Study on Comparison Between Stories Inanna’s Descent to the Horrific Nether World and the Supernatural Gilgamesh.

Introduction.

This study focuses on two historical trips in particular. Many ancient Mesopotamian writings tell the same narrative and conclude in the same way. Both “The Descent of Inanna” and “The Epic of Gilgamesh” are identical in essential elements yet differ often during their adventures. Both stories take place in the same period and the same part of the planet. The clay tablet narrates the story of a strong demigod who sets out on adventures for people to recognize his wondrous deeds. The narrative of an eternal queen who is very well and travels is told in “The Descent of Inanna.” The Epic of Gilgamesh is an ancient Mesopotamian epic poem that is one of the world’s first known literary works. A comparison and expounding of the topics and subjects of the two old accounts are necessary to shed light on specific regions, features, or events and draw attention to some of their parallels and contrasts (Knott ).

Gilgamesh As Harsh And Abuses Power.

As a person of great strength and authority, one would expect him to use this resource for the people’s good, but this is not the case. Thanks to the gods’ gifts of strength, courage, and beauty, Gilgamesh, king of Uruk, was the strongest and greatest ruler who ever existed, thanks to his prowess, which stemmed from a belief that he was two-thirds god and one-third human (Kramer). Things happen here that are in line with the superpower nature of this story’s character.On the other side, the people of Uruk are furious, accusing Gilgamesh of being too harsh and misusing his supernatural powers by sleeping with their lovely women. Enkidu, a strong wild-man created by Aruru, the goddess of creation, faces Gilgamesh in battle. He lives among the wild animals in a natural manner, but he rapidly becomes a problem to the local shepherds and trappers because he crowds the animal-like at the watering hole (Knott). Gilgamesh sends a prostitute named Shamhat to seduce and tame the ravenous Enkidu at the request of a huntsman, and after six days and seven nights with the harlot, he is no longer a wild beast living among animals. The harlot finally persuades him to come to the territorial divide when he learns the steps and manners of people and is outcast by the animals he used to dwell with (Kramer). A horrible act has been perpetrated by an ordinary mortal. When he learns the ways of people and is ostracized by the animals he used to live with, the harlot eventually persuades him to come to the city (Kramer). A common mortal has committed a heinous and disrespective crime.

Self-satisfaction character evidenced by the inside character in Gilgamesh.

Gilgamesh’s self-satisfaction. The narrative depicts Gilgamesh’s viewpoint on the significance of self-interest vs. caring for others as a community member in his day. Gilgamesh is initially highly self-centered. He’s been obsessed with becoming everlasting since the beginning, whether by fame and reputation, physical immortality, or both. However, he demonstrates his new energy when he obtains the flower of youth after his metamorphosis (Knott). When Gilgamesh receives his gift, the first thing that comes to mind is sharing its power with the Uruk elders.

Inanna Displaying Selfless Character Trait From Beginning Of Her Story

Humans and relationships are always more critical to Inanna than tangible things like riches or power. The first instance is when, as previously said, she bestows her abilities on the Sumerians. Second, Inanna “descended to the underworld, abandoning heaven and earth.” She goes to the underworld to console her sister and “see the burial ceremonies” for her husband, the Bull of Heaven (Kramer). Finally, Inanna punishes her husband, Dumuzi, by sending him to the underworld since he “dressed in his glittering me-garments” and “sat on his splendid throne” without moving when Inanna required assistance underworld.

Ananas Magical And Unbelievable Prowess.

She possessed all seven heavenly abilities. She gathered the sacred abilities and held them in her hand. She continued on her path, aided by the benevolent divine powers. She wore a turban, which is a type of headdress worn in the open countryside. She put on a wig to cover her brow. Her neck was adorned with tiny lapis-lazuli beads. She left the office of en, left the office of lagar, and plunged into the abyss. She initially left the E-ana in Unug and went into the underworld. She abandoned several different spots before finally descending again and again. Her final mystery voyage occurred at Kazallu when she left the E-cag-hula and went to the abyss.

Difference Of The Characters; Inanna And Gilgamesh

Inanna returns after falling, but Gilgamesh does not return after leaving. The contrast between Inanna’s status as a goddess and Gilgamesh’s status is demonstrated during Inanna’s Descent to the Netherworld, where Inanna can descend into the Netherworld and return to the sky, unlike any other deity. Inanna’s sister and ruler of the Netherworld, Ereshkigal, holds a grudge against Inanna and may be mentioned in a few additional stories. Ereshkigal is subject to the Netherworld’s rules as well. On the other hand, Inanna is a well-liked Queen who governed the country quietly, as opposed to Gilgamesh, who erected massive walls that were supposed to keep enemies out but kept residents in. Gilgamesh is a semi-imaginary King of Uruk translated from the Sumerian/Babylonian mural “The Epic of Gilgamesh” many years ago (Knott). Gilgamesh, who was two-thirds god and one-third human, controlled Uruk with an iron hand and persecuted the Urukites regularly. The gods believe he is too powerful, so they send Enkidu, a half-human, half-animal hybrid, to tame him. After a tense battle in which neither side is victorious, Enkidu and Gilgamesh develop mutual regard and become friends. They decide to go on a joint enterprise, which ultimately results in Enkidu being ill and dying. Enkidu will tell Gilgamesh about his vivid dreams and sights of the Netherworld before he dies.

In contrast to “The Descent of Inanna,” she encounters a guard who forces her to pass through seven gates, each of which removes an article of hope. Both characters are mortal, and their output contradicts expectations, as a goddess is believed to be more potent than a deity, as seen by Inanna’s superiority against Gilgamesh (Kramer). When Gilgamesh slaughters a bull, the gods are believed to punish by making Enkidu sick and dying. Following the death of his companion, Gilgamesh discovers that he is part mortal and embarks on a hopeless quest for immortality.

Conclusion

Inanna and Gilgamesh are both human and robust figures. War, love, avarice, mysteriousness, and heroism are all shown similarly. Both books show us how to alter oneself and acquire specific lessons about the nature of life to feel more fulfilled and avoid sadness (Kramer). When Gilgamesh encounters Siduri, a young lady who produces wine near the sea, the primary message and turning point of The Epic of Gilgamesh occurs. The Gilgamesh Epic concludes with a changed and wiser ruler who strengthens his people and even creates a space for nature in his metropolis. When Inanna is stripped of her earthly belongings in the underworld, she learns an essential lesson about life. She is utterly defenseless without her authority or prestige to defend her. It’s a powerful metaphor for how everyone is naked before death. Her experience has taught her humility and always striving to behave in a down-to-earth mood, and it has taught us, mortals, to value relationships over things.

Works Cited

Kramer, Samuel N. “Inanna’s Descent to the Nether World” Continued and Revised. Second Part: Revised Edition of “Inanna’s Descent to the Nether World.” Journal of Cuneiform Studies, vol. 5, no. 1, 1951, pp. 1-17.

Knott, Elizabeth A. “Ishtar’s (Inanna’s) Descent into the Netherworld.” Encyclopedia of the Bible Online, 2013.

Kramer, Samuel N. “Inanna’s Descent to the Nether World” Continued and Revised. Second Part: Revised Edition of “Inanna’s Descent to the Nether World.” Journal of Cuneiform Studies, vol. 5, no. 1, 1951, pp. 1-17.