Enkidu Quotes

Gilgamesh was called a god and a man; Enkidu was an animal and a man. It is the story of their becoming human together.

How can I keep silent? How can I stay quiet? My friend, whom I loved, has turned to clay, my friend Enkidu, whom I loved has turned to clay. Shall I not be like him, and also lie down, never to rise again, through all eternity?

Everything had life to me,’ he heard Enkidu murmur, ‘the sky, the storm, the earth, water, wandering, the moon and its three children, salt, even my hand had life. It’s gone. It’s gone.

Enkidu, my brother, whom I loved so dearly, who accompanied me through every danger-- the fate of mankind has overwhelmed him. For six days I would not let him be buried, thinking, 'If my grief is violent enough, perhaps he will come back to life again.

Adam is expelled from Paradise as a punishment, whereas Enkidu is implored to leave it as a necessary step towards progress to a higher form of existence.

How can I be silent, how can I rest, when Enkidu whom I love is dust, and I too shall die and be laid in the earth.

and Enkidu shows up like “Dude what the hell are you doing? WANNA BEAT THE SHIT OUT OF EACH OTHER INSTEAD?” And Gilgamesh is like “YESSSS.” so they punch at each other until they get tired of gargling their own teeth and then decide to be BFFs. I am not a scientist, but this may be why women live longer than men.

He entered the city asked a blind man if he had ever heard the name Enkidu, and the old man shrugged and shook his head, then turned away, as if to say, ‘It is impossible to keep the names of friends whom we have lost

Yes: the gods took Enkidu’s life. But man’s life is short, at any moment it can be snapped, like a reed in a canebrake. The handsome young man, the lovely young woman—in their prime, death comes and drags them away. Though no one has seen death’s face or heard death’s voice, suddenly, savagely, death destroys us, all of us, old or young. And yet we build houses, make contracts, brothers divide their inheritance, conflicts occur—as though this human life lasted forever. The river rises, flows over its banks and carries us all away, like mayflies floating downstream: they stare at the sun, then all at once there is nothing.

Gilgamesh was king of Uruk, A city set between the Tigris And Euphrates rivers In ancient Babylonia. Enkidu was born on the Steppe Where he grew up among the animals. Gilgamesh was called a god and man; Enkidu was an animal and man. It is the story Of their becoming human together.

could the shepherds lie down in peace. They could slumber undisturbed, for Enkidu was their watchman, he who remained awake in the night.

Then he veiled Enkidu’s face like a bride’s. Like an eagle Gilgamesh circled around him, he paced in front of him, back and forth, like a lioness whose cubs are trapped in a pit

Ekmek ye Enkidu, yaşamın gereğidir bu, içki iç, halkın göreneğidir bu. Enkidu ekmek yedi doyuncaya dek, yedi çanak içki içti, içi açıldı, bağırdı keyfinden, gönlü sevinçle doldu, ışıdı yüz çizgileri.

Whether or not the fame of Gilgamesh of Uruk had reached the Aegean – and the idea is attractive – there can be no doubt that it was as great as that of any other hero. In time his name became so much a household word that jokes and forgeries were fathered onto it, as in a popular fraud that survives on eighth-century B.C. tablets which perhaps themselves copy an older text. This is a letter supposed to be written by Gilgamesh to some other king, with commands that he should send improbable quantities of livestock and metals, along with gold and precious stones for an amulet for Enkidu, which would weigh no less that thirty pounds. The joke must have been well received, for it survives in four copies, all from Sultantepe.

But if I hear that any creatures are being hunted or abused, I will come back and take this off your head.” “Whoa, Tea,” Abby said. “You’ll take off his head?” “I’ll help,” Enkidu said happily. “I didn’t say I’d take off his head. I said I’d take the crown off his head.” “It was totally in your tone of voice, though,” Abby insisted.

As the horse is the brother, so the snake is the sister of Chiwantopel (“my little sister”). Rider and horse form a centaur-like unit,84 like man and his shadow, i.e., the higher and lower man, ego-consciousness and shadow, Gilgamesh and Enkidu. In the same way the feminine belongs to man as his own unconscious femininity, which I have called the anima. She is often found in patients in the form of a snake. Green, the life-colour, suits her very well; it is also the colour of the Creator Spiritus. I have defined the anima as the archetype of life itself.85 Here, because of the snake symbolism, she must also be thought of as having the attribute of “spirit.” This apparent contradiction is due to the fact that the anima personifies the total unconscious so long as she is not differentiated as a figure from the other archetypes. With further differentiations the figure of the (wise) old man becomes detached from the anima and appears as an archetype of the “spirit.” He stands to her in the relationship of a “spiritual” father, like Wotan toThe OHG. Brünhilde or Bythos to Sophia. Classic examples are to be found in the novels of Rider Haggard.

Las mejores mentes se concentraban en dar sentido a la muerte, no en intentar escapar de ella. Este tema lo recoge el mito más antiguo que ha llegado hasta nosotros; el mito de Gilgamesh del antiguo Sumer. Su héroe es el hombre más fuerte y hábil del mundo, el rey Gilgamesh de Uruk, que podía vencer a cualquiera en combate. Un día, el mejor amigo de Gilgamesh, Enkidu, murió. Gilgamesh se sentó junto al cadáver y lo observó durante muchos días, hasta que vio que un gusano salía de la nariz de su amigo. En aquel momento, Gilgamesh fue presa del terror, y decidió que él nunca moriría. De alguna manera, encontraría el modo de vencer a la muerte. Gilgamesh emprendió entonces un viaje hasta los confines del universo, matando leones, luchando contra hombres escorpión y encontrando el camino hacia el infierno. Allí hizo añicos a los gigantes de piedra de Urshanabi y al barquero del río de los muertos, y encontró a Utnapishtim, el último superviviente del diluvio primordial. Pero Gilgamesh fracasó en su búsqueda. Volvió a su hogar con las manos vacías, tan mortal como siempre, pero con una nueva muestra de sabiduría. Cuando los dioses crearon al hombre, había descubierto Gilgamesh, dispusieron que la muerte fuera el destino inevitable del hombre, y el hombre ha de aprender a vivir con ello.

And it befell that Enkidu built for Gilgamesh a dwelling for the God of Dreams. Unto this dwelling did Enkidu affix a door, that the wind might not enter therein.

The archangels were well acquainted with the Mother Earth Goddess and her protective parasites. Her evil was ancient. Before the Flood, she had resided in the land now called Arabia. It had been a vast fertile continent in antediluvian days. But Gaia sucked the soul out of the environment and turned it into a lifeless desert. She had the ability to manifest herself between heaven and earth, unseen by mortal eyes from a distance behind a veil of illusion. The area around her was like being in a world between worlds. It was there, but not there. Before the Flood, Enoch and his band of giant killers had encountered her within a Shaitan, a supernatural sandstorm. After the Flood, the great King Gilgamesh and his companion Enkidu had cut down the great tree with their mighty axes. But Gaia’s seed always finds new earth and she had planted herself in these foothills of the sacred mountain of Baal-Hermon. Protected in the shadow of the assembly of gods, by the cult of Pan and the idol worship of the tribe of Dan nearby, Gaia flourished.

Gilgamesh wandered in the wilderness grieving over the death of Enkidu and weeping saying: “Enkidu has died. Must I die too? Must Gilgamesh be like that?” Gilgamesh felt the fear of it in his belly. He said to himself that he would seek the son of Ubartutu, Utnapishtim, he, the only one of men by means of whom he might find out how death could be avoided. He said to himself that he would hasten to him, the dangers of the journey notwithstanding.

Shamash the Sun God as He set, they dug a well, from which they filled their water-skins with fresh water. And then did Gilgamesh ascend to the mountain peak, where he poured out upon the ground an enchanted circle of milled flour as an offering, and uttered these words in supplication, “O Mountain, bring unto me a dream, that I may receive a favorable sign from Shamash.” And it befell that Enkidu built for Gilgamesh a dwelling for the God of Dreams. Unto this dwelling did Enkidu affix a door, that the wind might not enter therein. Then did Enkidu bid Gilgamesh to lie upon the ground, so he could pour about him an enchanted circle of milled flour to cause Gilgamesh to dream. And then did Enkidu betake himself to lie upon the threshold of the dwelling. In the night, Gilgamesh sat with his chin upon his knee. And, then, sleep came to him, as it does to all men. In

But, withal, Enkidu now had wisdom and enlightenment.

Then did Enkidu groom his hair and anoint himself with oil. Thus did Enkidu become as a man.

Thou hast become dark and cannot hear me. When I die shall I not be like Enkidu? Sorrow enters my heart. I am afraid of death.

Line 10: The fact that the inhabitants of the Netherworld are said to be clad in feather garments is perhaps due to the belief that after death, a person's soul turned into a spirit or a ghost, whose nature was wind-like, as well as bird-like. The Mesopotamians believed in the body (*pagru*) and the soul. the latter being referred to by two words: GIDIM = *et.emmu*, meaning "spirit of the dead," "ghost;" and AN.ZAG.GAR(.RA)/LIL2 = *zaqi_qu*/*ziqi_qu*, meaning "soul," "ghost," "phantom." Living beings (humans and animals) also had ZI (*napis\/tu*) "life, vigor, breath," which was associated with the throat or neck. As breath and coming from one's throat, ZI was understood as moving air, i.e., wind-like. ZI (*napis\/tu*) was the animating life force, which could be shortened or prolonged. For instance...Inanna grants "long life (zi-su\-ud-g~a/l) under him (=the king) in the palace. At one's death, when the soul/spirit released itself from the body, both *et.emmu* and *zaqi_qu*/*ziqi_qu* descended to the Netherworld, but when the body ceased to exist, so did the *et.emmu*, leaving only the *zaqi_gu*. Those souls that were denied access to the Netherworld for whatever reason, such as improper buriel or violent or premature death, roamed as harmful ghosts. Those souls who had attained peace were occasionally allowed to visit their families, to offer help or give instructions to their still living relatives. As it was only the *et.emmu* that was able to have influence on the affairs of the living relatives, special care was taken to preserve the remains of the familial dead. According to CAD [The Assyrian Dictionary of the University of Chicago] the Sumerian equivalent of *zaqi_qu*/*ziqi_qu* was li/l, which referred to a "phantom," "ghost," "haunting spirit" as in lu/-li/l-la/ [or] *lilu^* or in ki-sikil-li/l - la/ {or] *lili_tu*. the usual translation for the word li/l, however, is "wind," and li/l is equated with the word *s\/a_ru* (wind) in lexical lists. As the lexical lists equate wind (*s\/a_ru* and ghost (*zaqi_qu*) their association with each other cannot be unfounded. Moreover, *zaqi_qu* derives from the same root as the verb *za^qu*, "to blow," and the noun *zi_qu*, "breeze." According to J. Scurlock, *zaqi_qu* is a sexless, wind-like emanation, probably a bird-like phantom, able to fly through small apertures, and as such, became associated with dreaming, as it was able to leave the sleeping body. The wind-like appearance of the soul is also attested in the Gilgamesh Epic XII 83-84, where Enkidu is able to ascend from the Netherworld through a hole in the ground: "[Gilgamesh] opened a hole in the Netherworld, the *utukku* (ghost) of Enkidu came forthfrom the underworld as a *zaqi_qu." The soul's bird-like appearance is referred to in Tablet VII 183-184, where Enkidu visits the Netherworld in a dream. Prior to his descent, he is changed into a dove, and his hands are changed into wings. - State Archives of Assyria Cuneiform Texts Volume VI: The Neo-Assyrian Myth of Istar's Descent and Resurrection {In this quote I haven't been able to copy some words exactly. I've put Assyrian words( normally in italics) between *asterisks*. The names of signs in Sumerian cuneiform (wedge-shaped writing) are normally in CAPITALS with a number slightly below the line after it if there's more than one reading for that sign. Assyriologists use marks above or below individual letters to aid pronunciation- I've put whatever I can do similar after the letter. E.g. *et.emmu" normally has the dot under the "t" to indicate a sibilant or buzzy sound, so it sounds something like "etzzemmoo." *zaqi_qu* normally has the line (macron) over the "i" to indicate a long vowel, so it sounds like "zaqeeqoo." *napis\/tu* normally has a small "v" over the s to make a sh sound, ="napishtu".}

Laid out his body under Enkidu and sheared the hair from his body with a kiss!

In this sense, the scene in Genesis 2 indicates that Adam is not Enkidu—he finds no companion among the animals, but, like Enkidu, he learns that he is not a beast. Many of the elements in Genesis 2–3 find points of contact in the descriptions of Enkidu in the Gilgamesh Epic, but none of them works the same. In this way, we could say that Genesis 2–3 is engaged in discussing some of the same topics as the Gilgamesh Epic but stands in juxtaposition to it at nearly every point.

ambos, los amigos asesinaron al animal. Enojados, los dioses decidieron matar a Enkidu. La pérdida devastó al rey, quien desesperado cavó un agujero en la tierra para que el espíritu de su compañero pudiera subir hasta la superficie. Gilgamesh le rogó que le contara lo que había visto en la tierra de ultratumba. Pero Enkidu se negó a darle información. Si te digo cómo son los infiernos que he visto, siéntate y llora. Enkidu intentó protegerlo de una verdad insoportable, pero Gilgamesh insistió hasta que obtuvo la respuesta. Mi cuerpo, aquel que tú tocabas con alegría, está roído por la polilla como un viejo vestido. Mi cuerpo, aquel que tú tocabas con alegría, (…) está lleno de polvo…

Enkidu sat before Shamhat. The temple harlot uncovered her bosom. Whereupon did Enkidu forget the wilderness wherein he was begotten. So, for the space of seven days and seven nights, did Enkidu lie once again with the priestess and go into her, his member hard.

No longer pure was Enkidu. His strength failed him. His legs would serve him not, as he tried to follow after the wild beasts. He was no longer swift. But, withal, Enkidu now had wisdom and enlightenment.

Artık insanların Gılgamış’ı, Enkidu’su, Hera’sı, Afrodit’i yok; onların yerine hip hop, futbol, müzik ve sinema tanrıçaları var. Tanrılar ve tanrıçalar gibi onların aşk, evlenme, boşanma, kavga, kıskançlık, cinayet maceralarını izliyorlar.

Enkidu did die, he said, yet it was Gilgamesh who wasted his time. He brought himself one step closer to death with his efforts looking sad, pathetic, and beaten. A man’s life was short, the immortal man said, cut down in an instant like a reed

The forest from the first day of creation. But it turns out Gilgamesh and his punk friend Enkidu have already been through and trashed the place. Oldest story in the world.

Enkidu never should’ve killed the guardian of the forest. He should’ve joined him. That’s what too much civilizing does to you.

It is an old story But one that can still be told About a man who loved And lost a friend to death And learned he lacked the power To bring him back to life. It is the story of Gilgamesh And his friend Enkidu.

For Enkidu to be torn away from sodomy was a prerequisite to his becoming human.

Spider Jerusalem: You want to go out to dinner sometime? Hannah Enkidu: Sorry, no. I'm married, not hungry,infected with seven unknown diseases, gay, pregnant with lizards and clinically dead.

Whenever I think about the Enkidu story, I think Kipling really missed out on a much better ending for The Jungle Book.