1. Chapter Twelve, Lecture Two The Quest for Eternal Life

2. Gilgamesh’s quest Utnapishtim –= Ziusudra, Atrahasis, Noah Lions Mashu Scorpion Men Siduri –Your quest is hopeless

3. The Quest for Eternal Life Utnapishtim granted immortality –The story of the flood –Enlil interceded for him because of his service during the flood The test of sleep The herb Went back to Uruk and engraved his tale on a stone

4. The Hero Caught between Nature and Culture

5. Between Nature and Culture The quest for knowledge about death could not be Egyptian –They knew the answers and didn’t fear death Natural versus culture –Understandable dichotomy in a culture where “civilization” began –Enkidu the natural man who falls because of a sexual “sin” and becomes “wise.” –Cf. Adam and Eve

6. Between Nature and Culture After his own quest, Gilgamesh dons once again the accoutrements of a civilized man

7. Folktale Motifs and Heroic Myths

8. Factual (legendary) basis –There was a king of Uruk named Gilgamesh –His story over time acquires stock elements of folktale and heroic myth –It sets a pattern for typical heroic myth

9. Folktale Motifs and Heroic Myths Partly divine birth Miraculous birth and childhood Great strength is a benefit and menace A friend Falls under enemy’s power of spell Breaks a taboo Is tempted Responsible for friend’s death

10. Folktale Motifs and Heroic Myths The quest Help from gods Return home and is domesticated Rewarded for his efforts Great funeral

11. Heroic Nudity

12. The tradition of nudity starts after the Bronze Age –Homer’s heroes are not referred to nude, except Odysseus, who’s ashamed Perhaps associated with Greek athletics, which was in the nude Greek koroi were nude, unlike Egyptian statues, which the Greek resemble in many ways

13. Heroic Nudity Female nudes are late – the Late Classical Period (400 BC – ) Becomes Heroic Nudity and imitated even by Roman artists to show their patron’s “connection” the Greek heroic past.

14. End