil-aga-mis, and means "The fire god (_Gibil_) is a commander,"
abbreviated to _d_Gi-bil-ga-mis, and _d_Gi(s)-bil-ga-mis, a form
which by full labialization of _b_ to _u_ was finally contracted to
_d_Gi-il-ga-mis. [4] Throughout the new text the name is written with
the abbreviation _d_Gi(s), [5] whereas the standard Assyrian text
has consistently the writing _d_GIS-TU [6]-BAR. The latter method of
writing the name is apparently cryptographic for _d_Gis-bar-aga-(mis);
the fire god _Gibil_ has also the title _Gis-bar_.
A fragment of the South Babylonian version of the tenth book was
published in 1902, a text from the period of Hammurapi, which showed
that the Babylonian epic differed very much from the Assyrian in
diction, but not in content. The new tablet, which belongs to the same
period, also differs radically from the diction of the Ninevite text
in the few lines where they duplicate each other. The first line of the
new tablet corresponds to Tablet I, Col. V 25 of the Assyrian text, [7]
where Gilgamish begins to relate his dreams to his mother Ninsun. [8]
The last line of Col. I corresponds to the Assyrian version Book I,
Col. VI 29. From this point onward the new tablet takes up a hitherto
unknown portion of the epic, henceforth to be assigned to the second
book. [9]
At the end of Book I in the Assyrian text and at the end of Col. I of
Book II in the new text, the situation in the legend is as follows. The
harlot halts outside the city of Erech with the enamoured Enkidu,
while she relates to him the two dreams of the king, Gilgamish. In
these dreams which he has told to his mother he receives premonition
concerning the advent of the satyr Enkidu, destined to join with him
in the conquest of Elam.
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor. At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
TRANSLITERATION
it-bi-e-ma iluGilgamis su-na-tam i-pa-as-sar.
iz-za-kar-am [13] a-na um-mi-su
um-mi i-na sa-a-at mu-si-ti-ia
sa-am-ha-ku-ma at-ta-na-al-la-ak
i-na bi-ri-it id-da-tim
ib-ba-su-nim-ma ka-ka-'a [14] sa-ma-i
ki-? -? -rum [15] sa a-nim im-ku-ut a-na si-ri-ia
as-si-su-ma ik-ta-bi-it [16] e-li-ia
ilam [17] is-su-ma nu-us-sa-su [18] u-ul el-ti-'i
ad-ki ma-tum pa-hi-ir [19] e-li-su
id-lu-tum u-na-sa-ku si-pi-su
u-um-mi-id-ma pu-ti
i-mi- du ia-ti
as-si-a-su-ma at-ba-la-as-su a-na si-ri-ki
um-mi iluGilgamis mu-u-da-a-at ka-la-ma
iz-za-kar-am a-na iluGilgamis
mi-in-di iluGilgamish sa ki-ma ka-ti
i-na si-ri i-wa-li-id-ma
u-ra-ab-bi-su sa-du-u
ta-mar-su-ma [sa(? )]-ap-ha-ta at-ta
id-lu-tum u-na-sa-ku si-pi-su [20]
te-it-ti-ra-su(? ) . . . su-u-zu
ta-tar-ra-['a]-su a-na si-[ri-i]a
[is-(? )] ti-lam-ma [21] i-ta-mar sa-ni-tam
[su-na-]ta i-ta-wa-a-am a-na um-mi-su
[um-m]i a-ta-mar sa-ni-tam
[su-na-ta a-ta]mar e-mi-a i-na zu-ki-im
[i-na? ] Unuk-(ki) ri-bi-tim [22]
ha-as-si-nu na-di-i-ma
e-li-su pa-ah- ru
ha-as-si-nu-um-ma sa-ni bu-nu-su
a-mur-su-ma ah-ta-ta a-na-ku
a-ra-am-su-ma ki-ma as-sa-tim
a-ha-ap-pu-up el-su
el-ki-su-ma as-ta-ka-an-su
a-na a-hi-ia
um-mi iluGilgamish mu-da-at ka-la-ma
[iz-za-kar-am a-na iluGilgamish]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
COL. II
as-sum us-[ta-] ma-ha-ru it-ti-ka.
iluGilgamish su-na-tam i-pa-sar
iluEn-ki-[du w]a? -si-ib ma-har ha-ri-im-tim
UR [ ]-ha-mu DI-? -al-lu-un
[ ] im-ta-si a-sar i-wa-al-du
ume 6 [23] u 7 mu-si- a-tim
iluEn-ki-du te-bi- i-ma
sa-[am-ka-ta] ir- hi
ha-[ri-im-tu pa-a]-sa i-pu-sa-am-ma
iz-za-[kar-am] a-na iluEn-ki-du [24]
a-na-tal-ka dEn-ki-du ki-ma ili ta-ba-as-si
am-mi-nim it-ti na-ma-as-te-e [25]
ta-at-ta-[na-al-]la -ak si-ra-am
al-kam lu-ur-di- ka
a-na libbi Uruk-(ki) ri-bi-tim
a-na biti [el-]lim mu-sa-bi sa A-nim
dEn-ki-du ti-bi lu-ru-ka
a-na E-[an-n]a mu-sa-bi sa A-nim
a-sar [iluGilgamis] it-[. . . . . . . . . ] ne-pi-si-tim(? )
u at-[ ]-di [ -] ma
ta-[ ] ra-ma-an- ka
al-ka ti-ba i-[na] ga-ag-ga-ri
ma-a-a? [26] -ak ri-i-im
is-me a-wa-az-za im-ta-gar ga-ba-sa
mi-il-kum sa sinnisti
im-ta-[ku]-ut a-na libbi-su
is-hu-ut li-ib-sa-am
is-ti-nam [u]-la-ab-bi-is-su
li-ib- [sa-am] sa-ni-a-am
si-i it-ta-al-ba- as
sa-ab-ta-at ga-az- zu
ki-ma ? i-ri-id-di-su
a-na gu-up-ri sa ri-i-im
a-s[ar ] tar-ba-si-im
i-na [ ]-hu-ru ri-ia-u [27]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(About two lines broken away. )
COL. III
si-iz-ba sa na-ma-as-te-e
i-te-en- ni- ik
a-ka-lam is-ku-nu ma-har-su
ip-te-ik-ma i-na -at-tal [28]
u ip-pa-al-la- as
u-ul i-di dEn-ki- du
aklam a-na a-ka-lim
sikaram a-na sa-te-e-im
la-a lum-mu- ud
ha-ri-im-lum pi-sa i-pu-sa-am- ma
iz-za-kar-am a-na iluEn-ki-du
a-ku-ul ak-lam dEn-ki-du
zi-ma-at ba-la-ti-im
bi-si-ti si-im-ti ma-ti
i-ku-ul a-ak-lam iluEn-ki-du
a-di si-bi-e-su
sikaram is-ti-a-am
7 as-sa-am-mi-im [29]
it-tap-sar kab-ta-tum i-na-an-gu
i-li-is libba- su- ma
pa-nu-su [it-]ta(? )-bir -ru [30]
ul-tap-pi-it [. . . . . . . . . . . . ]-i
su-hu-ra-am pa-ga-ar-su
sa-am-nam ip-ta-sa-as-ma
a-we-li-is i-me
il-ba- as li-ib-sa-am
ki-ma mu-ti i-ba-as-si
il-ki ka-ak-ka-su
la-bi u gi-ir- ri
is-sa-ak-pu sab-[si]-es mu-si-a-ti
ut- tap -pi-is sib-ba-ri [31]
la-bi uk-t[a ]-si-id
it-ti immer na-ki-[e? ] ra-bu-tum
iluEn-ki-du ma-as-sa-ar-su-nu
a-we-lum wa-ru-um
is-[te]-en id-lum
a-na[ . . . . . . . . u]-za-ak-ki-ir
. . . . . . . . . . . . . . . . . . . . . . . . . .
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor. At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
TRANSLITERATION
it-bi-e-ma iluGilgamis su-na-tam i-pa-as-sar.
iz-za-kar-am [13] a-na um-mi-su
um-mi i-na sa-a-at mu-si-ti-ia
sa-am-ha-ku-ma at-ta-na-al-la-ak
i-na bi-ri-it id-da-tim
ib-ba-su-nim-ma ka-ka-'a [14] sa-ma-i
ki-? -? -rum [15] sa a-nim im-ku-ut a-na si-ri-ia
as-si-su-ma ik-ta-bi-it [16] e-li-ia
ilam [17] is-su-ma nu-us-sa-su [18] u-ul el-ti-'i
ad-ki ma-tum pa-hi-ir [19] e-li-su
id-lu-tum u-na-sa-ku si-pi-su
u-um-mi-id-ma pu-ti
i-mi- du ia-ti
as-si-a-su-ma at-ba-la-as-su a-na si-ri-ki
um-mi iluGilgamis mu-u-da-a-at ka-la-ma
iz-za-kar-am a-na iluGilgamis
mi-in-di iluGilgamish sa ki-ma ka-ti
i-na si-ri i-wa-li-id-ma
u-ra-ab-bi-su sa-du-u
ta-mar-su-ma [sa(? )]-ap-ha-ta at-ta
id-lu-tum u-na-sa-ku si-pi-su [20]
te-it-ti-ra-su(? ) . . . su-u-zu
ta-tar-ra-['a]-su a-na si-[ri-i]a
[is-(? )] ti-lam-ma [21] i-ta-mar sa-ni-tam
[su-na-]ta i-ta-wa-a-am a-na um-mi-su
[um-m]i a-ta-mar sa-ni-tam
[su-na-ta a-ta]mar e-mi-a i-na zu-ki-im
[i-na? ] Unuk-(ki) ri-bi-tim [22]
ha-as-si-nu na-di-i-ma
e-li-su pa-ah- ru
ha-as-si-nu-um-ma sa-ni bu-nu-su
a-mur-su-ma ah-ta-ta a-na-ku
a-ra-am-su-ma ki-ma as-sa-tim
a-ha-ap-pu-up el-su
el-ki-su-ma as-ta-ka-an-su
a-na a-hi-ia
um-mi iluGilgamish mu-da-at ka-la-ma
[iz-za-kar-am a-na iluGilgamish]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
COL. II
as-sum us-[ta-] ma-ha-ru it-ti-ka.
iluGilgamish su-na-tam i-pa-sar
iluEn-ki-[du w]a? -si-ib ma-har ha-ri-im-tim
UR [ ]-ha-mu DI-? -al-lu-un
[ ] im-ta-si a-sar i-wa-al-du
ume 6 [23] u 7 mu-si- a-tim
iluEn-ki-du te-bi- i-ma
sa-[am-ka-ta] ir- hi
ha-[ri-im-tu pa-a]-sa i-pu-sa-am-ma
iz-za-[kar-am] a-na iluEn-ki-du [24]
a-na-tal-ka dEn-ki-du ki-ma ili ta-ba-as-si
am-mi-nim it-ti na-ma-as-te-e [25]
ta-at-ta-[na-al-]la -ak si-ra-am
al-kam lu-ur-di- ka
a-na libbi Uruk-(ki) ri-bi-tim
a-na biti [el-]lim mu-sa-bi sa A-nim
dEn-ki-du ti-bi lu-ru-ka
a-na E-[an-n]a mu-sa-bi sa A-nim
a-sar [iluGilgamis] it-[. . . . . . . . . ] ne-pi-si-tim(? )
u at-[ ]-di [ -] ma
ta-[ ] ra-ma-an- ka
al-ka ti-ba i-[na] ga-ag-ga-ri
ma-a-a? [26] -ak ri-i-im
is-me a-wa-az-za im-ta-gar ga-ba-sa
mi-il-kum sa sinnisti
im-ta-[ku]-ut a-na libbi-su
is-hu-ut li-ib-sa-am
is-ti-nam [u]-la-ab-bi-is-su
li-ib- [sa-am] sa-ni-a-am
si-i it-ta-al-ba- as
sa-ab-ta-at ga-az- zu
ki-ma ? i-ri-id-di-su
a-na gu-up-ri sa ri-i-im
a-s[ar ] tar-ba-si-im
i-na [ ]-hu-ru ri-ia-u [27]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(About two lines broken away. )
COL. III
si-iz-ba sa na-ma-as-te-e
i-te-en- ni- ik
a-ka-lam is-ku-nu ma-har-su
ip-te-ik-ma i-na -at-tal [28]
u ip-pa-al-la- as
u-ul i-di dEn-ki- du
aklam a-na a-ka-lim
sikaram a-na sa-te-e-im
la-a lum-mu- ud
ha-ri-im-lum pi-sa i-pu-sa-am- ma
iz-za-kar-am a-na iluEn-ki-du
a-ku-ul ak-lam dEn-ki-du
zi-ma-at ba-la-ti-im
bi-si-ti si-im-ti ma-ti
i-ku-ul a-ak-lam iluEn-ki-du
a-di si-bi-e-su
sikaram is-ti-a-am
7 as-sa-am-mi-im [29]
it-tap-sar kab-ta-tum i-na-an-gu
i-li-is libba- su- ma
pa-nu-su [it-]ta(? )-bir -ru [30]
ul-tap-pi-it [. . . . . . . . . . . . ]-i
su-hu-ra-am pa-ga-ar-su
sa-am-nam ip-ta-sa-as-ma
a-we-li-is i-me
il-ba- as li-ib-sa-am
ki-ma mu-ti i-ba-as-si
il-ki ka-ak-ka-su
la-bi u gi-ir- ri
is-sa-ak-pu sab-[si]-es mu-si-a-ti
ut- tap -pi-is sib-ba-ri [31]
la-bi uk-t[a ]-si-id
it-ti immer na-ki-[e? ] ra-bu-tum
iluEn-ki-du ma-as-sa-ar-su-nu
a-we-lum wa-ru-um
is-[te]-en id-lum
a-na[ . . . . . . . . u]-za-ak-ki-ir
. . . . . . . . . . . . . . . . . . . . . . . . . . .
(About five lines broken away. )
REVERSE I
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i-ip-pu-us ul-sa-am
is-si-ma i-ni-i-su
i-ta-mar a-we-lam
iz [32]-za-kar-am a-na harimti
sa-am-ka-at uk-ki-si [33] a-we-lam
a-na mi-nim il-li-kam
zi-ki-ir-su lu-us-su [34]
ha-ri-im-tum is-ta-si a-we-lam
i-ba-us-su-um-ma i-ta-mar-su
e-di-il [35] e-es-ta-hi-[ta-am]
mi-nu a-la-ku-zu na-ah- [36] [ -]ma
e pi-su i-pu-sa-am-[ma]
iz-za-kar-am a-na iluEn-[ki-du]
bi-ti-is e-mu-tim [ ]
si-ma-a-at ni-si-i- ma
tu-sa [37]-ar pa-a-ta-tim [38]
a-na ali dup-sak-ki-i e si-en
UG-AD-AD-LIL e-mi sa-a-a-ha-tim
a-na sarri Unuk-(ki) ri-bi-tim
pi-ti pu-uk epsi [39] a-na ha-a-a-ri
a-na iluGilgamis sarri sa Unuk-(ki) ri-bi-tim
pi-ti pu-uk epsi [40]
a-na ha-a-a-ri
as-sa-at si-ma-tim i-ra-ah-hi
su-u pa-na-nu-um-ma
mu-uk wa-ar-ka-nu
i-na mi-il-ki sa ili ga-bi-ma
i-na bi-ti-ik a-pu-un-na-ti-su [41]
si- ma- az- zum
a-na zi-ik-ri id-li-im
i-ri-ku pa-nu-su
REVERSE II
. . . .
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Title: The Epic of Gilgamish
A Fragment of the Gilgamish Legend in Old-Babylonian Cuneiform
Author: Stephen Langdon
Release Date: July 23, 2006 [EBook #18897]
Language: EN
*** START OF THIS PROJECT GUTENBERG EBOOK THE EPIC OF GILGAMISH ***
Produced by Jeroen Hellingman and the Online Distributed
Proofreading Team at http://www. pgdp. net/
The Epic of Gilgamish
by
Stephen Langdon
University of Pennsylvania
The University Museum
Publications of the Babylonian Section
Vol. X No. 3
INTRODUCTION
In the year 1914 the University Museum secured by purchase a large
six column tablet nearly complete, carrying originally, according to
the scribal note, 240 lines of text. The contents supply the South
Babylonian version of the second book of the epic _sa nagba imuru_,
"He who has seen all things," commonly referred to as the Epic of
Gilgamish. The tablet is said to have been found at Senkere, ancient
Larsa near Warka, modern Arabic name for and vulgar descendant
of the ancient name Uruk, the Biblical Erech mentioned in Genesis
X. 10. This fact makes the new text the more interesting since the
legend of Gilgamish is said to have originated at Erech and the
hero in fact figures as one of the prehistoric Sumerian rulers of
that ancient city. The dynastic list preserved on a Nippur tablet
[1] mentions him as the fifth king of a legendary line of rulers at
Erech, who succeeded the dynasty of Kish, a city in North Babylonia
near the more famous but more recent city Babylon. The list at Erech
contains the names of two well known Sumerian deities, Lugalbanda
[2] and Tammuz. The reign of the former is given at 1,200 years and
that of Tammuz at 100 years. Gilgamish ruled 126 years. We have to
do here with a confusion of myth and history in which the real facts
are disengaged only by conjecture.
The prehistoric Sumerian dynasties were all transformed into the realm
of myth and legend. Nevertheless these rulers, although appearing
in the pretentious nomenclature as gods, appear to have been real
historic personages. [3] The name Gilgamish was originally written
_d_Gi-bil-aga-mis, and means "The fire god (_Gibil_) is a commander,"
abbreviated to _d_Gi-bil-ga-mis, and _d_Gi(s)-bil-ga-mis, a form
which by full labialization of _b_ to _u_ was finally contracted to
_d_Gi-il-ga-mis. [4] Throughout the new text the name is written with
the abbreviation _d_Gi(s), [5] whereas the standard Assyrian text
has consistently the writing _d_GIS-TU [6]-BAR. The latter method of
writing the name is apparently cryptographic for _d_Gis-bar-aga-(mis);
the fire god _Gibil_ has also the title _Gis-bar_.
A fragment of the South Babylonian version of the tenth book was
published in 1902, a text from the period of Hammurapi, which showed
that the Babylonian epic differed very much from the Assyrian in
diction, but not in content. The new tablet, which belongs to the same
period, also differs radically from the diction of the Ninevite text
in the few lines where they duplicate each other. The first line of the
new tablet corresponds to Tablet I, Col. V 25 of the Assyrian text, [7]
where Gilgamish begins to relate his dreams to his mother Ninsun. [8]
The last line of Col. I corresponds to the Assyrian version Book I,
Col. VI 29. From this point onward the new tablet takes up a hitherto
unknown portion of the epic, henceforth to be assigned to the second
book. [9]
At the end of Book I in the Assyrian text and at the end of Col. I of
Book II in the new text, the situation in the legend is as follows. The
harlot halts outside the city of Erech with the enamoured Enkidu,
while she relates to him the two dreams of the king, Gilgamish. In
these dreams which he has told to his mother he receives premonition
concerning the advent of the satyr Enkidu, destined to join with him
in the conquest of Elam.
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor. At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
TRANSLITERATION
it-bi-e-ma iluGilgamis su-na-tam i-pa-as-sar.
iz-za-kar-am [13] a-na um-mi-su
um-mi i-na sa-a-at mu-si-ti-ia
sa-am-ha-ku-ma at-ta-na-al-la-ak
i-na bi-ri-it id-da-tim
ib-ba-su-nim-ma ka-ka-'a [14] sa-ma-i
ki-? -? -rum [15] sa a-nim im-ku-ut a-na si-ri-ia
as-si-su-ma ik-ta-bi-it [16] e-li-ia
ilam [17] is-su-ma nu-us-sa-su [18] u-ul el-ti-'i
ad-ki ma-tum pa-hi-ir [19] e-li-su
id-lu-tum u-na-sa-ku si-pi-su
u-um-mi-id-ma pu-ti
i-mi- du ia-ti
as-si-a-su-ma at-ba-la-as-su a-na si-ri-ki
um-mi iluGilgamis mu-u-da-a-at ka-la-ma
iz-za-kar-am a-na iluGilgamis
mi-in-di iluGilgamish sa ki-ma ka-ti
i-na si-ri i-wa-li-id-ma
u-ra-ab-bi-su sa-du-u
ta-mar-su-ma [sa(? )]-ap-ha-ta at-ta
id-lu-tum u-na-sa-ku si-pi-su [20]
te-it-ti-ra-su(? ) . . . su-u-zu
ta-tar-ra-['a]-su a-na si-[ri-i]a
[is-(? )] ti-lam-ma [21] i-ta-mar sa-ni-tam
[su-na-]ta i-ta-wa-a-am a-na um-mi-su
[um-m]i a-ta-mar sa-ni-tam
[su-na-ta a-ta]mar e-mi-a i-na zu-ki-im
[i-na? ] Unuk-(ki) ri-bi-tim [22]
ha-as-si-nu na-di-i-ma
e-li-su pa-ah- ru
ha-as-si-nu-um-ma sa-ni bu-nu-su
a-mur-su-ma ah-ta-ta a-na-ku
a-ra-am-su-ma ki-ma as-sa-tim
a-ha-ap-pu-up el-su
el-ki-su-ma as-ta-ka-an-su
a-na a-hi-ia
um-mi iluGilgamish mu-da-at ka-la-ma
[iz-za-kar-am a-na iluGilgamish]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
COL. II
as-sum us-[ta-] ma-ha-ru it-ti-ka.
iluGilgamish su-na-tam i-pa-sar
iluEn-ki-[du w]a? -si-ib ma-har ha-ri-im-tim
UR [ ]-ha-mu DI-? -al-lu-un
[ ] im-ta-si a-sar i-wa-al-du
ume 6 [23] u 7 mu-si- a-tim
iluEn-ki-du te-bi- i-ma
sa-[am-ka-ta] ir- hi
ha-[ri-im-tu pa-a]-sa i-pu-sa-am-ma
iz-za-[kar-am] a-na iluEn-ki-du [24]
a-na-tal-ka dEn-ki-du ki-ma ili ta-ba-as-si
am-mi-nim it-ti na-ma-as-te-e [25]
ta-at-ta-[na-al-]la -ak si-ra-am
al-kam lu-ur-di- ka
a-na libbi Uruk-(ki) ri-bi-tim
a-na biti [el-]lim mu-sa-bi sa A-nim
dEn-ki-du ti-bi lu-ru-ka
a-na E-[an-n]a mu-sa-bi sa A-nim
a-sar [iluGilgamis] it-[. . . . . . . . . ] ne-pi-si-tim(? )
u at-[ ]-di [ -] ma
ta-[ ] ra-ma-an- ka
al-ka ti-ba i-[na] ga-ag-ga-ri
ma-a-a? [26] -ak ri-i-im
is-me a-wa-az-za im-ta-gar ga-ba-sa
mi-il-kum sa sinnisti
im-ta-[ku]-ut a-na libbi-su
is-hu-ut li-ib-sa-am
is-ti-nam [u]-la-ab-bi-is-su
li-ib- [sa-am] sa-ni-a-am
si-i it-ta-al-ba- as
sa-ab-ta-at ga-az- zu
ki-ma ? i-ri-id-di-su
a-na gu-up-ri sa ri-i-im
a-s[ar ] tar-ba-si-im
i-na [ ]-hu-ru ri-ia-u [27]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(About two lines broken away. )
COL. III
si-iz-ba sa na-ma-as-te-e
i-te-en- ni- ik
a-ka-lam is-ku-nu ma-har-su
ip-te-ik-ma i-na -at-tal [28]
u ip-pa-al-la- as
u-ul i-di dEn-ki- du
aklam a-na a-ka-lim
sikaram a-na sa-te-e-im
la-a lum-mu- ud
ha-ri-im-lum pi-sa i-pu-sa-am- ma
iz-za-kar-am a-na iluEn-ki-du
a-ku-ul ak-lam dEn-ki-du
zi-ma-at ba-la-ti-im
bi-si-ti si-im-ti ma-ti
i-ku-ul a-ak-lam iluEn-ki-du
a-di si-bi-e-su
sikaram is-ti-a-am
7 as-sa-am-mi-im [29]
it-tap-sar kab-ta-tum i-na-an-gu
i-li-is libba- su- ma
pa-nu-su [it-]ta(? )-bir -ru [30]
ul-tap-pi-it [. . . . . . . . . . . . ]-i
su-hu-ra-am pa-ga-ar-su
sa-am-nam ip-ta-sa-as-ma
a-we-li-is i-me
il-ba- as li-ib-sa-am
ki-ma mu-ti i-ba-as-si
il-ki ka-ak-ka-su
la-bi u gi-ir- ri
is-sa-ak-pu sab-[si]-es mu-si-a-ti
ut- tap -pi-is sib-ba-ri [31]
la-bi uk-t[a ]-si-id
it-ti immer na-ki-[e? ] ra-bu-tum
iluEn-ki-du ma-as-sa-ar-su-nu
a-we-lum wa-ru-um
is-[te]-en id-lum
a-na[ . . . . . . . . u]-za-ak-ki-ir
. . . . . . . . . . . . . . . . . . . . . . . . . .
Now the harlot urges Enkidu to enter the beautiful city, to clothe
himself like other men and to learn the ways of civilization. When
he enters he sees someone, whose name is broken away, eating bread
and drinking milk, but the beautiful barbarian understands not. The
harlot commands him to eat and drink also:
"It is the conformity of life,
Of the conditions and fate of the Land. "
He rapidly learns the customs of men, becomes a shepherd and a mighty
hunter. At last he comes to the notice of Gilgamish himself, who is
shocked by the newly acquired manner of Enkidu.
"Oh harlot, take away the man," says the lord of Erech. Once again
the faithful woman instructs her heroic lover in the conventions
of society, this time teaching him the importance of the family
in Babylonian life, and obedience to the ruler. Now the people of
Erech assemble about him admiring his godlike appearance. Gilgamish
receives him and they dedicate their arms to heroic endeavor. At this
point the epic brings in a new and powerful _motif_, the renunciation
of woman's love in the presence of a great undertaking. Gilgamish
is enamoured of the beautiful virgin goddess Ishara, and Enkidu,
fearing the effeminate effects of his friend's attachment, prevents
him forcibly from entering a house. A terrific combat between these
heroes ensues, [10] in which Enkidu conquers, and in a magnanimous
speech he reminds Gilgamish of his higher destiny.
In another unplaced fragment of the Assyrian text [11] Enkidu rejects
his mistress also, apparently on his own initiative and for ascetic
reasons. This fragment, heretofore assigned to the second book,
probably belongs to Book III. The tablet of the Assyrian version which
carries the portion related on the new tablet has not been found. Man
redeemed from barbarism is the major theme of Book II.
The newly recovered section of the epic contains two legends which
supplied the glyptic artists of Sumer and Accad with subjects for
seals. Obverse III 28-32 describes Enkidu the slayer of lions and
panthers. Seals in all periods frequently represent Enkidu in combat
with a lion. The struggle between the two heroes, where Enkidu strives
to rescue his friend from the fatal charms of Ishara, is probably
depicted on seals also. On one of the seals published by Ward, _Seal
Cylinders of Western Asia_, No. 459, a nude female stands beside the
struggling heroes. [12] This scene not improbably illustrates the
effort of Enkidu to rescue his friend from the goddess. In fact the
satyr stands between Gilgamish and Ishara(? ) on the seal.
TRANSLITERATION
it-bi-e-ma iluGilgamis su-na-tam i-pa-as-sar.
iz-za-kar-am [13] a-na um-mi-su
um-mi i-na sa-a-at mu-si-ti-ia
sa-am-ha-ku-ma at-ta-na-al-la-ak
i-na bi-ri-it id-da-tim
ib-ba-su-nim-ma ka-ka-'a [14] sa-ma-i
ki-? -? -rum [15] sa a-nim im-ku-ut a-na si-ri-ia
as-si-su-ma ik-ta-bi-it [16] e-li-ia
ilam [17] is-su-ma nu-us-sa-su [18] u-ul el-ti-'i
ad-ki ma-tum pa-hi-ir [19] e-li-su
id-lu-tum u-na-sa-ku si-pi-su
u-um-mi-id-ma pu-ti
i-mi- du ia-ti
as-si-a-su-ma at-ba-la-as-su a-na si-ri-ki
um-mi iluGilgamis mu-u-da-a-at ka-la-ma
iz-za-kar-am a-na iluGilgamis
mi-in-di iluGilgamish sa ki-ma ka-ti
i-na si-ri i-wa-li-id-ma
u-ra-ab-bi-su sa-du-u
ta-mar-su-ma [sa(? )]-ap-ha-ta at-ta
id-lu-tum u-na-sa-ku si-pi-su [20]
te-it-ti-ra-su(? ) . . . su-u-zu
ta-tar-ra-['a]-su a-na si-[ri-i]a
[is-(? )] ti-lam-ma [21] i-ta-mar sa-ni-tam
[su-na-]ta i-ta-wa-a-am a-na um-mi-su
[um-m]i a-ta-mar sa-ni-tam
[su-na-ta a-ta]mar e-mi-a i-na zu-ki-im
[i-na? ] Unuk-(ki) ri-bi-tim [22]
ha-as-si-nu na-di-i-ma
e-li-su pa-ah- ru
ha-as-si-nu-um-ma sa-ni bu-nu-su
a-mur-su-ma ah-ta-ta a-na-ku
a-ra-am-su-ma ki-ma as-sa-tim
a-ha-ap-pu-up el-su
el-ki-su-ma as-ta-ka-an-su
a-na a-hi-ia
um-mi iluGilgamish mu-da-at ka-la-ma
[iz-za-kar-am a-na iluGilgamish]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
COL. II
as-sum us-[ta-] ma-ha-ru it-ti-ka.
iluGilgamish su-na-tam i-pa-sar
iluEn-ki-[du w]a? -si-ib ma-har ha-ri-im-tim
UR [ ]-ha-mu DI-? -al-lu-un
[ ] im-ta-si a-sar i-wa-al-du
ume 6 [23] u 7 mu-si- a-tim
iluEn-ki-du te-bi- i-ma
sa-[am-ka-ta] ir- hi
ha-[ri-im-tu pa-a]-sa i-pu-sa-am-ma
iz-za-[kar-am] a-na iluEn-ki-du [24]
a-na-tal-ka dEn-ki-du ki-ma ili ta-ba-as-si
am-mi-nim it-ti na-ma-as-te-e [25]
ta-at-ta-[na-al-]la -ak si-ra-am
al-kam lu-ur-di- ka
a-na libbi Uruk-(ki) ri-bi-tim
a-na biti [el-]lim mu-sa-bi sa A-nim
dEn-ki-du ti-bi lu-ru-ka
a-na E-[an-n]a mu-sa-bi sa A-nim
a-sar [iluGilgamis] it-[. . . . . . . . . ] ne-pi-si-tim(? )
u at-[ ]-di [ -] ma
ta-[ ] ra-ma-an- ka
al-ka ti-ba i-[na] ga-ag-ga-ri
ma-a-a? [26] -ak ri-i-im
is-me a-wa-az-za im-ta-gar ga-ba-sa
mi-il-kum sa sinnisti
im-ta-[ku]-ut a-na libbi-su
is-hu-ut li-ib-sa-am
is-ti-nam [u]-la-ab-bi-is-su
li-ib- [sa-am] sa-ni-a-am
si-i it-ta-al-ba- as
sa-ab-ta-at ga-az- zu
ki-ma ? i-ri-id-di-su
a-na gu-up-ri sa ri-i-im
a-s[ar ] tar-ba-si-im
i-na [ ]-hu-ru ri-ia-u [27]
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(About two lines broken away. )
COL. III
si-iz-ba sa na-ma-as-te-e
i-te-en- ni- ik
a-ka-lam is-ku-nu ma-har-su
ip-te-ik-ma i-na -at-tal [28]
u ip-pa-al-la- as
u-ul i-di dEn-ki- du
aklam a-na a-ka-lim
sikaram a-na sa-te-e-im
la-a lum-mu- ud
ha-ri-im-lum pi-sa i-pu-sa-am- ma
iz-za-kar-am a-na iluEn-ki-du
a-ku-ul ak-lam dEn-ki-du
zi-ma-at ba-la-ti-im
bi-si-ti si-im-ti ma-ti
i-ku-ul a-ak-lam iluEn-ki-du
a-di si-bi-e-su
sikaram is-ti-a-am
7 as-sa-am-mi-im [29]
it-tap-sar kab-ta-tum i-na-an-gu
i-li-is libba- su- ma
pa-nu-su [it-]ta(? )-bir -ru [30]
ul-tap-pi-it [. . . . . . . . . . . . ]-i
su-hu-ra-am pa-ga-ar-su
sa-am-nam ip-ta-sa-as-ma
a-we-li-is i-me
il-ba- as li-ib-sa-am
ki-ma mu-ti i-ba-as-si
il-ki ka-ak-ka-su
la-bi u gi-ir- ri
is-sa-ak-pu sab-[si]-es mu-si-a-ti
ut- tap -pi-is sib-ba-ri [31]
la-bi uk-t[a ]-si-id
it-ti immer na-ki-[e? ] ra-bu-tum
iluEn-ki-du ma-as-sa-ar-su-nu
a-we-lum wa-ru-um
is-[te]-en id-lum
a-na[ . . . . . . . . u]-za-ak-ki-ir
. . . . . . . . . . . . . . . . . . . . . . . . . . .
(About five lines broken away. )
REVERSE I
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i-ip-pu-us ul-sa-am
is-si-ma i-ni-i-su
i-ta-mar a-we-lam
iz [32]-za-kar-am a-na harimti
sa-am-ka-at uk-ki-si [33] a-we-lam
a-na mi-nim il-li-kam
zi-ki-ir-su lu-us-su [34]
ha-ri-im-tum is-ta-si a-we-lam
i-ba-us-su-um-ma i-ta-mar-su
e-di-il [35] e-es-ta-hi-[ta-am]
mi-nu a-la-ku-zu na-ah- [36] [ -]ma
e pi-su i-pu-sa-am-[ma]
iz-za-kar-am a-na iluEn-[ki-du]
bi-ti-is e-mu-tim [ ]
si-ma-a-at ni-si-i- ma
tu-sa [37]-ar pa-a-ta-tim [38]
a-na ali dup-sak-ki-i e si-en
UG-AD-AD-LIL e-mi sa-a-a-ha-tim
a-na sarri Unuk-(ki) ri-bi-tim
pi-ti pu-uk epsi [39] a-na ha-a-a-ri
a-na iluGilgamis sarri sa Unuk-(ki) ri-bi-tim
pi-ti pu-uk epsi [40]
a-na ha-a-a-ri
as-sa-at si-ma-tim i-ra-ah-hi
su-u pa-na-nu-um-ma
mu-uk wa-ar-ka-nu
i-na mi-il-ki sa ili ga-bi-ma
i-na bi-ti-ik a-pu-un-na-ti-su [41]
si- ma- az- zum
a-na zi-ik-ri id-li-im
i-ri-ku pa-nu-su
REVERSE II
. . . .
