VI.

Next to the new light thrown upon the names and original character of the two main figures of the Epic, one of the chief points of interest in the Pennsylvania fragment is the proof that it furnishes for a striking resemblance of the two heroes, Gish and Enkidu, to one another. In interpreting the dream of Gish, his mother. Ninsun, lays stress upon the fact that the dream portends the coming of someone who is like Gish, "born in the field and reared in the mountain" (lines 18-19). Both, therefore, are shown by this description to have come to Babylonia from a mountainous region, i.e., they are foreigners; and in the case of Enkidu we have seen that the mountain in all probability refers to a region in the West, while the same may also be the case with Gish. The resemblance of the two heroes to one another extends to their personal appearance. When Enkidu appears on the streets of Erech, the people are struck by this resemblance. They remark that he is "like Gish," though "shorter in stature" (lines 179-180). Enkidu is described as a rival or counterpart. [66]

This relationship between the two is suggested also by the Assyrian version. In the creation of Enkidu by Aruru, the people urge the goddess to create the "counterpart" (_zikru_) of Gilgamesh, someone who will be like him (_ma-si-il_) (Tablet I, 2, 31). Enkidu not only comes from the mountain, [67] but the mountain is specifically designated as his birth-place (I, 4, 2), precisely as in the Pennsylvania tablet, while in another passage he is also described, as in our tablet, as "born in the field." [68] Still more significant is the designation of Gilgamesh as the _talimu_, "younger brother," of Enkidu. [69] In accord with this, we find Gilgamesh in his lament over Enkidu describing him as a "younger brother" (_ku-ta-ni_); [70] and again in the last tablet of the Epic, Gilgamesh is referred to as the "brother" of Enkidu. [71] This close relationship reverts to the Sumerian version, for the Constantinople fragment (Langdon, above, p. 13) begins with the designation of Gish-bil-ga-mesh as "his brother." By "his" no doubt Enkidu is meant. Likewise in the Sumerian text published by Zimmern (above, p. 13) Gilgamesh appears as the brother of Enkidu (rev. 1, 17).

Turning to the numerous representations of Gilgamesh and Enkidu on Seal Cylinders, [72] we find this resemblance of the two heroes to each other strikingly confirmed. Both are represented as bearded, with the strands arranged in the same fashion. The face in both cases is broad, with curls protruding at the side of the head, though at times these curls are lacking in the case of Enkidu. What is particularly striking is to find Gilgamesh generally _a little taller_ than Enkidu, thus bearing out the statement in the Pennsylvania tablet that Enkidu is "shorter in stature." There are, to be sure, also some distinguishing marks between the two. Thus Enkidu is generally represented with animal hoofs, but not always. [73] Enkidu is commonly portrayed with the horns of a bison, but again this sign is wanting in quite a number of instances. [74] The hoofs and the horns mark the period when Enkidu lived with animals and much like an animal. Most remarkable, however, of all are cylinders on which we find the two heroes almost exactly alike as, for example, Ward No. 199 where two figures, the one a duplicate of the other (except that one is just a shade taller), are in conflict with each other. Dr. Ward was puzzled by this representation and sets it down as a "fantastic" scene in which "each Gilgamesh is stabbing the other." In the light of the Pennsylvania tablet, this scene is clearly the conflict between the two heroes described in column 6, preliminary to their forming a friendship. Even in the realm of myth the human experience holds good that there is nothing like a good fight as a basis for a subsequent alliance. The fragment describes this conflict as a furious one in which Gilgamesh is worsted, and his wounded pride assuaged by the generous victor, who comforts his vanquished enemy by the assurance that he was destined for something higher than to be a mere "Hercules." He was singled out for the exercise of royal authority. True to the description of the two heroes in the Pennsylvania tablet as alike, one the counterpart of the other, the seal cylinder portrays them almost exactly alike, as alike as two brothers could possibly be; with just enough distinction to make it clear on close inspection that two figures are intended and not one repeated for the sake of symmetry. There are slight variations in the manner in which the hair is worn, and slightly varying expressions of the face, just enough to make it evident that the one is intended for Gilgamesh and the other for Enkidu. When, therefore, in another specimen, No. 173, we find a Gilgamesh holding his counterpart by the legs, it is merely another aspect of the fight between the two heroes, one of whom is intended to represent Enkidu, and not, as Dr. Ward supposed, a grotesque repetition of Gilgamesh. [75]

The description of Enkidu in the Pennsylvania tablet as a parallel figure to Gilgamesh leads us to a consideration of the relationship of the two figures to one another. Many years ago it was pointed out that the Gilgamesh Epic was a composite tale in which various stories of an independent origin had been combined and brought into more or less artificial connection with the _heros eponymos_ of southern Babylonia. [76] We may now go a step further and point out that not only is Enkidu originally an entirely independent figure, having no connection with Gish or Gilgamesh, but that the latter is really depicted in the Epic as the counterpart of Enkidu, a reflection who has been given the traits of extraordinary physical power that belong to Enkidu. This is shown in the first place by the fact that in the encounter it is Enkidu who triumphs over Gilgamesh. The entire analysis of the episode of the meeting between the two heroes as given by Gressmann [77] must be revised. It is not Enkidu who is terrified and who is warned against the encounter. It is Gilgamesh who, during the night on his way from the house in which the goddess Ishhara lies, encounters Enkidu on the highway. Enkidu "blocks the path" [78] of Gilgamesh. He prevents Gilgamesh from re-entering the house, [79] and the two attack each other "like oxen." [80] They grapple with each other, and Enkidu forces Gilgamesh to the ground. Enkidu is, therefore, the real hero whose traits of physical prowess are afterwards transferred to Gilgamesh.

Similarly in the next episode, the struggle against Huwawa, the Yale tablet makes it clear that in the original form of the tale Enkidu is the real hero. All warn Gish against the undertaking--the elders of Erech, Enkidu, and also the workmen. "Why dost thou desire to do this?" [81] they say to him. "Thou art young, and thy heart carries thee away. Thou knowest not what thou proposest to do." [82] This part of the incident is now better known to us through the latest fragment of the Assyrian version discovered and published by King. [83] The elders say to Gilgamesh:

"Do not trust, O Gilgamesh, in thy strength! Be warned(?) against trusting to thy attack! The one who goes before will save his companion, [84] He who has foresight will save his friend. [85] Let Enkidu go before thee. He knows the roads to the cedar forest; He is skilled in battle and has seen fight."

Gilgamesh is sufficiently impressed by this warning to invite Enkidu to accompany him on a visit to his mother, Ninsun, for the purpose of receiving her counsel. [86]

It is only after Enkidu, who himself hesitates and tries to dissuade Gish, decides to accompany the latter that the elders of Erech are reconciled and encourage Gish for the fray. The two in concert proceed against Huwawa. Gilgamesh alone cannot carry out the plan. Now when a tale thus associates two figures in one deed, one of the two has been added to the original tale. In the present case there can be little doubt that Enkidu, without whom Gish cannot proceed, who is specifically described as "acquainted with the way ... to the entrance of the forest" [87] in which Huwawa dwells is the _original_ vanquisher. Naturally, the Epic aims to conceal this fact as much as possible _ad majorem gloriam_ of Gilgamesh. It tries to put the one who became the favorite hero into the foreground. Therefore, in both the Babylonian and the Assyrian version Enkidu is represented as hesitating, and Gilgamesh as determined to go ahead. Gilgamesh, in fact, accuses Enkidu of cowardice and boldly declares that he will proceed even though failure stare him in the face. [88] Traces of the older view, however, in which Gilgamesh is the one for whom one fears the outcome, crop out; as, for example, in the complaint of Gilgamesh's mother to Shamash that the latter has stirred the heart of her son to take the distant way to Hu(m)baba,

"To a fight unknown to him, he advances, An expedition unknown to him he undertakes." [89]

Ninsun evidently fears the consequences when her son informs her of his intention and asks her counsel. The answer of Shamash is not preserved, but no doubt it was of a reassuring character, as was the answer of the Sun-god to Gish's appeal and prayer as set forth in the Yale tablet. [90]

Again, as a further indication that Enkidu is the real conqueror of Huwawa, we find the coming contest revealed to Enkidu no less than three times in dreams, which Gilgamesh interprets. [91] Since the person who dreams is always the one to whom the dream applies, we may see in these dreams a further trace of the primary rôle originally assigned to Enkidu.

Another exploit which, according to the Assyrian version, the two heroes perform in concert is the killing of a bull, sent by Anu at the instance of Ishtar to avenge an insult offered to the goddess by Gilgamesh, who rejects her offer of marriage. In the fragmentary description of the contest with the bull, we find Enkidu "seizing" the monster by "its tail." [92]

That Enkidu originally played the part of the slayer is also shown by the statement that it is he who insults Ishtar by throwing a piece of the carcass into the goddess' face, [93] adding also an insulting speech; and this despite the fact that Ishtar in her rage accuses Gilgamesh of killing the bull. [94] It is thus evident that the Epic alters the original character of the episodes in order to find a place for Gilgamesh, with the further desire to assign to the latter the _chief_ rôle. Be it noted also that Enkidu, not Gilgamesh, is punished for the insult to Ishtar. Enkidu must therefore in the original form of the episode have been the guilty party, who is stricken with mortal disease as a punishment to which after twelve days he succumbs. [95] In view of this, we may supply the name of Enkidu in the little song introduced at the close of the encounter with the bull, and not Gilgamesh as has hitherto been done.

"Who is distinguished among the heroes? Who is glorious among men? [Enkidu] is distinguished among heroes, [Enkidu] is glorious among men." [96]

Finally, the killing of lions is directly ascribed to Enkidu in the Pennsylvania tablet:

"Lions he attacked *     *     *     *     * Lions he overcame" [97]

whereas Gilgamesh appears to be afraid of lions. On his long search for Utnapishtim he says:

"On reaching the entrance of the mountain at night I saw lions and was afraid." [98]

He prays to Sin and Ishtar to protect and save him. When, therefore, in another passage some one celebrates Gilgamesh as the one who overcame the "guardian," who dispatched Hu(m)baba in the cedar forest, who killed lions and overthrew the bull, [99] we have the completion of the process which transferred to Gilgamesh exploits and powers which originally belonged to Enkidu, though ordinarily the process stops short at making Gilgamesh a _sharer_ in the exploits; with the natural tendency, to be sure, to enlarge the share of the favorite.

We can now understand why the two heroes are described in the Pennsylvania tablet as alike, as born in the same place, aye, as brothers. Gilgamesh in the Epic is merely a reflex of Enkidu. The latter is the real hero and presumably, therefore, the older figure. [100] Gilgamesh resembles Enkidu, because he _is_ originally Enkidu. The "resemblance" _motif_ is merely the manner in which in the course of the partly popular, partly literary transfer, the recollection is preserved that Enkidu is the original, and Gilgamesh the copy.

The artificiality of the process which brings the two heroes together is apparent in the dreams of Gilgamesh which are interpreted by his mother as portending the coming of Enkidu. Not the conflict is foreseen, but the subsequent close association, naïvely described as due to the personal charm which Enkidu exercises, which will lead Gilgamesh to fall in love with the one whom he is to meet. The two will become one, like man and wife.

On the basis of our investigations, we are now in a position to reconstruct in part the cycle of episodes that once formed part of an Enkidu Epic. The fight between Enkidu and Gilgamesh, in which the former is the victor, is typical of the kind of tales told of Enkidu. He is the real prototype of the Greek Hercules. He slays lions, he overcomes a powerful opponent dwelling in the forests of Lebanon, he kills the bull, and he finally succumbs to disease sent as a punishment by an angry goddess. The death of Enkidu naturally formed the close of the Enkidu Epic, which in its original form may, of course, have included other exploits besides those taken over into the Gilgamesh Epic.