Gilgamesh And Enkidu Character Building Plot Essay

Gilgamesh And Enkidu: Fictional character Building Plot Essay, Research Paper

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Gilgamesh and Enkidu: Fictional character Building Plot

The creative activity of an challenging secret plan must affect at least one major character whose ain actions and external interactions order his or her development. External interactions between unit of ammunition characters, inactive characters, and environmental or supernatural activities, within the secret plan affect the determinations of the major character, supplying the foundation for the narrative line to continue. These determinations besides mold the character? s ideas, values and will, thereby, act uponing future picks. Through this form of cause and consequence, an writer can sculpt a character in anyhow he or she desires. This character edifice and narrative relation technique is nil new in the history of literature, as it appears in the oldest written narrative known to adult male, Gilgamesh. In this authoritative heroic poem, an unknown writer employs these techniques to exemplify and develop the features of the two major characters, Gilgamesh and Enkidu, in their March towards their fates.

Gilgamesh exemplifies character development through the reaching and decease of his best friend, Enkidu. At first, the people of Uruk describe their swayer Gilgamesh, with bitterness of his actions. They complain? His haughtiness has no bounds by twenty-four hours or dark. No boy is left with his male parent, for Gilgamesh takes them all? yet the male monarch should be a shepherd to his people. His lust leaves no virgin to her lover, neither the warrior? s girl nor the married woman of the baronial ; yet this is the shepherd of the metropolis, wise, comely, and resolute. ? This causes the God of Uruk, Anu, to make Enkidu, a comrade and recreation for Gilgamesh. Immediately after their friendly relationship begins, Gilgamesh? s selfish character commences its alteration to a more giving and gracious leader. The writer reflects this alteration through the attitudes of the people of Uruk. Alternatively of kicking about Gilgamesh? s mistakes, their congratulations and trueness become more frequent, such as the town? s jubilation following Gilgamesh and Enkidu? s licking of the mighty Humbaba.

Most significantly, Enkidu? s company serves merely to unfold future events for which Gilgamesh? s character can develop. Possibly Enkidu? s greatest consequence on Gilgamesh? s character occurs with his decease. This loss of company shows the reader the existent development of Gilgamesh since the beginning of the narrative, while go oning to pave the route for future development. Up to the decease of his lone friend, Gilgamesh idea of himself as unbeatable and immortal. With Enkidu? s death, Gilgamesh falls into a province of wretchedness and realisation. Alternatively of returning to his old selfish ways, his agonising sorrow and newfound acknowledgment of mortality send him on a new pursuit to get the better of destiny. He states? How can I rest, how can I be at peace? Despair is in my bosom. What my brother is now, that shall I be when I am dead. Because I am afraid of decease I shall travel as best I can to happen Utnapishtim? for he has entered the assembly of the gods. ? This journey finally leads to the failure of Gilgamesh in his journey to get the better of his destiny, yet befalls upon him a sense of humbleness and credence of his fate. Although many other factors contribute to Gilgamesh? s development, the writer uses his best friend Enkidu to model a selfish and audacious swayer into a low, mature and unforgotten hero.

Other noteworthy characters taking portion in Gilgamesh? s development include Ishtar and Utnapishtim. These inactive characters do non develop throughout the narrative, but alternatively, serve merely to impel Gilgamesh towards his destiny. Ishtar, girl of the God Anu, contributes to his development through her proposed desire to get married him. His denial of her proposal accomplishes two really of import aims in the supporter? s growing and alteration. Not merely does the denial set Forth a concatenation of events that would finally take to the autumn of his best friend, but besides, it serves as a landmark to foreground Gilgamesh? s development through Enkidu. The swayer of old, without his equal, most fifty

ikely would hold accepted her offer. Yet, the more developed hero denies her, as he already possesses a close relationship. Through Ishtar? s engagement in the cause and consequence forms of secret plan, Gilgamesh? s easy altering character radiances through.

Unapishtam, the subsister of the Great Flood, provides the challenges by which Gilgamesh tries to achieve immortality. His function maps as a stimulation to the hero? s realisation of his inability to command destiny. Unapishtam provinces? What is at that place between the maestro and the retainer when both have fulfilled their day of reckoning? the Judgess? and the female parent of fates? together they decree the destinies of work forces. Life and decease they allot, but the twenty-four hours of decease they do non disclose. ? Unapishtam and his challenges propel the heroic poem hero towards his concluding measure in growing and ultimate realisation that one controls all but one? s fate.

Although Enkidu emulates some properties of inactive characters in that his actions serve to drive Gilgamesh? s development, his character besides evolves from its original signifier. When the Gods create him, Enkidu? s character possesses many animalistic qualities. ? He was inexperienced person of world ; he knew nil of the cultivated land. Enkidu ate grass in the hills with the gazelle and lurked with wild animals at the H2O holes ; he had joy of the H2O with the wild game. ?

Enkidu? s wild spirit dictates the demand to help his befriended animate beings caught in a huntsman? s traps. In bend, the trapper addresses Gilgamesh with his job of sprung traps. The swayer instructs him to take back a prostitute in order to carry Enkidu from the game of the wilderness. This prostitute serves as a major inactive character fueling Enkidu? s development. His enlightenment of civilised life becomes a precursor to his eventual and fatal meeting with Gilgamesh, where he learns of his restrictions in strength and abilities through a suppression licking at the custodies the swayer of Uruk.

Merely as Enkidu most dramatically facilitates Gilgamesh? s development, the contrary can besides be true. As their company grows, Gilgamesh? s over-confidence and sloppiness cause him to put out on many unsafe escapades, such as the quest to murder the might cedar elephantine Humbaba. Two new qualities arise here in Enkidu? s character from Gilgamesh? s actions. His devotedness and blind trueness to his human friend supercede his animalistic independency. At the same clip, this one time unafraid animate being begins to see fright of decease. He states? O my Godhead, you do non cognize this monster and that is the ground you are non afraid. I who know him, I am terrified? you may travel on if you choose into this land, but I will travel back to the metropolis. ?

However, when Gilgamesh responds with a supplication for aid in get the better ofing the monster, Enkidu? s trueness overpowers his fright. Nevertheless, Gilgamesh? s blind and nescient assurance ignites Enkidu? s realisation of mortality. The Gods trade Enkidu a different destiny. They strike him down with illness due to his aid in the violent death of the Bull of Heaven and Humbaba. Interestingly though, before he dies, he states? My friend, the great goddess cursed me and I must decease in shame. I shall non decease like a adult male fallen in conflict? happy is the adult male who falls in battle. ? This quotation mark sums up Enkidu? s entire transmutation from animate being to human and his acquisition of heroic values, such as award, through his friendly relationship with Gilgamesh.

Throughout the heroic poem novel of Gilgamesh, the cause and consequence nature of the secret plan, affect the development of the major characters Gilgamesh and Enkidu. The character development, in bend, advances the secret plan towards its subject of destiny. This barbarous rhythm repeats itself legion times as the narrative and characters feed off each other. This singular antediluvian literary work displays one of the most cagey and absorbing utilizations of character and secret plan development and serves as a guideline for modern authorship.


Lawell, Sarah, erectile dysfunction. The Norton Anthology of World Masterpieces: The Western Tradition. vol.I.

New York: Norton, 1999.


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