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elizlizabeth's review against another edition
emotional
reflective
sad
fast-paced
4.0
It packs so much in such a short read! Dunno if it was the translation or the medium but I was hooked. Wish I'd read it earlier in life, but either way I am planning a re-read as we speak.
Disclaimer about the edition tho: I read the dramatized version that Jeremy Howe did for the BBC and which is free on Youtube (insanely good, 10/10 would recommend) but since that is not a book proper, I am listing the translation from which that adaptation was based on.
Disclaimer about the edition tho: I read the dramatized version that Jeremy Howe did for the BBC and which is free on Youtube (insanely good, 10/10 would recommend) but since that is not a book proper, I am listing the translation from which that adaptation was based on.
Content Warnings
Moderate: Violence
Minor: Rape and Terminal illness
juliloops's review against another edition
challenging
informative
reflective
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
4.25
ntrodebe's review against another edition
2.0
The intro describing how the ancient history was pieced together was more interesting than the epic itself
vivianadgr's review against another edition
4.0
I think that the story itself was vey inserting and fun. I liked it because it shows how they thought back in the old times. I also liked it because the story was full of surprises.
sense_of_history's review against another edition
The most ancient polyphonic anti-hero story
There are an infinite number of translations of the Epic/Poem of Gilgamesh, with new ones published every year in English alone. Note that most of them are retellings, and often they are not even based on the original languages (Sumerian and Akkadian). Especially the still most popular retelling, by the British poet N.K. Sandars (from 1960, actually completely outdated) is guilty of this. British Assyriologist Andrew R. George released a critical text edition and translation in 2003 that has been leading ever since, albeit very academically (1,000 pages). The Danish cultural historian Sophus Helle also recognizes George's mastery, but Helle brings a fully updated translation of the Standard Version of the epic/poem because in the meantime quite a few new fragments have surfaced. And above all: in 5 essays he gives a brilliant in-depth analysis. I focus here on some things that I have additionally learned.
Helle emphasizes how much Gilgamesh, this first "hero" in human history, actually is an anti-hero. In the beginning, he is portrayed as the bold king of Uruk who constantly confronts the young men in his city, and who claims all the girls, especially those who are about to get married. In doing so, according to Helle, Gilgamesh violates all social rules (yes, contrary to what we commonly think about those 'primitive times'). Also, in the subsequent adventures with his friend Enkidu, Gilgamesh is portrayed as a restless character who goes against all advice, acts recklessly and even challenges the gods. He is punished for that by those gods, through the death of his dear friend Enkidu (by the way, Helle dismisses interpreting this friendship as homo-erotic as irrelevant and anachronistic). But unlike the moralistic stories we know from ancient Mesopotamian times, the emphasis is not on the wrath of the gods, on the contrary, the focus remains on Gilgamesh himself. For now the hero's restlessness shifts in a different direction: in a kind of narcissistic evolution, Gilgamesh now boldly goes in search of the secret of life and death, with the obsession to gain eternal life. That long quest also ends in an ignominious defeat, because our hero has to accept that death is a certainty, only the time remains hidden from us. The epic/poem ends with a chastened hero, who realizes that his turbulent life has only led him to failure, and who builds the impressive walls of his beloved Uruk – if you want, you can see this as a prequel of Voltaire's 'cultiver son jarding'- to make the best of life itself. So, yes, Gilgamesh is an anti-hero, but that only comes to the fore after a perfect circular evolution.
Helle also gives us insight into the stylistic stratification of the text, focusing on the language game in Akkadian, the language of the Standard Version. Apparently, certain formulations may have been deliberately set up in such a way that when read aloud they can take on different meanings. “The epic teems with verbal games, puns and assonances, rhythm and alliteration, metaphors and similes, contrasts and parallels.” Helle gives as an example an episode from the Flood story in Tablet XI, where the builders of the ark are promised a rich reward, but where the words can just as well be understood as a warning of darkness, demons and death. This is possible because in cuneiform writing there are no spaces between the words, allowing for different associations and meanings. And from Helle's enumeration it appears that it cannot be otherwise than that those differences were intentional. Often the verses in question are repeated two or three times, so that a reader or reader can place different accents each time. “In other words, the scene can be read as a cruel lesson in literary criticism. By having us ponder over Ea's ambiguous message, the epic reminds us to pay close attention to language and the layers of meaning encoded in poetry. In Gilgamesh's world, reading the cosmos with an eye for hidden messages can mean the difference between salvation and disaster.”
And we can go on like this for a while, because those differences in meaning are not only hidden in stylistic tricks, but also in the many open passages (almost all questions that Gilgamesh asks in this story remain unanswered), which make this epic/poem a polyphonic story that always remains open to new insights and interpretations. Helle clearly shows that Gilgamesh is not just a simple narrative or a one-dimensional adventure story. His book is a worthy addition and deepening of other studies.
This is the last installment in my series of reviews on the Gilgamesh story. I've tremendously enjoyed it. For an analysis of the Gilgamesh story itself, see my review: https://www.goodreads.com/review/show/4923539813, and for an excellent introduction: https://www.goodreads.com/review/show/4918492711.
There are an infinite number of translations of the Epic/Poem of Gilgamesh, with new ones published every year in English alone. Note that most of them are retellings, and often they are not even based on the original languages (Sumerian and Akkadian). Especially the still most popular retelling, by the British poet N.K. Sandars (from 1960, actually completely outdated) is guilty of this. British Assyriologist Andrew R. George released a critical text edition and translation in 2003 that has been leading ever since, albeit very academically (1,000 pages). The Danish cultural historian Sophus Helle also recognizes George's mastery, but Helle brings a fully updated translation of the Standard Version of the epic/poem because in the meantime quite a few new fragments have surfaced. And above all: in 5 essays he gives a brilliant in-depth analysis. I focus here on some things that I have additionally learned.
Helle emphasizes how much Gilgamesh, this first "hero" in human history, actually is an anti-hero. In the beginning, he is portrayed as the bold king of Uruk who constantly confronts the young men in his city, and who claims all the girls, especially those who are about to get married. In doing so, according to Helle, Gilgamesh violates all social rules (yes, contrary to what we commonly think about those 'primitive times'). Also, in the subsequent adventures with his friend Enkidu, Gilgamesh is portrayed as a restless character who goes against all advice, acts recklessly and even challenges the gods. He is punished for that by those gods, through the death of his dear friend Enkidu (by the way, Helle dismisses interpreting this friendship as homo-erotic as irrelevant and anachronistic). But unlike the moralistic stories we know from ancient Mesopotamian times, the emphasis is not on the wrath of the gods, on the contrary, the focus remains on Gilgamesh himself. For now the hero's restlessness shifts in a different direction: in a kind of narcissistic evolution, Gilgamesh now boldly goes in search of the secret of life and death, with the obsession to gain eternal life. That long quest also ends in an ignominious defeat, because our hero has to accept that death is a certainty, only the time remains hidden from us. The epic/poem ends with a chastened hero, who realizes that his turbulent life has only led him to failure, and who builds the impressive walls of his beloved Uruk – if you want, you can see this as a prequel of Voltaire's 'cultiver son jarding'- to make the best of life itself. So, yes, Gilgamesh is an anti-hero, but that only comes to the fore after a perfect circular evolution.
Helle also gives us insight into the stylistic stratification of the text, focusing on the language game in Akkadian, the language of the Standard Version. Apparently, certain formulations may have been deliberately set up in such a way that when read aloud they can take on different meanings. “The epic teems with verbal games, puns and assonances, rhythm and alliteration, metaphors and similes, contrasts and parallels.” Helle gives as an example an episode from the Flood story in Tablet XI, where the builders of the ark are promised a rich reward, but where the words can just as well be understood as a warning of darkness, demons and death. This is possible because in cuneiform writing there are no spaces between the words, allowing for different associations and meanings. And from Helle's enumeration it appears that it cannot be otherwise than that those differences were intentional. Often the verses in question are repeated two or three times, so that a reader or reader can place different accents each time. “In other words, the scene can be read as a cruel lesson in literary criticism. By having us ponder over Ea's ambiguous message, the epic reminds us to pay close attention to language and the layers of meaning encoded in poetry. In Gilgamesh's world, reading the cosmos with an eye for hidden messages can mean the difference between salvation and disaster.”
And we can go on like this for a while, because those differences in meaning are not only hidden in stylistic tricks, but also in the many open passages (almost all questions that Gilgamesh asks in this story remain unanswered), which make this epic/poem a polyphonic story that always remains open to new insights and interpretations. Helle clearly shows that Gilgamesh is not just a simple narrative or a one-dimensional adventure story. His book is a worthy addition and deepening of other studies.
This is the last installment in my series of reviews on the Gilgamesh story. I've tremendously enjoyed it. For an analysis of the Gilgamesh story itself, see my review: https://www.goodreads.com/review/show/4923539813, and for an excellent introduction: https://www.goodreads.com/review/show/4918492711.
srutsam's review against another edition
adventurous
challenging
emotional
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
crystal_w's review against another edition
3.0
This is a story that I have always wanted to read, but for some reason waited this long to do it.
Most of the book was about interpreting the story and trying to make sense of the missing parts.
Its a story about a journey, simple as that. What awed me was the fact that such poetry was around when this was first put into words. Commonly known as the first written story, it is one that we can relate to and understand even thousands of years later.
I'm happy to have a copy in my collection.
Most of the book was about interpreting the story and trying to make sense of the missing parts.
Its a story about a journey, simple as that. What awed me was the fact that such poetry was around when this was first put into words. Commonly known as the first written story, it is one that we can relate to and understand even thousands of years later.
I'm happy to have a copy in my collection.
wallen's review against another edition
adventurous
dark
emotional
hopeful
reflective
sad
tense
medium-paced
4.0
euonym's review against another edition
adventurous
challenging
informative
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
4.75
evajayne's review against another edition
4.0
Deeply moving and passionately told, I enjoyed this retelling far more than I thought I would. This will become one I revisit again and again.