Essay on Epic of Gilgamesh Theme

1712 Words Aug 1st, 2012 7 Pages
Themes
Themes are the fundamental and often universal ideas explored in a literary work.
Love As a Motivating Force
Love, both erotic and platonic, motivates change in Gilgamesh. Enkidu changes from a wild man into a noble one because of Gilgamesh, and their friendship changes Gilgamesh from a bully and a tyrant into an exemplary king and hero. Because they are evenly matched, Enkidu puts a check on Gilgamesh’s restless, powerful energies, and Gilgamesh pulls Enkidu out of his self-centeredness. Gilgamesh’s connection to Enkidu makes it possible for Gilgamesh to identify with his people’s interests. The love the friends have for each other makes Gilgamesh a better man in the first half of the epic, and when Enkidu dies, Gilgamesh’s
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Sacred prostitutes did not embody moral frailty—they were avatars and conduits of divinity.
When Gilgamesh spurns Ishtar as she attempts to seduce him, he brings disaster upon himself and Enkidu. When he asks Ishtar what he could offer her in return since she lacks nothing, he misses the point of her seduction. When Gilgamesh—who has no afterlife to look forward to and no moral ideal to aspire to—spurns the goddess, he spurns life itself.
Doubling and Twinship
Gilgamesh is full of characters and events that mirror or resemble one another. For example, Gilgamesh and Enkidu look almost identical. After Enkidu dies, Gilgamesh grows his hair and dons animal skins, as if trying to become his lost friend. Two scorpion monsters guard the twin-peaked mountain, Mashu, which Shamash travels through nightly. The gods Ea and Shamash champion the human heroes. The heroes undertake two successful quests, one against Humbaba the demon and one against the Bull of Heaven. Gilgamesh’s solitary quest to find Utnapishtim mirrors his journey with Enkidu to the Cedar Forest. These repetitions sometimes serve to reinforce or emphasize important features of the story, such as Gilgamesh’s and Enkidu’s power and heroism. At other times they create contrasts, calling attention to the differences between two similar events. Alternately, the story may be structured in terms of twins and doubles primarily for aesthetic reasons—in

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