The dirt of his travels, Gilgamesh washed from his hair,
A beauteous sheen he put to his weapons,
Polishing them.
Down along his back it fell,
The shining clean hair of his head.
All the soiled garments, he cast them off.
Clean, new clothes he put on.
About him now, wrapped,
Clinging to him, a cloak with its fringe,
His sparkling sash was fastened onto him,
His tiara on his head.
But when Inanna had seen this,
When She, the Goddess of Love and War, had seen this /
She raised an eye indeed to the beauty of Gilgamesh:
'O Gilgamesh, will you not be my lover?
Give me that fruit the tree of man yields to woman.
I will give you myself as wife: you shall be my husband!
For you I will give a chariot made of lapis-lazuli
Yes, too, and of gold!
Its horns - they shall be of brilliant brass.
Storm demons I will hitch to it for your mules!
There shalll be a great fragrance of cedar
On the occasions when you enter our house
Its very threshold, the very dais itself -
As your feet touch them
Your feet shall be kissed by them!
And all the kings and the lords
And the princes - all of them -
These shall be humbled before you.
I will make all the yield of the hills,
All the yield of the plains
Be brought to you as tribute.
All your goats shall bear twins
All your sheep shall bear twins.
The ass shall better the mule for burdens,
While your chariot horses will be famed
For their speed in racing.
(Here three lines are mutilated and cannot be read)
'But what advantage would it be to me to take you in marriage?
In the cold season you would surely fail me!
Like a pan full of burning coals which go out
You ae but a back door which does not stay shut
But flies open in the raging wind.
You are the great palace which collapses on its honoured guests
The head-dress that unravels,
The pitch that blackesn the hands of the bearer,
The water-skin that rubs the back raw as it is carried,
The limestone which undermines the rampart
A siege engine thrown up agains the walls of the enemy,
The shoe that pinches the foot of its owner
What lover did you love for ever?
Which of your shepherds is there
Who has satisfied you for long?
Come, I will tell you the tales of your lovers:
For Tammuz, your young husband,
For him we wail year after year!
He who dies each autumn and comes back each spring!
The spotted shepherd-bird you loved,
That bird which rolls and tumbles in its flight,
And you struck him, broke his wing.
And now he stands in the groves and calls:
"Kappi!" - that bird's hoarse cry,
Which is to say,"My wing!"
Then you loved the lion, perfect in its strength,
But you dug for him seven pits and again seven.
Then you loved the stallion, great in battle,
but you made for him the whip and thong and the spur.
And you decreed that he run seven-double hours,
And that it is for him to make muddy and then to drink.
For his mother, Silili, you decreed lamentation!
You also loved the shepherd with his herd,
He piled ash cakes high for you without cease,
And on this burning charcoal daily offered you his young and succulent kids
But you struck him
And turned him into a wolf
So that now his own herd boys drive him off
And his own dogs bite at his thighs.
Then you loved Ishullanu, the palm-gardener of your father
Who brought you baskets of dates everyday
You raised your eyes and looked at him
And you went and said to him:
"O my Ishullanu, let me tast of your vigour!
Put forth that which you have,
Into my own, O Ishullanu!"
But Ishullanu said to you:
"What are you asking of me?
Has not my mother baked, have I not eaten,
That I should partake of food with such strong odour, with such foul stench?
He brightened your table every day.
You raised your eyes and looked at him, and as he was not willing to be yours,
You struck him and turned him into a mole.
If you loved me, would you treat me the same as them?
Can mere reeds protec one from the frost, as the saying is?"
When you had heard these his words,
You struck him and turned him into a mole.
You placed him in the middle of...
He cannot ascend the.... he cannot go down....
And if you loved me,
You would treat me the same as them.'
When Inanna heard this -
She, the Goddess of Love and Battle heard this -
She was infuriated.
She went to heaven immediately
And saw her father An, the Sky God
Before him she wept,
And before her mother, Antum, she wept.
And she said:
'Father, Gilgamesh has insuted me!
He enumerated all my evil deeds!
He has said I am foul odour and I am evil!'
An spoke, said to the glorious Inanna:
'Are you the father?
You have quarreled with Gilgamesh the King.
And so he told you your evil deeds,
The odour of them.'
Inanna spoke to her father An:
'Father, please give me the Bull of Heaven
So that he can smite King Gilgamesh even in his own home.
And if you don't give me the Bull of Heaven
I will go down to the Underworld and smash its doors!
I will place those above below!
The doors will be left wide open and the dead will get out,
Eat all the food,
And the dead will then outnumber the living!
An spoke
Said to glorious Inanna:
'If you desire from the Bull of Heaven,
There there will be seven years
Of barren husks in the land of Uruk.
Have you gathered enough grain for the people?
Have you grown enough fodder for the beasts?'
Inanna spoke, said to her father An:
'I have stored enough grain for the people
I have provided enough fodder for the animals
If there should be seven years of no crops
I have gathered grain for the people
I have grown fodder for the beasts.'
(Here three lines are lost)
When An heard this speech of Inanna
He gave her the tether of the Bull of Heaven,
So that Inanna might lead it to Uruk.
When she came to the gates of Uruk
(Here one line is missing)
He went down to the river... seven.... the river
With the snort of the Bull of Heaven, pits were opened
And a hundred men of Uruk fell into them.
With his second snort, pits were opened
And two hundred young men of Uruk fell into them
With his third snort, pits were opened
And Enkidu fell in one of them
Enkidu leapt out of it and seized the bull by the horns
The Bull of Heaven retreated before him
And brushed him with the hairy tip of its tail,
As it spewed foam from its mouth.
Enkidu spoke, said to Gilgamesh:
'My friend, we boasted....'
(Here eight lines are lost)
And between the nape of his neck and the horns of his head...
(Here one line is lost)
Enkidu chased him and .... the Bull of Heaven
He seized him by the thick hairy tip of his tail.
(Here three lines are mutilated)
He thrust his sword between the nape of his neck
And the horns of his head
When they had killed the Bull, they tore out his heart
And placed it before Shamash the Sun
They stepped back and fell down before Shamash in homage.
Then the two brothers sat down.
Then Inanna mounted up upon the wall of the city
There at ramparted Uruk and
Springing on to the battlements she uttered a curse:
'Woe be unto you, Gilgamesh, who has insulted me
By slaying the Bull of Heaven!'
When Enkidu heard the curse of Inanna,
He tore loose the right thigh of the Bull of Heaven,
Flung it skywards up into her face:
'If I could reach you,
I would do the same to you as to him!
I would hang his entrails at your side!'
Then Inanna called the votaries of the temple
The sacred harlots and courtesans of the temple
And with them she set up a wailing lamentation
Over the right thigh of the Bull of Heaven.
(There is no break here, but it is as well to explain that the ancient Egyptian constellation of the Thigh, which was in fact a bull's thigh was the ancient equivalent to our Plough or Great Bear or Big Dipper - all these three being the same). (2)
But Gilgamesh called the armourers and craftsmen
The artisans admired the thickness of the bull's horns
Each horn is thirty minas of lapis-lazuli;
Two fingers thick is the coating of each
Six gur measures of oil would measure their capacity,
Would be what they would contain, this being 1,500 quarts.
And just this much ointment did he then present
To his own special god, Lugulbanda the Pure.
As for the horns, he brought them
Into his princely bedchamber and hung them there.
They washed their hands in the Euphrates,
They embraced one another as they went on,
Riding through the main streets of Uruk.
There heroes are all gathered round to see them,
Gilgamesh to the sacred lyre-maids of Uruk,
Says these words:
' Who is the most splendid among the heroes?
Who is the most glorious among men?'
Who has strength and courage no one can match?
'Gilgamesh is the most splendid among heroes!
Gilgamesh is the most glorious among men!' (3)
In his palace, Gilgamesh holds a great feast.
Down the heroes lie on their night couches,
Enkidu also lies down, and sees a dream,
Enkidu rises up to reveal his dream,
Saying to his friend:
'My friend, why are the Great Gods in council?'

1. Tammuz, known earlier to the Sumerians as Dumuzi, was the shepherd-king who was the patron deity of Kullab, a Sumerian riverside city that was later absorbed by Gilgamesh's city of Uruk, though the texts are careful to specify that Gilgamesh himself was from Kullab within Uruk. Tammuz married Ishtar, the Goddess of Love and War, whom he often offended. He was carried down to the Underworld but pleaded with his brother-in-law Utu/Shamash the Sun to save him. He seems to have been granted a reprieve for half of each year and thus to have been a prototype for Persephone and other figures of later mythology who came to represent the retrn of spring after the death of winter. The earlier references in the Epic to sacred sheepfolds and shepherds are connected with the cult of Tammuz.
2. Enkidu's flinging of the Thigh has some significance in terms of ancient astronomical-religious mythology. In the course of every 24 hours, the Thigh makes a complete spin around the Pole Star, ina a motion resembling 'being flung'. The Thigh is clearly depicted in numerous places, particularly the various zodiacs carved in stone at Denderah in Egypt. It was such a major constellation that it was common to the ancient civilised Mediterranean world. A further elaboration of ideas must be avoided here, but the interested reder is referred tto Sir Norman Lockyer's The Dawn of Astronomy and to de Santillana and von Dechend's Hamlet's Mill for further information.
3. This is a clear trace of a choral response by a group of lyre-maids in the sacred dramatic form of the Epic, of which a whole section has recently been excavated and now inserted into Tablet X. This slip of the stylus gives us the crucial information that the performances were accompanied by lyre music and that in a processional scene such as this the girl musicians would also chant echoing choral response, very like those preserved in the new fragment of Tablet X.

'..... then twilight came.'
And Enkidu answered Gilgamesh:
'My friend, hear a dream I had last night
An, the Sky God,
Enlil, his son,
Enki, son of Enlil,
And Shamash the Sun,
All held council together,
And An said to Enlil:
'Because they have slain the Bull of Heaven
And have slain Humbaba,
He who watched over the mountains,
Watched them from Cedar Tree - one among of them
Must die!' - So said An.
But Great Enlil said:
'Enkidu must die!
Gilgamesh, however, shall not die!'
Then heavenly Shamash the Sun answred great Enlil:
'Was it not at your very own command
That these necessities took place -
The slaying of the Bull of Heaven and Humbaba?
And now you say,
Innocent Enkidu should die?'
But at this Enlil became enraged.
He turned in anger to heavenly Shamash:
'Just because you used to go down to them
Everyday as if you yourself were his comrade!'
Enkidu lay down before Gilgamesh, very ill.
Gilgamesh, his tears running down, said to him:
' My brother, my dear brother!
They wish to let me go but to take you as the price for this!'
Also he said:
'Must I sit down by the spirit of the dead,
By the door of the spirit of the dead?
And never again to see my dear brother with my eyes?
[Here there is a considerable break. As can be seen from what follows, Enkidu curses the fates and the stages that have led him to leave the wild steppe and coming to a civilised life. We can assume that in the lost portion he gave further vent to his frustration and dejection and that Gilgamesh too made complaint against Enkidu's unfortunate fate and the decision of the gods that Enkidu must die and be taken from him]
Enkidu.... lifted up his eyes, spoke as if to the door,
As though the door were human:
'O door! Door to the forest! Insensible thing!
Possessed of no understanding!
From a distance of 20 intervals
I thought your timber fine!
Then I beheld the lofty cedar!
Nowehere in the land is there
Any semblance, any compare with your wood!
Six dozen are the cubits to your height,
Two dozen are the cubits to your width...
Your ple, your pole ferrule and your pole=knob....
Truly a craftsman of Nippur made you....(2)
But, o door, had I known that this beauty of yours
Would bring to pass such disaster,
I would have taken the axe and would have....
I would have made a reed frame to [encompass?] you (3)
[Here several lines are lost. When Enkidu's speech resumes, he makes clear that he constructed the door himself, evidently from the felled cedar tree he so admired. A recurring theme of Sumerian and Babylonian literature is the felling of a sacred tree and making some special or sacred object from it.]
'O door, I made you, set you in place
................................................you
When I am gone, may a king........you
Or perhaps a god....... you.
He may place his name on you, eradicating mine.'
He ripped out.... he tore down.
As Gilgamesh listened, hurriedly his....
As Gilgamesh heard his friend Enkidu speak thus, his tears were flowing.
Gilgamesh opend his mouth, said to Enkidu:
'........illustrious
Strange things may be spoken by the wise.
Why does your heart say such strange things, my friend?
Precious was your dream, but the terror is great.
Your limbs are paralysed like .......
But despite the terror, precious is the dream:
Misery was released for the healthy;
Woe befell the healthy from this dream.
.... and I will pray to the Great Gods.'
[Here eleven lines are missing.]
With daybreak Enkidu looked up,
Tears streaming from him to radiant Shamash the Sun:
'I pray, o Shamash, that the hunter, that rogue,
He who hunted not
Who stopped my getting as much game as my friend -
Let him not get as much game as his friend.
Take what he owns, lessen his power.
May his way offend you.
May all the game escape from him.
May his heart be never full.'
And he bitterly cursed the priestess:
'O you, priestesss, I pronounce your fate -
A fate which shall be yours for all eternity!
Hearken, for I curse you now with a great curse
And may my curses attack you on the instant:
You shall not build a house in which to offer your charms.
You shall never enter the tavern where the young girls are.
Your lovely breasts....
May the drunkard defile your trysting place with vomit,
May you be violated by all the troops.
....... shall cast into your house.
Your home shall be the road....
The dust of the crossroads is where you shall dwell.
The desert shall be your bed.
The shadow of the wall is where you shall linger,
Your feet torn by thorns and brambles.
And men crazed by lust panting for drink shall strike your cheeks!
Because you have...... me
And because you have brought death upon me'
When these words were heard by Shamash the Sun,
Straight away he called down from heaven to Enkidu:
' Enkidu, why do you curse the priestess
Who introduced you to food fit for the gods,
To drink fit for kings?
She who clothed you nobly!
She who gave you Gilgamesh as friend,
And now Gilgamesh is a brother to you.
Has he not placed you on a beauteous couch?
You are on the throne of ease,
The throne at his left hand
So that the rulers of the earth kiss your feet!
Lamentations and weepings from the people of Uruk shall he cause for you;
Those with hearts full of joy he shall make mourn
When you have turned back (4).
He will let his body become long-haried,
He will clothe himself with the skin of the dog (5),
And he will roam the steppe.'
These words of Shamash quieted Enkidu, calmed his angry heart.
[Here two lines are missing. Enkidu retracts his cursing of the priestess and blesses her instead]
'O you priestess, I pronounce your fate -
The mouth has cursed you
It turns and blesses you.
Lords and governors shall love you
He who is one league away shall smite his thigh in admiration of you
He who is two leagues away shall shake his hair in desire of you
May all the young men will loosen their clothes for you
May you be laden with carnelian, lapis lazuli and gold.
And he who defiled you - may he be paid back!
May his home be stripped,
His full storehouse emptied.
May the priest lead you into the presence of the gods.
And for you the wife be abandoned,
Though she be the mother of seven.'
Enkidu, cast down in sorrow,
Drifts into a sad and lonely sleep.
Then in the night to his friend
He pours out the heaviness of his heart:
'My friend, this night I dreamed.
The whole cosmos was roaring
And an echo resounded from the earth:
This is an omen of death,
As I was standing there between the heavens and earth,
I saw a young man whose face was dark.
His face was like Zu, bird god from the Underworld.
.... with claws like an eagle's talons.
He overcame me....
..... he climbs....
..... submerged me.
[Here seven lines are missing]
He transformed me into a double of his body
So that my arms were now clad in feathers like those of a bird.
Fixing his gaze on me, he led me to the House of Darkness
There where Irkalla lives, He, the God of the Dead.
No one who enters that house comes forth again.
It is the one-way road from which there is no return;
Those residing there are bereft of the light for ever,
Where dust is their food and mud their sustenance.
They are dressed as birds, with garments of wing feathers.
They see no light but crouch in darkness,
There in the House of Dust, into which I came,
I saw kings, their crowns set aside -
Those who had once ruled on earth through the ages, humbled,
No longer were they born to the crown.
And the twins of An and Enlil were there (6),
Serving the roast meat,
The fried and baked food,
Pouring cold water out from the skins.
In the house of Dust where I came
Sit the high priest and the acolyte,
Sit the cantor and the shaman,
Sit the attendants of the sacred ablutions,
There sat Etana, once king of Kish,
There sat Sumugan, he, the god of the Cattle,
And also Ereshkigal, who is the Queen of the Underworld.
Belit-Seri, her scribe, kneels before here.
And she reads out from a tablet to her.
She, the scribe, lifts her head, sees me and says:
'Who brought this one?'
[Here 50 lines are missing. But the following fragment where Gilgamesh is speaking is believed to come from the lost remainder of this tablet]
'Remember all my travels with him!
My friend saw a dream of unfavourable omen
The day the dream was ended.
Enkidu lay stricken one day, two days,
Enkidu's suffering on his bed worsened:
A third day, a fourth day...
A 5th day, a 6th day, a 7th,
An 8th, a 9th and a tenth day.
Enkidu's suffering on his bed increases;
An 11th day, a 12th day...
Enkidu lay stricken on his bed of agony.
Finally he called Gilgamesh and spoke to him:
'My friend........ has cursed me!
Not like one who falls in battle shall I die,
For I feared the battle....
My friend, one who dies in battle is blessed.
But as for me...'

1. A few words of explanation would be helpful with reference to these squabbling gods. Since the Gilgamesh tales are, at origin, accounts of cosmic happenings in the heavens, what is going on behind the scenes in these tales is generally of a cosmic nature. The gods An, Enlil and Enki are not merely grandfather, father and son in the sense familiar from Greek religion of Uranus, Cronos (Saturn), Jupiter. They actually represent three separate bands of the sky. Hence it is that a dispute or quarrel between them may represent conflicts between those regions of the sky.
Different star constellations lie in different regions or bands of sky, so that the gods of the bands have affinities with different mythological figures identified with those constellations. For instance, Enki's band of sky is the Southern Sky. The star Canopus was therefore especially sacred to him, lying as it does within the constellation of Argo deep in the Southern sky. Enki's special city of Eridu was the southernmost city of Sumer, near the Persian Gulf, and its southern position in Sumer corresponded to the southern position of Enki's sky band. In Tablet IX we encounter Enki's direct intervention in advising the construction of an ark to survive the Great Flood (the prototype of the sotry of Noah). This ark corresponds to Enki's constellation of Argo.
It follows therefore that the gods representing different bands of sky will champion those mythological beings who have been assigned constellations in their own bands and oppose mythological beings whose celestial homes are in other bands. As for Shamash/Utu, as the sun he moves through all the bands and is not identified with any of them. Therefore, it is not surprising that he does not take part in these favouritisms, and defends both Gilgamesh and Enkidu. Furthermore, he is able to be like a comrade to them because he is not remote and associated with a sky band, but is actually a moving cosmic body, as indeed was Humbaba, with whom he had direct associations, since Humbaba was identified with the planet Mercury (the planet nearest to the Sun). (See also Tablet IX, note 13).
2. Enkidu's statement that the pole, pole-knob and pole-ferrule were made by a master craftsman of the city of Nippur does not refer to himself (since Enkidu was not from Nippur), and it is possible that he merely wishes to praise the handiwork by saying by saying they are as good as if a master craftsman of Nippur had made them. The master-craftsman of a major city was generally one of the Seven Sages, the mysterious 'fish-men' who before the time of the Flood were supposed to have founded the Sumerian culture, and who were known as apkallus, or in much later time were called by the name of Oannes (see Introduction). These aquatic culture heroes tended to be referred to as 'master craftsmen' in a manner that is somewhat reminiscent of Masonic lore. Nippur, which has been mentioned twice before the Epic in connection with the door to the Cedar Forest, was one of the seven original cities of Sumer founded by the Seven Sages. Nippur's master-craftsman was therefore its fish-man culture hero, or apkallu.
3. The whole business of Humbaba, the cedar and the door may concern the motions of the planet Mercury. As we have seen, Humbaba was identified with the planet and the monster face of Humbaba, which is represented on some ancient terra cota pieces as a mass of convoluted intestines, symbolised the convoluted motions of Mercury as plotted in the skies by the ancient astronomers. (These plottings do yield a mass of convoluted loops, half of which are invisible because they are below the horizon.) Cutting off the head of Humbaba could thus mean cutting off the visible portion of these loops, or terminating the planet's year. In which case the plaent would have to start a new year. This may indeed be what the Epic is telling us in code.
The word babu for door in modern Arabic as bab or gate also had the meaning of origin or commencement of a motion. Thus the expression cedar door is symbolic for th commencement of the motion of the planet Mercury. Contemporary with the Gilgamesh Epic in Egypt, the word seb had the dual meaning of cedar and planet Mercury, which can hardly be a coincidence. The Akkadian word babu also means vagina, which was not only a door, but also led to a birth or commencement. Similar multiple symbolisms applied to the words used for pillars, gateposts, bolts and so forth, always with cosmic myths implied.
4. Since several scholarly translators have given no indication of this meaning to this line, explanations seems warranted. Campbell Thompson simply left untranslated the word arkika; Speiser, Gordon and Heidei all translated it simply as 'after' and then inserted various speculative words referring to going or dying which do not appear in the text, implying that the line meant 'After you have died' or something similar. This does accord with the apparent context, but nevertheless too many glosses appear in translations of the Epic which conceal the deeper meanings which occasionally glint above the surface. It is my opinion that in this line we have a possible reference to a retrograde orbital motion in accordance with the cosmic mythology underlying the Gilgamesh literature.
5. All other translators have lamely suggested, without real justification, that kalbi means lion, and that this passage says Gilgamesh would don a lion skin. Perhaps they were thinking of Heracles, for as one translator, Cyrus Gordon, rightly points out in commenting on this passage, Heracles did indeed derive from Gilgamesh and did wear a lion skin. But the fact is that the word 'kalbi' means dog here just as certainly all translators agree it does in line 115 of the original text on Tablet XI, where the gods are described as cowering like dogs. However awkward it may be, therefore, there is no doubt that the skin which Gilgamesh is described as about to put on is the skin of a dog, not the skin of a lion. This has possible cosmic references, in particular to the Dog Star, Sirius.
6. It is interesting that the Great Gods An and Enlil are thought to have had doubles living in the Underworlld, and engaged in the sort of mental activity that one would expect of a zombie. Behind this must lie the astronomical awareness that the sky bands of An and Enlil continued under the Earth, and that the Great Gods were present in teh Underworld as well as in the sky overhead. In his 1986 article, 'The Sun at Night and the Doors of Heaven in Babylonian Texts', Wolfgang Heimpel discusses the enigmatic references to the Sun God passing through the Underworld every night. These are best understood by reference to the elaborate study of Maja Pellikaan-Engel on Hesiod and Parmenides. Having accepted the tradition of the Great Gods having counterparts below the earth, the poet has here represented An and Enlil in the character almost of automatons, as meaningless shades of the actual gods.

On the horizon there appeared
The first intimations of dawn (1)
And Gilgamesh said to his friend:
'Enkidu, your mother, the gazelle,
Your father, the wild ass -
These together produced you.
They whose mark is their tails reared you (2)
As did the cattle of the steppes and of all pastures,
May the tracks of Enkidu in the Cedar Forest
Weep for you!
May they not be hushed
By night or by day
Uruk of the wide ramparts - may its elders
Weep for you!
May the finger which blesses what is behind us
Weep for you!
May the country echo with sorrow like a mother!
May... weep for you!
In whose midst we....
May the bear, the hyaena, the panther,
May the tiger, the stag, the leopard, the lion,
May the ox, the deer, the ibex -
May all the wild of the steppe
Weep for you!
May the River Ulla - may it weep for you!
The river by whose banks
We strolled together - friends
May the pure Euphrates, where we drew water for the skins
May it weep for you!
May the warriors of Uruk of the wide ramparts
Weep for you!
...we slew the Bull of Heaven -
May.... weep for you!
Those in Eridu who sang your paeans -
May they weep now!
May all those who have praised you -
May they weep!
All those who provided you with grain -
May they weep for you!
(Here there is a considerable break, during which Enkidu finally dies. The text resumes with Gilgamesh lamenting his friend's death:)
'Hear me O elders!
It is for Enkidu, for Enkidu, my friend, that I weep.
I wail like a woman
So bitterly lamenting
The goodly axe in which my hand trusted
Hanging by my side
The dagger resting in my belt.
The shield which went before me.
My richest-trimmed robe for the festivities -
An evil force arose
Seized them all from me!
Oh, my friend, younger than myself,
You hunted the wild ass in the hills,
You chased the panther on the steppe!
Oh, Enkidu, my younger friend,
How you hunted the wild ass in the hills
Chased the panther on the steppe!
We two have conquered all, climbed all
We were the ones who seized and killed the Bull of Heaven
We were the ones who laid hold of (3) Humbaba
He who lived in the Cedar Forest (4)
What is this sleep that has now come over you?
You have gone dark and cannot hear me!'
But Enkidu did not raise his head
Gilgamesh felt for Enkidu's heartbeat, but there was none.
Then he drew a veil across Enkidu's face,
As if he were a bride.
He roared like a lioness who had her cubs taken away from her.
Backwards and forwards he went before his friend,
And tore his hair
Strewing it around
He tore off his beautiful clothes
Flung them down
As though they were filth.
And then on the horizon there appeared
The first intimations of dawn
Then Gilgamesh proclaimed unto the land
'Come smith, come workman,
Come fashioner of copper,
Come worker in gold,
Come inscriber in metal!
Shape you the image of my friend!
My friend whose stature is beyond compare;
May his breast be lapis lazuli
May his body be of gold.
(From a strange document called the Letter of Gilgamesh which in many respects is fantastic and unreliable, a few more possible details of the statue may possibly be gleaned as they were known in the tradition:)
'Let there be many large.... of red ochre
And lapis lazuli set in solid gold,
And let them be bound on the breast of my friend Enkidu
One block of solid gold - let its weight be 30 minas
I will fix on the breast of Enkidu, my friend.
Let there be many gaz-stones, much jasper, lapis-lazuli,
All the stones that there are in the high mountains.
Let them be sent on horses to the home-country.
May beautiful amulets be made out of them.
Fresh fruit out of season,
Anything precious and exotic
Which my eyes have never seen
For an offeringlet them be loaded with the silver and gold,
Let them drift down the River Euphrates
Carry them to the quay of Babylon
and my eyes shall see them andmy heart shall be confident.'
(The above is what can be reconstructed of the text as it may have been before it became the object of a silly schoolboy exercise in which it was severely distorted, in the so-called 'Letter'. Mow many lines of the Epic are lost. After the break, Gilgamesh is again speaking)
'I placed you on a beauteous couch.
You were in the throne of ease,
The throne at my left hand,
So that the rulers of the earth kissed your feet!
Lamentations and weepings from the people of Uruk
Shall I now cause for you;
Those with hearts full of joy shall I make mourn.
And after you have been laid to rest
I shall let my body become shaggy,
I will clothe myself in the skin of a dog
And I shall roam the steppe!'
On the horizon there appeared
The first intimations of dawn
Gilgamesh loosened his band.....
(Here many lines are lost, with only a few fragmentary matches mentioning 'to my friend', 'your sword', 'likeness', and 'to the place of Mercury' (5). The following brief passage has been preserved:)
...Jude of the Fifty Great Gods, the Anunnaki...
When Gilgamesh heard this
He conceived in his heart the concept, or image of the river
On the horizon there appeared
The first intimations of dawn
Gilgamesh fashioned....
Brought out a large talbe of elammaqu wood,
Took a carnelian bowl,
Filled it with honey
Took a lapis-lazuli bow
Filled it with milk curd
... he adorned and exposed to Shamash the Sun
(The rest of the Tablet, a very large portion, is lost. In the missing sections, the funeral and burial of Enkidu evidently took place.)

1. These two lines are repeated at intervals throughout the tablet. Their inclusion is neither accidental nor for poetic purposes but rather reflects the obsession of the Babylonian astronomers/priests with what are known as heliacal risings of key stars and planets. A heliacal rising takes place when a star or planet rises over the horizon at the same moment as the first intimations of dawn. The Egyptians (much of whose astro-religious concepts passed ove into Sumerian and hence Babylonian culture) based their main calendar on the heliacal rising of the the star Sirius, which was given gar greater prominence than the mundane solar and lunar calendars.
2. See note 4 below.
3. The word that I have translated as 'laid hod of' is lapatu in the original text and I believe that it refers to the motion to the planet associated with Humbaba, Mercury. It has been a problematic word to translate.
But although the linguistic identity of cedar and Mercury could not pass through the language barrier, the transmission
4. This is another reference to the planet Mercury (with which this tablet abounds), which also brings us again face to face with the enigma of the monster Huwawa. All scholars have expressed perplexity regarding the origins and meaning of this strange name. Huwawa is the original Sumerian form of the name, later called Humbaba or Hubaba. To anyone familiar with ancient Egyptian, it should seem obvious
But although the linguistic identify of cedar and Mercury could not pass through the language barrier, the transmission of amother Egyptian term may
5. The Babylonian name for Mercury here - Bibbu- might perhaps be a borrowoing from the Egyptian beb, 'to go round', 'to revolve', 'to circulate'. Since Bibbu has been known to be applied to Mars and Saturn on occasion, and there are also several textual references for its use as a general planetary term of some sort, its real meaning may well have been something like circler, in the same manner in which the Greek word for planet really meant wanderer. Its use for Mercury could simply reflect that Mercury of all the planets is the great circler, with a rapid looping orbit (as seen from earth).

Gilgamesh roams the steppe
And weeps bitter tears
For Enkidu, his friend
'Shall I not die like Enkidu?
Woe gnaws at my entrails,
I fear death.
So I roam the steppe.
I must go to see Ziusudra
The Survivor of the Flood
He, the son of Ubara-Tutu.
Immediately shall I travel the wheel-rim (1) to him.
At night I come tot he Gates of the Mountains.
Gripped by fear, I saw lions.
I lifted my head to the Moon God,
Offered prayers.
My prayers went out to the .... of the gods:
'O God of the Moon, do you preserve me!'
He laid himself down and then awoke from a dream.
There in the dream he had seen [lodestones] (2)
Rejoicing in life they were
In his hand he raised an axe,
He drew his dagger from his belt,
He descended upon them like an arrow (3).
He struck at them,
Smashed them into pieces.
(Here many lines are lost, with only a few scattered words surviving. Six lines along, a line commences with the female pronoun she; the identity of the female personage in this missing section cannot even be guessed at, but she probably appeared in another dream and could have been Siduri [see next tablet], thereby repeating the pattern of premonitory dreaming.)
The mountain is called Mashu (4)
And so he arrived at Mashu Mountain
Which keeps watch every day
Over the rising and setting of the Sun God,\
Whose tips reach the zenith of heaven
And whose rim (5) raches the depths of the Un
Scorpion-Men (6) guard the commencement of its motion (7).
Awful their terror, their glance is death (8)
The splendour of their scintillation (9) disturbs the mountains
Which keep watch over the rising and the setting of the Sun God
When Gilgamesh observed (10) them,
His visage was darkened with terror, with fear.
Regaining his composure
He approaches them.
The Scorpion-Man called to his wife:
'Look who comes
His body is made of flesh of the gods.'
The Scorpion-Man's wife replied:
'He is 2/2 god, 1/3 man'.
The Scorpion-Man calls out,
Cries to the offspring of the gods:
'Why have you come this far a journey?
What brings you here before me?
You have made a traverse of the celestial Sea -
Its crossings are difficult
I wish to learn
The meaning of your coming.'
(The next line appears to be an enquiry about 'your way' or 'your road', or the road taken by Gilgamesh. When the text resumes, Gilgamesh is replying to the Scorpion-Man and mentioning Ziusudra, the Babylonian/Sumerian Noah:)
'I have come in search of life,
To see Ziusudra, my forefather -
He who survived the Flood
And joined the Assembly of the Gods
I wish to ask him about life and death.'
The Scorpion-Man opened his mouth to speak, said to Gilgamesh:
'There never was a mortal, Gilgamesh,
Never one who could do that.
No one has travelled the mountain's path (12).
For twelve double-hours its bowels....
Dense is the darkness and there is no light.
To the rising of the Sun.......
To the setting of the Sun.....
To the setting of the Sun.....'
(Many lines are missing here. The Scorpion-Man is believed in the missing portion to have described the journey double-hour by double-hour [see note 13]. When the text resumes, Gilgamesh is speaking:)
'Whether it be in sorrow,
Whether it be in pain,
In cold, in heat,
In sighing, in weeping,
I will go!
Let the gate of the mountain now be opened!'
The Scorpion-Man opened his mouth to speak,
Said to Gilgamesh:
'Go, then, Gilgamesh, go you forth.
May you cross the mountains of Mashu,
May you traverse the mountains and ranges.
May you go in safety.
The gate of the mountain is now open to you!'
When Gilgamesh heard this,
When he heard the words of the Scorpion-Man,
He travelled from the east to west
Along the road of the Sun.
When he had gone one double-hour
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear
When he had gone two double hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear.
When he had gone three double-hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear
When he had gone four double hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear.
When he had gone five double-hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear
When he had gone six double hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear.
When he had gone seven double-hours
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear
When he had gone eight double hours, he cried out.
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear.
When he had gone nine double-hours, he felt the morning breeze.
It was fanning his face
Dense was the darkness and there was no light.
This permitted him no sight of its front or his rear
When he had gone ten double hours
He knows the moment of rising is near.
He is impatient for the end of the double hours.
When he had gone eleven double hours
He rose just before the Sun
When he had gone twelve double
Day had grown bright (13)
Upon seeing the bejewelled shrubs, he approaches them
The carnelian bears its fruit
And hung it is with goodly vines,
The lapis lazuli bears leaves
Lush fruit also hangs from it
It is fine to the eye.
(The remaining fifty lines of this tablet are mutilated or lost. From the fragmentary words surviving we can see that the description of the garden of jewels continued, for at least six different stones and minerals are mentioned, but they are merely stray words in an otherwise obliterated text.)

1. The word used in the original text -allak- means rim of a wheel, and is yet another reference to cosmic orbital motion. Similarly, allaku means 'wanderer', which in many cultures such as the Greek and Egyptian was what the planets were called, and it also means 'messenger', a concept often associated to the planet Mercury, because of its rapid shuttlings back and forth in the sky. Such a busy planet rushing rapidly to and fro was quite naturally seen as a wanderer.
The astronomical references in the Epic have always been glossed over by translators in the interests of supposed clarity. For instance, allak is explained by Speiser, Gordon, Heidel and Campbell Thompson as meaning either that Gilgamesh will travel or will take the road. But if road were really intended, we ould see harannu in the original, or if way were really intended, we would see alaktu rather than allak, as in Tablet VIII, of the Akkadian text, where the literal translation is 'the road from which there is no way back', which I have rendered 'road from which there is no return.' Here road is harranu and way is allaktu, both occurring in the very same line.
2. See Tablet X, note 5.
3. If the axe in Gilgamesh's hand and dagger, or sword, in his belt did not continually recur in formulaic fashion, they might might be taken at face value. But these hieratic motifs may be meant to signify an identification or comparison of Gilgamesh to the constellation Orion, whose sword or dagger in his belt is plain for all to see who look at the night sky. If so, then descending like an arrow would be connected with the Arrow Star, as Sirius was known to the Babylonians, and which was just beneath the foot of Orion.
The preposition kima has two meanings -like and as. It has been usual to translate this sentence as Gilgamesh descending like an arrow, considering the statement to be merely a lit of decorative imagery. However, if the astronomical events referred to are intended to be preponderant here, the preposition could have its other meaning, and Gilgamesh would descend as an arrow, meaning that he would become the star Sirius and would set below the horizon. This passage would therefore refer to the setting of Sirius and Orion, and on occastion where it recurs, this interpretation would each time be intended. Since the rising and setting of the sun are mentioned a few lines later, thse cosmic movements may well be implied.
4. All scholars have expressed puzzlement over the name Mashu [Heidel doubted the word was Babylonian]. I believe it is a borrowing of the Egyptian ma Shu, which means 'Behold the Sun God'. This fits the context perfectly as well as being linguistically sound.
5. The existing English translations render iratsunu (a form of irtum) as breast. But von Soden rightly says that in this passage it should be taken to mean rim. A cosmic wheel is again referred to, the one along whose rim Gilgamesh earlier said he would travel. The depths of the Underworld here means the nadir of the invisible sky below the horizon, or the south celestial pole, into which the rim turns after passing through the zenith or the north celestial pole in the visible sky. This wheel is therefore a great rotating circle at right angles to the equator, with the earth at its centre, and passing through both celestial poles. Presumably the equinoctial colure, which passes through the equinoctial points, is being referred to, or otherwise the solstitial colure, which passes through the solstice points and also passes through both the celestical and ecliptic poles. What we can be certain of is that the great circle referred to must be at right angles to the equator if part of it is to remain invisible permanently below the horizon. If it were not at right angles to the equator or at least to the eclipitic, it could not touch the tip of heaven and depths of the Underworld.
There is also a pun involved, for irat can also be used to refer to the notch of an arrow; so that we may have a punning reference to the Arrow star again.
6. The word girtablilu, Scorpion-Man, is a reference to all or part of what we now call Scorpio.
7. Once again, as in Tablet VII, I translate babu not as gate, but by its other meaning of commencement of a motion, in connection with the spinning of cosmic wheel.
8. The concealed meaning here is a reference to astronomical observations [imru] rather than a glance (In the text we find imratsunu.) The root or stem-word, MRT, yields a basic meaning to see (amaru). The verb emeru from this root is the one used to describe the heliacal rising of a star, which may be regarded as the star's babu or commencement of its motion, and its rebirth after being dead in the Underworld (that is, the sky below the horizon). The star Sirius, for example, was dead for seventy days, or seven ten-day Egyptian weeks, and passed through seven gates in the Underworld during that time (each week had a gate) before its emeru, or heliacal rising, took place, which was subject to an imru (observation) at the moment of return, when it once more experienced its commencement of motion, on the visible part of its great sky wheel.
9. This is clearly another reference to the observations of heliacal risings and settings. Speiser used 'shimmering' for emeru, but I give 'scintillation' here to clarify further the reference to a stellar observation.
10. A verb form of imru (see note 8 above) occurs here.
11. These two lines, which recur throughout the Epic have numerological significance. Clearly genetic descent cannot be referred to, since it is impossible for anyone to be descended in thirds. The Babylonians had a sexagesimal mathematics, and from their astronomers we have inherited the division of the circle in 360 degrees, the hour into 60 minutes, the minute into 60 seconds and so on. An, the chief Babylonian god, was equated with the number 60. Enki was equated with 2/3 of An, i.e. 40. So, by saying that Gilgamesh is two-thirds god, he is also being identified with the number 40. The god Enki was called both Shanabi (two-thirds) and Nimin (forty in Sumerian). Enki's son-in-law, the ferryman Urshanabi, has a name that means virtually Priest of the Two-Thrids. Urshanabi is also asked to survey Gilgamesh's city of Uruk (see end of Tablet XI). So when Gilgamesh is described as being two-thirds god, the statement is a coded way of equating him with the god Enki as well as with the groundplan of the city of Uruk and its temples (Enki was traditionally the god who drew up the ground plans of temples.
Other aspects of the theme of two-thirds relate to the planet Mercury, with whom Gilgamesh is associated. The image of Gilgamesh wandering over the steppe may refer to the planet Mercury wandering across the band of the zodiac. Of the 12 degrees of the zodiac band, Mercury moves across 8 degrees, or two thirds. It could be said therefore that from Mercury's point of view, the band of the zodiac is 'two thirds god, one third not.' Pliny the Elder records in his Natural History, Book 2 (xiii, 66):'The planet Mercury wanders over more than 8 of the 12 degrees of latitude of the zodiac, and these 8 not uniformly, but two in the middle of the zodiac, four above it, two below it.' (This shows with what eagle eyes the ancients watched such things. Today no one would notice. Otto Neugebauer discovered from Babylonian records that the Babylonians watched the heliacal rising of Mercury as morning star with such fanatical attention that there were 2673 such risings in a period of 848 years).
Another occurrence of two-thirds in the planetary motions which would have been noticed by the ancients has been described by Pliny (Book 2, xiii, 59): 'The three planets [Jupiter, Saturn and Mars] make their morning or first stations in a triangle 120 degrees away, and subsequently their evening risings opposite 180 degrees away, and again approaching from the other side, make their evening or second stations 120 degrees away....'
Martianus Capella also discusses this (Book 8, 887): 'These planets make their morning stations 120 degrees away from the sun, and then, at opposition, 180 degrees away, they make their evening risings; likewise, on the other side, they make their evening stations 120 degrees away. The latter are called second stations and the former, first stations.'
Without going into astronomy at any greater length, the important fact to be noticed here is that 120 degrees is two-thirds, 180 degrees, and the constant alteration of these planets between two-thirds and a whole of an angular measure may be yet another factor in the strange Babylonian concern with 2/3, especially as they were such fanatical observers of planetary motions.
Another possibility not unrelated to this kind of thinking is that the Pythagorean mathematical and geometrical traditions, which preserve one important two-thirds motif may have been derived from Babylonian traditions. This is no unreasonable, for the so-called Pythagorean theorem concerning right triangles is known to be of Babylonian orgin and was most certainly not invented by Pythagoras (Pythagoras is credited with a visit to Babylon, where he presumably learned these things, which he then introduced to Greek culture.) This two-thirds motif also concerns triangles, as it happens. It is found in the neo-Pythagorean treatise On the Nature of the World and the Soul, ascribed to Timaios of Locri, and actually thought to have been written by a later author. this treatise maintains that earth is composed of isosceles triangles (two sides equal), and water, air and fire are composed of scalene triangles (having no sides equal) of the following type: 'The smallest angle of this triangle is 1/3 of a right angle. The middle one is twice that size, that is two-thrids of a right angle. The largest is a right angle.... The triangle then is half of an equilateral triangle which has been bisected perpendicularly from its vertex to its base into equal parts.
Since, according to the Pythagorean tradition, 3 of the four elements making up the physical world are said to be composed of triangles containing angles which are in the proportion one-thrid to two-thirds to three-thirds, one wonders whether the same Babylonian tradition which gave the Pythagoerean the Pythagorean theorem gave them also this concept. And if so, could the lore of the triangle have something also to do with the two-thirds motif in the Epic?
What we can be sure of is that Gilgamesh being 2/3 god and 1/3 man must be an esoteric reference to some tradition of a mathematical, geometrical or astronomical nature, and possible even of all three.
12. The depiction of the planet Mercury as a mass of convoluted intestines in the Humbaba mask here finds an echo as libbu means intestines, and is here applied to a cosmic path.
13. Gilgamesh's passage through the darkness of the half of the sky below the horizon, and rising just before the sun in the east again isa perfect description of the heliacal rising of a star, planet or constellation, as seen by an ancient astronomer.
It is important to note that prior to the Hellenistic period, i.e. after the death of Alexander the Great in 323 BCE, there were no hours of equal length. The hours varied in absolute duration. Egyptian and Babylonian astronomy allotted twelve-hours to night-time, however long or short this night-time was. [The hours expanded and shrank, in other words, as there must always be twelve of them. The hours were not conceived as absolute time intervals of equal duration at all, but more like stations along a railway line, which must be passed through at whatever speed.]
The word beru, translated by Heidel as double-hour and by Speiser as league is a very curious one. It seems to be formed from a subsidiary stem of the verb root beru, whose basic meaning is to starve or to be hungry. From this basic meaning the subsidiary stem in question developed its meaning to persevere, to hold out, in other words, to hold out against starvation. In actual usage, the meaning was extended and the word came to mean to endure without interruption, and to continue to last. The word was used specifically in astronomy to describe stars and plnets which continued to be visible and had not gone below the horizon. From this verb, a noun was constructed with the meaning duration, although it was generally in the form biritu. A related preposition meant between, since what was endured between constituted an interval.
This noun also had a highly specific astronomical usage, meaning the angle of elongation of a star or planet. That means the angular distance from the sun. (In the case of Mercury, this never exceeds 28 degrees, which is just under 1/3 of a right angle, and may possibly relate to the thirds which were discussed above in note 11.) The central celestial sky band of An had an angular width of between 30 and 34 degrees, since An was identified with the number 60, it would seem that the degrees of his sky band were double-degrees, to yield this number. Perhaps the idea of a double-hour is similarly a normal hour counted double. Heidel does not explain why he has chosen to translate beru as double-hour. I have retained this translation but warn that the word really means 'variable interval', when Gilgamesh's journey below the horizon is described, referring to the 12 unequal hours, two of which are the period of dawn.
F. Rochberg-Hlaton, in an article on stellar distances in Babylonian astronomy stressed that the beru was: 'a unit of measure having three possible dimensions: length, time, or the measurement of an arc. As a unit of length, beru is customarily translated as mile (it is actually something over 10km), and as a unit of time it is equal to 30 ush (ush being the fundamental Babylonian unit for the measurement of both time and of arcs, equivalent to four minutes), hence 120 minutes or a double- hour. In the measurement of an arc, the beru refers to the 12th part of a circle, against 30 ush or 30 degrees, and serves as an astronomical unit, but only in thelate mathematical astronomy.' Beru occurs so frequently in the Epic of Gilgamesh that it has been necessary to give a fair amount of information about it. The cosmic journey throughout the Epic, and the number of berus traversed on each occasion, are of great significance for working out what is actually being described. I have opted largely to use the translation double-hour, and occasionally leagues. But precisely what is going on in all instances is by no means clear.

(The first line is broken off the tablet. Gilgamesh is being addressed by an unidentified character)
...................................................................................
Eating the flesh of wild things, dressed in their skins
O Gilgamesh, this is a thing which has not happened
No, not so long as my wind shall drive the waters.'
Distressed at heart, Shamash the Sun
Went to Gilgamesh and said to him:
'Whence youare directing yourself, Gilgamesh?
You shall not find the life you seek.'
But to valiant Shamash
Gilgamesh speaks:
'After travelling, after roaming the steppe,
Shall I merely lay my head
Down into the earth's guts?
And then sleep -
Sleep forever?
No! Let me see the Sun!
See the Sun and be sated with light!
If there is light enough,
Then the darkness shrinks away
May the light of Shamash the Sun
Be seen even by he who is dead!'
(Many lines are lost here. Four different versions of the remainder of this tablet are known (Old Babylonian, Assyrian, Hitite and Hurrian). They are not identical, although all describe the meeting of Gilgamesh and Siduri. Siduri has a bar or tavern at the confluence of the celestial rivers which lead to the Underworld. The location in the sky is believed to be beneath the foot, or the Star Rigel, of the constellation of Orion; there is a road which souls were said to take. Siduri seems to offer drinks as a comfortto souls denied the drink of immortality. Priests and shamans ritually drank these on earth. Hence, here is a tvern for souls, to refresh them on their way. She is Siduri the Refresher. The next section of the Epic comes from the Assyrian version:)
- the last
Siduri the Refresher, who dwells by the celestial Sea's edge,
Who sits there enthroned at the confluence of the rivers,
For her they have made a jug,
For her they have made a golden vat
In which to make the mash for the beverage
She is covered with a veil and
Gilgamesh comes up to her and...
He is clad in skins of dogs,
The flesh of the gods is in his body
But in his entrails there is woe
His face is that of one who has come from afar
The Refresher gazes into the distance
And says to herself,
Within her heart takes counsel:
'Surely this one will do murder!
Where can he be directing himself...?'
And as she saw him,
She, the Refresher, locked the door
Barred the gate
Secured the bolt.
But Gilgamesh heard her.
Held up his pointed staff and placed it agains the door
Gilgamesh says to her
Says to the Refresher:
'Refresher, what have you see
That leads you to....
Lock your door,
Bar your gate
Secure the bolt?
I will smash the door
Shatter the gate!' (2)
(Here several lines are lost. When the text resumes in the Old Babylonian Version, Siduri has taken off her veil come out and shown herself to Gilgamesh, now speaking to her)
'He who endured many hardships with me
Whom I so dearly loved - Enkidu;
Yes, he who endured my hardships with me!
He now has gone to the fate that awaits mankind!
Day and night I have wept for him
I would not give him over for burial
For what if he had risen at my beseeching?
Six days and seven nights I waited
Until a worm fell out of his nose
Since he has gone
There is no life left for me.
I have roamed the steppe like a hunter
But oh, Refresher, now that I have seen your face,
Let me not see Death,
Which I so dread!'
The Refresher said to him, said to Gilgamesh:
'Gilgamesh, whence do you direct yourself?
You shall not find the life you seek,
For at the creation of mankind
The gods allotted Death to men.
They retained life in their own hands.
Gilgamesh, let your belly be full,
Make you merry by day and by night.
Make everyday a day of feasting and of rejoicing
Dance and play, by day, by night,
Let your clothes be sparkling and fresh
Wash your hair
Bathe your body
Attend to the babe who holds you by the hand
Take your wife and let her rejoice in you.
For this is the lot of mankind to enjoy
But immortal life is not for men.'
(Here several lines are lost)
Gilgamesh said to her, said to Siduri:
'O Refresher, what did you say thus to me?
My heart is stricken for Enkidu, my friend.
O Refresher, you dwell here on the shore of the Sea.
You can see into its furthest reaches, all that is therein.
Show me the way to cross it.
If it may be allowed
I would cross the Sea.'
The Refresher said to him, said to Gilgamesh:
'Gilgamesh, there has never been anyone
Who had done this thing
The way across the sea
Who has taken it?'
[Here many lines are lost in the Old Babylonian version and shortly we shall return to the much later Assyrian version for the continuation. But here we insert the material excavated by archeologists in Armenia in the Elamite language which was written in the form of a theatrical script. Inevitable libertries have had to be taken in trying to put this into readable or coherent English. It is not only possible but highly likely that parts of what follows are misleading or incorrect. The Elamite language is so poorly understood that no absolutely reliable translation of this material is yet possible, and the Elamite scholars admit to much guesswork. In order to present the material in any remotely coherent way, some explanatory matter has been interpolated directly into the text, such as the words indicating teh signficance of ten figs - something familiar to the audiences at the time, but wholly strange to us.]
Gilgamesh speaks