The Epic of Gilgamesh, the archaeology and healing of the soul

 

Some people think of previous ages as less civilized than the age in which they live; they think of people from the past as being different from people today, less open-minded, somehow less "civilized". However, human psychology doesn't really change, it can be modified, but it remains substantially the same in any era. People in the past dressed differently than we do, they didn't have modern appliances, their weapons of war were not as destructive as ours, some people lived in terrible poverty, but the soul of these people is not different than our soul; people from the past share our human concerns, emotions, desires, joys and fears, prejudices and insights. All of this is a prelude to saying that The Epic of Gilgamesh has an almost contemporary quality to it, in some ways Gilgamesh and his friend Enkidu are people that could be alive today, they share our emotional life, they share our psychic/soul life. 

When we first meet Gilgamesh —this epic was written 4000 years ago and Gilgamesh may have lived around 4000 years ago— Gilgamesh is living an unreflected life; he is a ruler, both arrogant and powerful. We know that other people, his contemporaries, didn't approve of some of what he did; he is the king, the supreme leader, and it is mentioned that there is some disapproval of him because he took advantage of his position in society. But life changes, and psychological and spiritual change is often caused by suffering; suffering makes us think about our life, it makes us reflect on life. And this is the experience of Gilgamesh when his friend, Enkidu, dies; this is when Gilgamesh becomes more than a character in an ancient text. 

It is suffering and his inability to deal with it that makes Gilgamesh "one of us"; what is of interest for us is Gilgamesh’ s story, it describes his psychology, his psyche, his soul, and his response to suffering. When his friend Enkidu dies Gilgamesh experiences grief and sorrow, he knows the transience of life; he must reflect on the meaning of life when he is thrown back on himself. In his grief Gilgamesh searches for meaning, and his search continues until he finds an explanation for his grief, until he finds a meaning for his loss and how to deal with it.

To live without meaning and understanding is to continue living an unreflected. In The Epic of Gilgamesh we are reading something that pertains to our own existence; indeed, this epic is a four thousand year old version of certain aspects of our own journey to a meaningful life. The subject of The Epic of Gilgamesh is the archaeology and healing of the soul.

 

30 March 2023, November 2024, 19 December 2024.

The Epic of Gilgamesh, four translations

I first heard of The Epic of Gilgamesh when I was reading the poetry of Gregory Corso, Corso mentions Gilgamesh in some of his work. Years later, out of curiosity, I began reading The Epic of Gilgamesh for myself; here are the four translations that I've read over the last four or five years; all have something to offer —a different insight into Gilgamesh— and all are worth reading and a good introduction to The Epic of Gilgamesh.

Gilgamesh, a verse narrative
Translator: Herbert Mason
New American Library, Inc, New York: 1970

The Epic of Gilgamesh
Translator: N.K. Sandars
Penguin Books, Ltd
Harmondsworth, 1972

Gilgamesh, a new English version
Translator: Stephen Mitchell
New York, Free Press, 2004

The Epic of Gilgamesh
Translator: Andrew George
Penguin Books, 2000

Louis Dudek's Continuation and The Beatles "Revolution 9"

 

Morgan's Department Store, downtown Montreal, 1955 

Continuation is an assemblage of random and seemingly unrelated statements, mundane or philosophical, epigrammatic and often unrelated to other statements in the same poem. I doubt many readers (or Dudek’s friends) understood, or even liked, what Dudek was doing in Continuation; similarly, The Beatles song, "Revolution 9", left most listeners bewildered, the song is repetitive, disturbing, and makes no rational sense and yet, ironically, even paradoxically, it makes perfect sense as does Dudek’s Continuation. Most of The Beatles’ songs are popular music, none are as idiosyncratic and experimental as “Revolution 9”; indeed, this is a piece of music, of voices and sounds, that suggests the overwhelming banality of everyday life.                  

Both “Revolution 9"  and Continuation seem anomalies in their creators’ bodies of work; neither bring the audience much immediate pleasure until some sense or meaning is found in the work; both are more cerebral, more intellectual, than is found in most music or poetry. “Revolution 9” has  a vision of the meaningless of life, life is overwhelmingly banal, purposeless, and filled with small talk and trivialities. Remember the existentially bleak lyrics to “Eleanor Rigby”, existence has failed, there is nothing to believe in, and life is without purpose or meaning; this is a long distance from typical Beatles music. But it is also the human condition found in another Beatles' song, “A Day in the Life”: 

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up, I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
And somebody spoke and I went into a dream

Meanwhile, Continuation is a departure, a deepening, and an extension of the form and content of Dudek's previous books, for instance Atlantis (1967); form and content are extensions of each other.  Atlantis, and Dudek's other travel-centered books, are connected to place, to geography, to consecutive thinking, while Continuation is connected to mundane existence, it is a stream of consciousness that exists in the realm of thought, it is bits and pieces of existence strung together, more Mallarme than Pound, maybe some Joyce and Woolf, but Pound is still present. Both “Revolution 9” and Continuation have moved away from the narrative function and into observation and statement, to isolated thinking, to non sequitur statement rather than aesthetic artifice; there seems to be little distinction in the importance of one thought over another; they are cut-ups, experiments in process, collages of ideas. Both are the thought processes of consciousness in the darkness of a sound proof isolation chamber, speaking to itself; it is close to being theatre of the absurd.

Note: Listen to the "Ideas" programmes on CBC radio for a discussion on Number Nine, https://www.cbc.ca/listen/live-radio/1-23-ideas/clip/16012646-nine-a-number-synchronicity

Commentary: on the Epic of Gilgamesh

 

Part of the attraction of the Epic of Gilgamesh, at least for me, is that this is mankind's oldest literary work; the tablets containing the story of Gilgamesh were written approximately 4,000 years ago. Despite this, the text has a contemporary quality not necessarily found in other ancient texts. It is the story of a man's journey to self-knowledge and inner peace; of course, this "heroes' journey" is not exceptional in describing the journey, it is the traditional journey from unself-consciousness to being conscious of one's life; in its simplicity, directness, and its archetype of inner discovery, we can relate to Gilgamesh.

            In the Epic of Gilgamesh we can see ourselves, but to do so we might delete cultural referents and concentrate on the man who is Gilgamesh, a man who is us. We are contemporary people, living at least four thousand years after Gilgamesh lived or was invented, whether he is an invention, a fictional being, or an historical character; we can relate to his journey for it is also our journey, not embellished by belief or gods or being saved by someone else, and in this Gilgamesh, portrayed in mankind's oldest text, is contemporary. He is relevant at both ends of linear time -- alpha and omega, beginning and ending, A to Z, the apparent beginning and the end of the age in which we live -- we can identify with someone from the beginning of time. Ironic, isn't it? But it speaks to the enduring authenticity of the Epic of Gilgamesh.

            There is also the story itself, and what a contemporary story it is as Gilgamesh searches for the meaning of life, the ultimate meaning, the meaning that explains the purpose of life, that explains the purpose of his life. The meaning of life is to understand life better, to be a conscious person, to make sense of life, perhaps to even find some peace in life. Gilgamesh is an archetype for the person who searches for meaning; that's how I read his adventure, his story, his journey. This is one of the ways in which people today can learn from this epic, it is thoroughly contemporary even with its inclusion of gods and experiences impossible for people today to relate to except as literature, myth, and dream content. But at an archetypal and psychological level Gilgamesh and his story open a level of understanding of existence that is valuable for a contemporary audience. 

            Gilgamesh predates Homer's Odyssey and Iliad which date from 1,000 B.C. There is an oral tradition that helped preserve Homer's work but this doesn't seem to apply to the Epic of Gilgamesh, it is a written text. This reminds me of Grimm's fairy tales, collected by the Grimm brothers in the early half of the 19th Century; but research maintains that the stories collected by the Grimm brothers originated as far back as 4,000 years B.C. and I have also read that they are as old as 20,000 years, predating even Gilgamesh. They are archetypal and ageless, beyond time itself, as are all myths that work on a psychological level: don't take them literally but as a way to understand the eternal enigma of human existence.

            Gilgamesh seems to have missed out on an oral tradition as is found in both Homer and the Grimm fairy tales, but we have a written text for Gilgamesh. We know of the Epic of Gilgamesh only because cuneiform tablets containing the text of this literary work were discovered in the mid-1800s and later translated into English, this was fortuitous because even today very few people can actually read these tablets or speak the ancient language in which they are written. It is also a synchronistic discovery, Gilgamesh was discovered just when his story needed to be discovered. But is it possible that the Epic of Gilgamesh is older than 2,000 BC?  

            Another point is that the biblical story of the flood, coming after Gilgamesh was written, is also found in the Gilgamesh epic; apparently, whoever wrote the Book of Genesis, in which the flood story is included, knew or had heard of the Gilgamesh version of the flood. The biblical version of the flood is more or less a direct copy of that which is found in Gilgamesh. Was the Gilgamesh version of this story transmitted orally to the authors of the Old Testament?

            I am old fashioned, I believe in a didactic aspect to what I read; I like to learn things from what I read, especially things appertaining and contributing to my understanding of life. Whether it is F. Scott Fitzgerald's The Great Gatsby or Melville's Moby Dick, or the Epic of Gilgamesh, I am always aware of content and narrative, symbol and archetype that help me better understand both my own life and the life of others. Never underestimate this transcendent aspect of reading.   

The foundation, the load bearing literature of Western society

 

Photo taken in 2010, Stephen Morrissey with a bust of Tagore,
on the UBC campus, Vancouver

If you've ever done home renovations then you're familiar with load bearing walls. Basically, a load bearing wall holds up the walls, floors, and roof above it. I live in a small Cape Cod house in Montreal, constructed just after World War Two, and the load bearing wall sits on a single beam that runs across the width of the house, in the basement there is a steel post giving added support to the beam, but it is the beam and the wall above it that is doing the load bearing. 

I think of literature and being a poet in the same way. There is foundational, load bearing literature, that supports both contemporary Western and international literature; for any poet it's a good idea to know something of this literature. That is why getting an education, either formal or self-taught, is important; it is important to have read Victorian and Romantic literature, or Restoration literature, or Whitman or Chaucer or Dante or Tagore, or other poets; it is important to have read Homer, the Holy Bible, and the earliest literature, the Epic of Gilgamesh; or T'ang Dynasty poetry, Du Fu, Li Bai, and Han Shan. Read Dylan Thomas, Walt Whitman, Coleridge and Wordsworth, Dryden and Milton and Shakespeare. Read Ezra Pound and T.S. Eliot and Allen Ginsberg. Read the bible, it is the load bearing foundation of Western literature. You don't need to be an authority on canonical writers or read everything by these writers, but at least know they exist and where they belong in literary history and one day read their work, or the work of a few of these writers. This reading is a poet's foundational knowledge, it is the load bearing literature that makes a poet's work possible. 

But we live in an age in which the attitude of some poets is that a literary foundation isn't necessary -- they find it oppressive, or the writers are oppressive, or what have you -- so just read the current writers they approve of, and cancel the work of dead white men and women. Of course, this is self-defeating but it is an attitude that even some school boards are following as they delete or censor books by foundational writers, the writers and thinkers who made contemporary literature possible. I mention this because we are living in a time of cancelling literature that doesn't support an ideological Woke world-view. School boards that delete or cancel literature in favour of only certain contemporary writers are not doing their students any favours, they are keeping them ignorant. 

And yet, all poets need the foundational work of previous generations. The older generations of writers are the load bearing writers that give contemporary literature substance and depth; without this load-bearing literature every new generation of writers is a dead end, writers reinventing literature, inventing the wheel. And what a waste of time this is when even just a good anthology will help introduce younger poets to literature that is necessary to be a real poet, not a poet manqué.

I know that real poets, young poets, will follow this advice because they want to learn and they have the enthusiasm to go beyond what is currently fashionable. I once wrote that "poetry will never die"; this was in response to the popularity of Tik-Tok, YouTube, social media, video games, and popular culture. And today's Woke people make things worse, they are intolerant of anyone who does not agree with them, cancel culture is their weapon. So, while poetry will never die it might have to go underground as long as the Woke era is still active; but even Wokeness will pass, it's just a matter of time, and the load bearing foundational literature of Western society (and by extension all great literature) will still be there waiting to be read.