Slaying the Bull: On the Journey of the Epic Hero - Essay Example

Slaying the Bull: On the Journey of the Epic Hero The concept of the Epic Hero has existed for the duration of modern literature. The concepts that define him, the strength and social position that he possesses, work back into a matrix of symbols and ancient canon that spans the entirety of written literature. The Epic Hero is larger than life. He embodies mythic traits beyond that of an ordinary man: deeper flaws and greater strengths, tragic losses and valiant triumphs. The civilization shapes the notions of the Epic Hero, but certain constants persist. He is brave, powerful, and in constant contact with the supernatural world, unhindered by the constraints of true mortality. The Epic Hero stands as more than just the conquerer, but also as a role model and an ideal man, an allegory for the struggle to meet one’s truest potential. Every culture has their own version of the Epic Hero, who occupies a distinct place in the scheme of the society. Separate from his contemporaries, the Epic Hero straddles the line between man and god, unable to fully commit to one realm or another. He must separate himself from the common people, either by choice or by necessity, in order to undertake the tasks that must be completed. Gilgamesh epitomizes the Epic Hero. We see him as the beloved king, the indomitable ruler, occupying a station above all others that is simultaneously ruled over by fickle deities. He concerns himself with tasks beyond the scope of mortal possibilities, ridding the world of evil beings and challenging the permanence of death. The Epic of Gilgamesh is an epic in more than name — King Gilgamesh’s undertaking is ambitious almost to a fault and in his journey, he undergoes intense personal transformation from an irreverent, self-important child to a motivated, intuitive ruler. Motivated by his quest, the Epic Hero moves through the physical world as a sort of outsider whose actions and reactions come from a more direct relationship with the material and preternatural elements of his environment. The Epic Hero reflects the nature of his origin culture by demonstrating the ideal man, an icon that reflects the values and mores of the people. People relate to the Epic Hero because he represents the beliefs that they have been taught to accept and revere. This archetype has influenced more than fictional literature. Alexander the Great, for instance, was indeed a real historical figure, but he has taken on many of the elements of the Epic Hero demonstrated in the Epic of Gilgamesh. Much of the traditional narrative of Alexander reflects the power and prestige associated with the Epic Hero, but the metaphysical aspect of the legend carries other similarities. Alexander’s search for the water of life in later Islamic mythos mirrors that of Gilgamesh, and, like Gilgamesh, Alexander fails in his quest to become immortal (Jastrow). Similarly, themes of divine anger and details reminiscent of Gilgamesh appear extensively in Genesis — so much so that historians believe the Biblical flood story to be heavily influenced its Mesopotamian counterpart (Millard 13). Enraged by the sins of the world, the Semitic god decides to flood the world (Gen. 6.17). Noah, the pious man who assumes the role of the Epic Hero, delivers his family from danger by building a great ark at the insistence of the divine, demonstrating to the reader the importance of following god’s commandments. Although the Mesopotamian version does not incorporate the same level of moral implication, both flood stories demonstrate the continued involvement of the gods in the day-to-day survival of the world. Regardless of the era, deities play a distinct role in the epic narrative. They shape and define the path of the hero, alternately offering aid and raising barriers. Respect is demanded from all participating parties and, as demonstrated by the rampage of the Bull of Heaven, a lack of due respect results in disaster. Irreverence is punished harshly. The hero, who does not quite fit into the mortal realm, often interacts with the gods and goddesses who inhabit the world. They embody the traits they personify, in addition to very human flaws and motivations, and interact with heroes the way any other literary character might. Unlike typical literary characters, however, deities carry a much heavier weight in terms of cause and effect. The Judeo-Christian god orders Noah to build an ark, and it is only through this cooperation that he is saved from drowning. Ishtar is little more than a spoiled, petulant child, and yet the ramifications of her actions drive the story forward — she releases the Bull of Heaven to cause destruction on the mortal realm and when Gilgamesh and Enkidu slay the creature, they set in motion a chain of retribution that will ultimately cost Enkidu his life. Refusing to heed divine warnings results in tragic consequences for the hero who undertakes his epic journey. The journey in question can exist on several levels. In some cases, it represents a very literal journey: Enkidu and Gilgamesh pursues eternal life, Odysseus struggles to return home to Ithaca, Luke Skywalker takes on the Empire in the name of retribution. The canon of Gilgamesh incorporates many journeys into its narrative. Gilgamesh and Enkidu travel to the forest to slay Humbaba, Gilgamesh crosses the Waters of Death, Enkidu travels to the underworld to retrieve lost items from the land of the living in an additional poem. Sometimes, however, the journey represents more than just moving from one location to another; often, the Epic Hero’s journey continues a legacy of personal growth and development that mirrors a civilization’s set of ideals. Gilgamesh’s relationship with Enkidu, and the subsequent themes of loss and grief, is as important as any physical quest. As with much pre-modern literature, the Epic Hero’s journey often relies heavily on the metaphysical elements of the narrative rather than on traditional realism. In that vein, the dangers that the hero faces run deeper than simply waging war against mythical beings. In the world of heroes and monsters, every encounter is an allegory for some deeper struggle. The battles that the hero engages in have the potential to teach valuable lessons — Gilgamesh ignores Humbaba’s plea for mercy; it costs him the life of his friend and dear companion. The Epic Hero is not immune to the tragedies of the mortal world, but they are not described as arbitrary. Rather, the struggles the hero faces are symbols and lessons in meeting the specific cultural ideals of strength, power, and justice. Women in the epic function as symbols as well. Very rarely does this literature discuss the life and history of a common woman. In the male-dominated world of epic history, the only women who play key roles are those significantly outside the typical mortal realm, or they are objects. The representation of women is determined by their social standing within a given culture. Women in ancient literature can take the form of temptresses, unexpected assistance, or objects of desire, but they are rarely Epic Heroes in their own right. Perilous journeys are usually reserved for the men. This is reflective of women’s position in society, which was largely invisible throughout western canon. That is not to say that women cannot be Epic Heros. In ancient Egyptian tradition, the goddess Isis undertakes an epic journey to restore the body of her beloved husband, Osiris. The biblical Ruth and Naomi could be considered Epic Heroes for their journey to Bethlehem. Both of these figures undertake physical journeys at great peril to themselves in order to fulfill a critically important task. However, these “epic heroines” are exceptions rather than the rule, and, as in Gilgamesh, they are depicted as distinctly separate from the other women of their time. Shamhat, the temple prostitute, embodies both of these concepts. The trapper says to her, “Let him see you naked, let him possess your body” (Gilgamesh 64), which we recognize as objectifying language, but her role in taming Enkidu goes beyond her reliance on the presence of her physical body — she represents civilization, order, the calming influences of sex and sexuality in bringing the wayward back into the fold. Shamhat wields a power that no man possesses, what the trapper calls “women’s art.” Wives play a secondary role to male companions and great quests. Enkidu’s wife, who appears at his funeral, has only the briefest role in the narrative; Gilgamesh’s wife receives similar treatment. Utnapishtim’s wife appears only to assist Gilgamesh on achieving a lesser accomplishment in the face of his failures. In The Odyssey, Odysseus’ wife Penelope remains at home during his travels, serving as a representation of fidelity and faithfulness (Mackail). She, like the wives of the heroes of Gilgamesh, does not so much exist as a character in her own right but as a demonstration of the cultural role “wife.” The Odyssey places emphasis on maintaining the familial home and the lineage of the name, while Gilgamesh portrays women as instruments of aid or destruction at critical moments in the story. While Gilgamesh succeeds in many of his labors, he also fails to achieve the immortality he so desperately seeks. The loss of Enkidu, which prompts Gilgamesh to cross the Waters of Death in search of true immortality, cannot and should not be undermined by the success of that quest. The message is clear: the Epic Hero is not immune to death, either his own or that of his loved ones. Succeeding in his endeavors comes second to fulfilling this universal truth. Ultimately, the Epic Hero’s journey is the journey of a civilization. As the canon of global literature evolves, our folk heroes evolve to match it. Gilgamesh represents the cultural values of Mesopotamia, represented as an ideal man who inhabits a social station both above of and outside of the constraints of mortality. He, like his later counterparts, begins many journeys, some literal and some metaphysical, each recounted with the purpose of describing the mythological framework from which a culture’s values are born. Works Cited Jastrow, Morris. The Religion of Babylonia and Assyria. Boston: Ginn & Co., 1898. The Epic of Gilgamesh. Trans. N. K. Sandars. Penguin Books, 1972. The Holy Bible, Revised Standard Version. Toronto: William Collins Sons & Co., Ltd., 1952. Mackail J. W., Penelope in the Odyssey. Cambridge University Press, 1916 Millard A.R. "A new Babylonian 'Genesis' story," Tyndale Bulletin, 18, 1967. Parrot, Andre. The Flood and Noah’s Ark. London: SCM Press, Ltd., 1955. Read More