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Alina Alvarez

Ms. Welch

Mythology and Folklore

10 December, 2023

Gilgamesh Journey Map

Uruk

Uruk

Uruk was an ancient city in Mesopotamia, which is now modern-day Iraq. The city was situated east of the present bed of the Euphrates River on the dried-up ancient channel of the Euphrates.

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“GILGAMESH went abroad in the world, but he met with none who could withstand his arms till be came to Uruk. But the men of Uruk muttered in their houses, ‘Gilgamesh sounds the tocsin for his amusement, his arrogance has no bounds by day or night. No son is left with his father, for Gilgamesh takes them all, even the children; yet the king should be a shepherd to his people. His lust leaves no virgin to her lover, neither the warrior's daughter nor the wife of the noble; yet this is the shepherd of the city, wise, comely, and resolute.” (Sanders p.4)

The Hills

The Hills

The hills described in the Epic of Gilgamesh are believed to be located in the region of ancient Mesopotamia, which is present-day Iraq. This region, known as the Fertile Crescent, was the heart of the first great human civilization around 8000 BCE.

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https://storymaps.arcgis.com/stories/a4c35b0451d34218965e97d10877b855

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“With awe in his heart he spoke to his father: ‘Father, there is a man, unlike any other, who comes down from the hills. He is the strongest in the world, he is like an immortal from heaven. He ranges over the hills with wild beasts and eats grass; the ranges through your land and comes down to the wells.” (Sanders p.4)

Drinking hole

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Drinking hole

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https://www.biblicalarchaeology.org/daily/ancient-cultures/ancient-near-eastern-world/ancient-clay-tablet-offers-new-insights-into-the-gilgamesh-epic/

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“Gilgamesh said, ‘Trapper, go back, take with you a harlot, a child of pleasure. At the drinking hole she will strip, and when, he sees her beckoning he will embrace her and the game of the wilderness will. surely reject him.” (Sanders p.5)

Cedar Forest

Cedar Frorest

The Cedar Forest described is believed to be the glorious realm of the gods of Mesopotamian mythology. It was once entered by the hero Gilgamesh who dared cut down trees from its virgin stands during his quest for fame. The Cedar Forest is often associated with the famous cedar forests of Lebanon and Syria, which are known for their lush and beautiful landscapes.

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(https://www.rma.ac.uk/2019/07/03/stopping-by-woods-a-study-on-the-soundscape-of-the-cedar-forest-in-the-gilgamesh-epic/)

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“When he roars it is like the torrent of the storm, his breath is like fire, and his jaws are death itself. He guards the cedars so well that when the wild heifer stirs in the forest, though she is sixty leagues distant, he hears her. What man would willingly walk

into that country and explore its depths? I tell you, weakness overpowers whoever goes near it: it is not an equal struggle when one fights with Humbaba; he is a great warrior, a battering-ram. Gilgamesh, the watchman of the forest never sleeps.” (Sanders p.7)

Mashu Gate

Mashu

Gate

The Mashu gate, as described in the Epic of Gilgamesh, is a significant location where the Scorpions, who are half-man, half-dragon, stand guard. It’s believed to be located at the mountains of Mashu. The gate is often associated with the transition from one level of consciousness to another and represents choices.

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(https://www.rma.ac.uk/2019/07/03/stopping-by-woods-a-study-on-the-soundscape-of-the-cedar-forest-in-the-gilgamesh-epic/)

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“When he roars it is like the torrent of the storm, his breath is like fire, and his jaws are death itself. He guards the cedars so well that when the wild heifer stirs in the forest, though she is sixty leagues distant, he hears her. What man would willingly walk

into that country and explore its depths? I tell you, weakness overpowers whoever goes near it: it is not an equal struggle when one fights with Humbaba; he is a great warrior, a battering-ram. Gilgamesh, the watchman of the forest never sleeps.” (Sanders p.7)

Sun's Road

Sun's road

The “Sun’s road” in the Epic of Gilgamesh is a metaphorical path taken by the sun god, Shamash, rather a epresentation of the sun’s daily journey across the sky. In the epic, Gilgamesh’s journey on the Sun’s road through the darkness represents his own personal journey and transformation

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https://www.livescience.com/52372-new-tablet-gilgamesh-epic.html

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“Open the gate ' of the mountain:' And the Man-Scorpion said, ‘Go, Gilgamesh, I permit you to pass through the mountain of Mashu and through the high ranges; may your feet carry you safely home. The gate of the mountain is open.' When Gilgamesh heard this he did as the Man-Scorpion had said, he followed the sun's road to his rising, through the mountain. When he had gone one league the darkness became thick around him, for there was no light, he could see nothing ahead and nothing behind him.” (Sanders p.g 16)

7 Leagues of Darkness (Underworld)

7 Leagues of darkness

the “7 leagues of darkness” or the underworld is referred to as “The House of Darkness”. It is a realm that is shrouded in obscurity and dread, a place where the sun’s light never reaches. The journey to this underworld is depicted as a daunting passage through seven gates, each requiring the removal of a piece of clothing or adornment, symbolizing the gradual shedding of earthly attachments. This underworld is a place of finality and loss, a stark contrast to the world of the living. It is a realm where heroes and commoners alike reside after death, devoid of joy, where the activities of life are mimicked in a dreary, listless manner.

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https://listverse.com/2018/03/15/10-legends-of-the-great-flood/?_gl=1*1toj156*_ga*OW9mTDFTTEN6Q0RRQVo5U0FxZktBTXFHcXRMQ21FMG1MalZBVC1NSjBQUHBIQUwtSHI0TXdRamVWOUVncVpveA..

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“When he had gone seven leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. When he had gene eight leagues Gilgamesh gave a great cry, for the darkness was thick and he could see nothing ahead and nothing behind him. After nine leagues he felt the northwind on his face, but the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. After ten leagues the end was near: After eleven leagues the dawn light appeared. At the end of twelve leagues the sun streamed out.” (Sanders p.g 16)

Garden of the Gods

Garden of the Gods

the garden of the gods is depicted as a place of extraordinary beauty and abundance. It is described as a place where gems grow on plants and precious rocks and metals grow as fruit, thorns, and thistles. This garden is located at the end of a long and arduous journey through complete darkness, symbolizing the trials and tribulations one must endure to reach this divine place. The garden is also the source of a river and is situated next to a mountain covered in cedars. This lush and vibrant imagery serves to highlight the stark contrast between the mortal world and the divine realm.

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https://brewminate.com/between-gods-and-animals-becoming-human-in-the-gilgamesh-epic/

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“There was the garden of the gods; all round him stood bushes bearing gems. Seeing it he went down at once, for there was fruit of carnelian with the vine hanging from it, beautiful to look at; lapis lazuli leaves hung thick with fruit, sweet to see. For thorns and thistles there were haematite and rare stones, agate, and pearls from out of the sea. While Gilgamesh walked in the garden by the edge of the sea Shamash saw him, and he saw that he was dressed in the skins of animals and ate their flesh. He was distressed, and he spoke and said, ‘No mortal man has gone this way before, nor will, as long as the winds drive over the sea.' And to Gilgamesh he said, ‘You will never find the life for which you are The Epic Of Gilgamesh searching.' Gilgamesh said to glorious Shamash, ‘Now that I have toiled and strayed so far over the wilderness, am I to sleep, and let the earth cover my head for ever? Let my eyes see the sun until they are dazzled with looking. Although I am no better than a dead man, still let me see the light of the sun.'” (Sanders P.16-17)

Seas Shore

Seas

Shore

Gilgamesh encounters Siduri, a veiled barmaid who keeps a tavern by the edge of the sea, at the sea's shore. Gilgamesh, who has been traveling for a long time and appears wind-bitten and battered, comes to this shore in his quest to find Utnapishtim. Siduri warns Gilgamesh that crossing the sea is a perilous task as it is stormy and treacherous. She mentions that only Shamash, the sun god, crosses the sea every day, and no mortal has ever been able to follow him. Despite the warnings, Gilgamesh is determined to cross the sea to find Utnapishtim, who holds the secret to immortality. The sea's shore and the subsequent journey across the sea symbolize Gilgamesh's transition from his earthly existence to his pursuit of the divine and eternal. It represents a crucial turning point in his journey, marking his departure from the familiar world and his entry into a realm of uncertainty and danger in his quest for immortality.

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https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.ancienthistorylists.com%2Fmesopotamia-history%2Fepic-of-gilgamesh-summary%2F&psig=AOvVaw3-xDgi2ze7vupcSIaakTq7&ust=1702290014804000&source=images&cd=vfe&opi=89978449&ved=0CAUQjB1qFwoTCJDzitHShIMDFQAAAAAdAAAAABAI

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”But Gilgamesh said to Siduri, the young woman, ‘How can I be silent, how can I rest, when Enkidu whom I love is dust, and I too shall die and be laid in the earth. You live by the sea-shore and look into the heart of it; young woman, tell me now, which is the way to Utnapishtim, the son of Ubara-Tutu? What directions are there for the passage; give me, oh, give me directions. I will cross the Ocean if it is possible; if it is not I will wander still farther in the wilderness.” (Sanders p.g 17)

Sea

Sea

the sea is a crucial element that symbolizes life, death, and the quest for immortality. It serves as the backdrop for Gilgamesh’s journey to Utnapishtim, who is known to possess eternal life, symbolizing his desperate quest for immortality. At the seaside, Gilgamesh encounters Siduri, the goddess of wine, who advises him to live in the present and stop seeking immortality, marking a turning point in his understanding of life and death.

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”For six days and six nights the winds blew, torrent and tempest and flood overwhelmed the world, tempest and flood raged together like warring hosts. When the seventh day dawned the storm from the south subsided, the sea grew calm, the, flood was stilled; I looked at the face of the world and there was silence, all mankind was turned to clay. The surface of the sea stretched as flat as a roof-top; I opened a hatch and the light fell on my face. Then I bowed low, I sat down and I wept, the tears streamed down my face, for on every side was the waste of water.” (Sanders p.g 21)

Forest

Forest

The Cedar Forest is a significant location that symbolizes wilderness and the challenges that lie outside the boundaries of civilization. It is here that Gilgamesh and his companion Enkidu undertake a perilous journey to confront Humbaba, the ferocious guardian of the forest. There is a part where Gilgamesh is tasked with gathering wood for a boat. This occurs when Gilgamesh seeks to cross the sea to reach Utnapishtim1. Urshanabi, Utnapishtim’s boatman, instructs Gilgamesh to cut one hundred and twenty poles of wood, coat them in bitumen (a crude asphalt), and cap them with metal. This signifies Gilgamesh’s determination and resourcefulness in his quest for immortality. It also highlights the challenges he must overcome due to his impulsive actions.

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https://lebanonuntravelled.com/epic-of-gilgamesh-and-the-cedars-of-lebanon/

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"Urshanabi said to him, ‘Gilgamesh, your own hands have prevented you from crossing the Ocean; when you destroyed the tackle of the boat you destroyed its safety.' Then the two of them talked it over and Gilgamesh said, ‘Why are you so angry with me, Urshanabi, for you yourself cross the sea by day and night, at all seasons you cross it' ‘Gilgamesh, those things you destroyed, their property is to carry me over the water, to prevent the waters of death from touching me. It was for this reason that I preserved them, but you have destroyed them, and the urnu snakes with them. But now, go into the forest, Gilgamesh; with your axe cut poles, one hundred and twenty, cut them sixty cubits long, paint them with bitumen, set on them ferrules and bring them back.' When Gilgamesh heard this he went into the forest, he cut poles one hundred and twenty; he cut them sixty cubits long, he painted them with bitumen, he set on them ferrules, and he brought them to Urshanabi (Sanders p.g 18)

Dihnun

Dihnun

Dihnun is a symbolic description of Utnapishtim’s dwelling place, suggesting a location at the edge of the world where the sun rises. This journey represents Gilgamesh’s relentless quest for immortality, underscoring his determination to overcome death

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https://listverse.com/2018/03/15/10-legends-of-the-great-flood/?_gl=1*1toj156*_ga*OW9mTDFTTEN6Q0RRQVo5U0FxZktBTXFHcXRMQ21FMG1MalZBVC1NSjBQUHBIQUwtSHI0TXdRamVWOUVncVpveA..

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Then Urshanabi said to Gilgamesh, ‘Press on, take a pole and thrust it in, but do not let your hands touch the waters. Gilgamesh, take a second pole, take a third, take a fourth pole. Now, Gilgamesh, take a fifth, take a sixth and seventh pole. Gilgamesh, take an

eighth, and ninth, a tenth pole. Gilgamesh, take an eleventh, take a twelfth pole.' After one hundred and twenty thrusts Gilgamesh had used the last pole. Then he stripped himself, he held up his arms for a mast and his covering for a sail. So Urshanabi the ferryman brought Gilgamesh to Utnapishtim, whom they call the Faraway, who lives in Dihnun at the place of the sun's transit, eastward of the mountain. To him alone of men the gods had given everlasting life. (Sanders p.g 18)

Deepest Channel

Depest channel

The deepest channels are mentioned when Gilgamesh and Urshanabi, the ferryman, are crossing the Waters of Death to reach Utnapishtim1. The Waters of Death are described as a dangerous body of water that none can cross except for Utnapishtim and his ferryman. The crossing of the Waters of Death is a significant event in the narrative. It represents the final and most perilous part of Gilgamesh’s journey in his quest for immortality. The “deepest channels” symbolize the great risks and challenges that Gilgamesh must overcome in this quest

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https://drcatherinesvehla.bandcamp.com/track/gilgamesh-part

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"When Gilgamesh heard this he opened the sluices so that a sweet water current might carry him out to the deepest channel; he tied heavy stones to his feet and they dragged him down to the water-bed. There he saw the plant growing;; although it pricked him he took it in his hands; then he cut the heavy stones from his feet, and the sea carried him and threw him on to the shore. Gilgamesh said to Urshanabi the ferryman, `Come here, and see this marvellous plant. By its virtue a man may win back all his former strength. I will take it to Uruk of the strong walls; there I will give it to the old men to eat. Its name shall be "The Old Men Are Young Again"; and at last I shall eat it myself and have back all my lost youth." (Sanders p.g 22)

Gilgamesh's tomb

Gilgamesh's tomb

The tomb of Gilgamesh holds symbolic importance in the narrative. It serves as a reminder of the mortality of even the greatest heroes, underscoring the epic’s exploration of life, death, and the human desire for immortality. Despite his heroic deeds and quests for eternal life, Gilgamesh, like all humans, eventually faces death. Thus, the tomb of Gilgamesh serves as a poignant symbol of the inevitability of death, reinforcing the epic’s exploration of mortality and the human condition

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https://eightify.app/summary/ancient-mysteries/unlocking-the-ancient-tomb-of-gilgamesh-after-millennia

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“Gilgamesh, the son of Ninsun, lies in the tomb. At the place of offerings he weighed the bread-offering, at the place of libation he poured out the wine. In those days the lord Gilgamesh departed, the son of Ninsun, the kung, peerless, without an equal among men, who did not neglect Enlil his master. O Gilgamesh, lord of Kullab, great is thy praise.” (Sanders p.g 24)

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