Characteristics Of Gilgamesh - 712 Words

The Epic of Gilgamesh narrates the life of Gilgamesh which demonstrates a clear idea of who he was and how his character evolved throughout his journey, depending on who he met. Gilgamesh was known as the King of the city of Uruk who was not very well liked by many people. Despite there have been many versions of Gilgamesh that has been passed down for years, Gilgamesh was always portrayed as a strong and mighty ruler who had and got what he wanted, undeterred by how his people felt. Like most modern heroes, Gilgamesh can be seen with the characteristics such as intelligence, physical strength, and bravery. The main characteristic that describes Gilgamesh is his intelligence. Gilgamesh may not seem intelligent to most readers because of†¦show more content†¦With the blessing of the sun god Shamash [Enkidu and Gilgamesh] succeed, and they cut down some magnificent trees that float down the Euphrates River to Mesopotamia† (The Epic of Gilgamesh 96-97). Gilgamesh and Enki du, his equal, kills Humbaba successfully not only because they were blessed by Shamash, but most importantly because of Gilgamesh’s pure strength. Even without the blessing of Shamash, there isn’t a doubt that Gilgamesh and Enkidu could have successfully finished off the giant, Humbaba. Not only is Gilgamesh physically strong, but he is certainly brave. Bravery is also an important depiction of Gilgamesh throughout The Epic of Gilgamesh. Gilgamesh was brave in most of the events in the epic, but the main component was after Enkidu died and he went out of his way to try to find immortality (The Epic of Gilgamesh 97). Throughout the epic, Gilgamesh’s character seems to evolve after the death of Enkidu and this is the turning point for him. â€Å"He braves monsters, runs along the sun’s path under the earth at night, encounters a mysterious woman who keeps a tavern at the edge of the world, passes a garden of jeweled trees, crosses the waters of death, and finally arrives at the doorstep of Utanapishtim and his wife† (The Epic of Gilgamesh 97). When Gilgamesh encountered Utanapishtim, he was doubted at first, but he did not give up. Gilgamesh did what he was told even if he failed at certain tasks and ended up withShow MoreRelatedCharacteristics Of Gilgamesh1021 Words   |  5 Pagesancient literature, we see many characters play the role of a hero. In Gilgamesh, he plays the role of a tragic hero. Gilgamesh was created by the gods. Gilgamesh was feared for his god-like strength and aggression, but later, the audience pities him when we see his sorrow spirit from his friends death. Gilgamesh was perceived as being extremely strong. What made Gilgamesh a hero, is the battles he fought to become strong. Gilgamesh defeated monsters through his physical strength and endurance. He createdRead More Characteristics of Gilgamesh and Enkidu in Fosters The Epic of Gilgamesh835 Words   |  4 Pagesones. In the book, The Epic of Gilgamesh, by Benjamin Foster, both Gilgamesh and Enkidu had positive and negative characteristics that affected the outcome of their journey and their adventures they experienced throughout their lives. Gilgamesh was considered a hero because he had many great qualities, such as loyalty, perseverance, and heroism. Although these are heroic traits, he also had his flaws and was self-righteous, selfish, and prideful. Gilgamesh was a great man and was seen asRead MoreThe Characteristics Of A Hero Journey In The Epic Of Gilgamesh1035 Words   |  5 Pageshero story is present in a variety of the arts ranging from the earliest surviving work of literature, to children’s books, to modern day motion picture masterpieces. The characteristics of a hero have withstood the test of time, and remained remarkably similar. Traits of a modern day hero can be traced back to â€Å"The Epic of Gilgamesh† which dates back to two-thousand BC. This reflects the power of a hero and its message that it portrays to audiences of all ages and backgrounds. The ability to captureRead More The Epic of Gilgamesh is Truely an Epic Essay1690 Words   |  7 PagesThe Epic of Gilgamesh is Truel y an Epic An epic is an extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero.  Ã‚   The main characteristics of an epic as a literary genre is that it is a long poem that tells a story, it contains an epic hero, its hero searches for immortality (but doesnt find it physically, only through fame), gods or other supernatural beings are interested and involved, and it delivers an historical message.  Read MoreGilgamesh704 Words   |  3 Pagessupernatural enemies, quests, war, or adversity. The Epic of Gilgamesh depicts most of these characteristics of epic heroism. The description about his birth to the journey and adventures in his life meets the characteristics of an epic hero. Although, at some points, Gilgamesh engages in acts of selfishness and arrogance, I believe he achieves the characteristics of an epic hero and portrays those characteristics throughout the epic. Gilgamesh is described as a son of a mortal man and a goddess, whichRead MoreBeowulf And The Epic Of Gilgamesh1667 Words   |  7 Pagessociety, a hero is viewed as someone who embodies the characteristics of selflessness, courage, honesty, and integrity. The same characteristics were essential to be thought of as a hero 3,000 years ago as well. Two of the most widely known epic poems of their time were Beowulf and The Epic of Gilgamesh. Both Beowulf and Gilgamesh embody traits known exclusively of a hero. The poem of Beowulf and The Epic Gilgamesh both showcase the characteristics required of being an epic, in that they include a heroRead MoreSimilarities Of Mythical Heroes781 Words   |  4 PagesMythical heroes have more similarities than differences. They are all heroes that should carry the same characteristics and have more similarities than differences. In all of the myths, the heroes have shown characteristics, which helped them in different ways. Similar to Isis and Gilgamesh Determination. The young girl’s preparation to escape the house and Finn McCool’s Wife (Oonagh) preparation to take the massive giant back. Gilgamesh’s bravery to fight the big giant Humbaba and Oonagh’s BraveryRead MoreAnalysis Of The Epic Of Gilgamesh 975 Words   |  4 Pagesof Gilgamesh, a book written millenniums ago, is the story of a two-thirds god and one third man named Gilgamesh who is devoted to the self-improvement of full god. Even though Gilgamesh knows immortality is impossible he continues to seek the self- improvement eternal life because the god within him conflicts with his humanity. Since Gilgamesh has two-thirds god in him, he gets everything he desires except immortality. Due to the fact that it was the one thing he couldn t have, Gilgamesh setsRead MoreThe Role of Enkidu Essay1064 Words   |  5 PagesHerbert Mason’s interpretation of an extract of the Epic of Gilgamesh lacks a large amount of text and the legendary hero so common in later epics such as Odyssey and Beowulf. Because the later epics are considered to be based on the Epic of Gilgamesh it is important to consider why, in Mason’s translation, is there a lack of an impressive amount of text and of a legendary hero. While it is effortless to attribute the missing characteristics of the story to the translation, the events of the story suggestRead MoreEpic Passages of The Epic of Gilgamesh and Homers Odyssey921 Words   |  4 Pagesdefinition of a hero has evolved over time through both written word and human experiences, so what is a hero? In the two epic passages The Epic of Gilgam esh and Homers Odyssey, heroism appears to be a clear distinction with the literature, and has the same basic framework as today’s definition of a hero. Historically, in the texts, heroes such as Gilgamesh and Odysseus are protagonists viewed and credited with great bravery and most certainly heroism. Nearly all of the heroic figures throughout time

How to Improve and Retain Your German Fluency

Here are some suggestions to help you with your goal to improve your German.   Surround yourself in German:Label your home, your workplace with German words. And dont label with nouns only. Do colours, verbs (such as à ¶ffnen /open and schließen /close on a door), adjectives (e.g. rauh/rough, weich/soft on different textures).Paste the conjugation of verbs you have difficulties with on your bathroom mirror.Change the settings on your computer to German.Have a German site as your homepage.Learn at least one German word a day: More if you can retain them. Then practice it on someone that day or write it in a sentence, so that it becomes part of your spoken vocabulary and not just your comprehension vocabulary.Write in German every day: Keep a journal or diary, get an e pen-pal or join the one-on-one classes on our forum. Write your to-do lists in German.Read in German every day: Read, read, read!Subscribe to a German newspaper/magazine, a German-American newspaper or read German magazines/newspapers online.Use a German cookbook.Read childrens books. They expo se you to basic vocabulary, dont have much jargon and often use repetition. As your vocabulary increases, try older childrens/youth books.Read dual-language books. They give you the satisfaction of reading more advanced classic books.Listen to German every day: Challenge yourself to watch a German podcast, show etc. or listen to German music every day.Find a German buddy: If there are no Germans near where you live, pair up with someone else who is learning German and commit yourselves to speaking only German with each other.Practice wherever you go: Though limited in a non-German speaking country, with some creativity, you can get some daily German practice. Every little bit helps.Become involved in your local German club: Also try the universitys Kaffeeklatsch, the Goethe-Institute. Depending where you live, you may have the opportunity to attend German festivities, German film screenings, book clubs etc. If no such thing exists in your community, why not create your own German c lub? Even just a simple evening of German board games with two or three people will enrich your German learning experience.Take a German course: Check out your community college, university or language schools for courses. Study for a German proficiency test this year.Study/Work in Germany: Many German organizations and institutions offer scholarships or grants for a study abroad experience.Most important resolution to always keep: Believe that you can and will learn German.

Warning Signs on Short Scholarship Essay Samples You Must Be Aware Of

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Mesopotamian Art and Arquitecture Essay Example For Students

Mesopotamian Art and Arquitecture Essay Mesopotamian Art and ArchitectureThe arts and buildings of the ancient Middle Easterncivilizations developed in the area (now Iraq) between theTigris and Euphrates rivers from prehistory to the 6thcentury BC. Their art reflects both their love and fear of natural forces, as well as their military conquests. The soil of Mesopotamia yielded the civilizationsmajor building material, mud brick. This clay also was usedby the Mesopotamians for their pottery, terra-cottasculpture, and writing tablets. Few wooden artifacts havebeen preserved. Stone was rare, and certain types had tobe imported; basalt, sandstone, diorite, and alabaster wereused for sculpture. Metals such as bronze, copper, gold,and silver, as well as shells and precious stones, wereused for sculptures and inlays. The art of Mesopotamia includes a mix from peoplewho differed ethnicly and linguistically. Each of thesegroups made its own contribution to art until the Persianconquest of the 6th century BC. The first dominant peo pleto control the region and shape its art were the non-SemiticSumerians, followed by the Semitic Akkadians,Babylonians, and Assyrians. The earliest architectural and artistic remains knownto date come from northern Mesopotamia from theproto-Neolithic site of Qermez Dere in the foothills of theJebel Sinjar. Levels dating to the 9th millennium BC haverevealed round sunken huts outfitted with one or twoplastered pillars with stone cores. When the buildings wereabandoned, human skulls were placed on the floors,indicating some sort of ritual. Artifacts from the late Uruk and Jamdat Nasr periods,also (about 3500-2900 BC), have been found at several sites, but the major site was the city of Uruk. The majorbuilding from level five at Uruk (about 3500 BC) is theLimestone Temple; its superstructure is not preserved, butlimestone slabs on a layer of stamped earth show that itwas niched and monumental in size, measuring 250 x 99ft. Some buildings at Uruk of level four were decorated withcolorful cones inset into the walls to form geometricpatterns. Another technique that was used waswhitewashing, as in the White Temple, which gets its namefrom its long, narrow, whitewashed inner shrine. It was builtin the area of Uruk dedicated to the Sumerian sky god Anu. The White Temple stood about 40 ft above the plain, on ahigh platform, prefiguring the ziggurat, the stepped tower,typical Mesopotamian religious structure that was intendedto bring the priest or king nearer to a particular god, or toprovide a platform where the deity could descend to visitthe worshipers. A few outstanding stone sculptures were unearthed atUruk. The most beautiful is a white limestone head of awoman or goddess (about 3500-3000 BC), with eyebrows,large open eyes, and a central part in her hair, all intendedfor inlay. A tall alabaster vase (about 3500-3000 BC), withhorizontal bands, or registers, depicts a procession at thetop, with a king presenting a basket of fruit to Inanna,goddess of fertility and love, or her priestess; nude priestsbringing offerings in the central band; and at the bottom arow of animals over a row of plants. The first historical epoch of Sumerian dominancelasted from about 3000 BC until about 2340 BC. Whileearlier architectural traditions continued, a new type ofbuilding was introduced, the temple oval, an enclosure witha central platform supporting a shrine. City-states centeredat such cities as Ur, Umma, Lagash, Kish, and Eshnunnawere headed by governors or kings who were notconsidered divine. Much of the art is commemorative;plaques, frequentl y depicting banquet scenes, celebratevictories or the completion of a temple. These were oftenused as boundary stones, as was the limestone stele(Louvre, Paris) of King Eannatum from Lagash. In tworegisters on one side of the stele the king is depictedleading his army into battle; on the other side the godNingirsu, symbolically represented as much larger than ahuman, holds the net containing the defeated enemy. TheStandard of Ur (about 2700 BC) a wooden plaque inlaidwith shell, schist, lapis lazuli, and pinkish stone, has threebands of processions and religious scenes. The Semitic Akkadians gradually rose to power in thelate 24th century BC; under Sargon I (about 2335-2279BC), they extended their rule over Sumer and united thewhole of Mesopotamia. Little Akkadian art remains, butwhat has survived is endowed with technical mastery, greatenergy, and spirit. In the Akkadian cities of Sippar, Assur,Eshnuna, Tell Brak, and the capital at Akkad (still to befound), the palace became more important than thetemple. The most significant Akkadian innovations were thoseof the seal cutters. The minimal space of each seal is filledwith action: Heroes and gods grapple with beasts, slaymonsters, and drive chariots in processions. A newAkkadian theme, developed and continued in the periods tofollow, was the presentation scene, in which anintermediary or a personal deity presents another figurebehind him to a more important seated god. Except forstories from the Gilgamesh epic, many myths that aredepicted have not been interpreted. In Our Time The Nick Adams Stories Were My Favorite Of The Collection EssayNot only is there more detail, but at times figures overlap,giving the viewer a sense of people and animals in realspace. The art of the late Assyrian seal cutter is acombination of realism and mythology. Even thenaturalistic scenes contain symbols of the gods. These objects may have originated outside of Assyria, for theyresemble Syro-Phoenician crafted objects found at ArslanTash on the upper Euphrates and at Samaria, capital of theIsraelite kingdom. The lioness plaques incorporateEgyptian iconography and are examples of the bestPhoenician craftsmanship. Thousands of ivory carvingsdisplaying a variety of styles have been recovered atNimrud. The art of the peoples who lived on the fringes of theAssyrian Empire at times lacks the aesthetic appeal of thatof the capital. In Tell Halaf, a local rulers palace wasdecorated with weird reliefs and sculpture in the round;among the hybrids is a scorpion man. At the site of TellAhmar in northern Syria, ancient Til Barsip (Assyrian KarShalmaneser), a palace decorated extensively withAssyrian wall paintings was uncovered. Some of thepaintings are attributed to the mid-8th century BC; others toa rebuilding by Assurbanipal in the 7th century BC. Fromthe earlier building are scenes with winged genii, the defeatof the enemy and their merciless execution, audiencesgranted to officials, and scribes recording booty fromsubjugated nations. The paintings in Khorsabad were moreformalrepeat patterns in bands are topped by two figurespaying homage to a deity. Excavations in Lorestan, themountainous region of western Iran, yielded fine bronzes offantastic creatures, probably made in the middle or lateAssyrian period. These were used as ornaments forhorses, weapons, and utensils. Syria, Phoenicia, and Palestine were on the land routebetween Asia Minor and Africa, and the ancient art of thisarea always shows the influence of those who conquered,passed through, or traded with its inhabitants. Mesopotamian-style cylinder seals from the Jamdat Nasrperiod have been found. Pottery, works in stone, andscarabs were influenced by dynastic Egypt beginning in the29th century BC. Bronze figurines from Byblos of the early2nd millennium are more distinctly Phoenician, as aredaggers and other ceremonial weapons found there. Although the motifs used by local artisans came frombeyond the immediate regionCrete, Egypt, the HittiteEmpire, and Mesopotamiathe technique embodied incrafted objects found at Byblos and Ugarit is distinctlyPhoenician. Phoenician goldsmiths and silversmiths wereskilled artisans, but the quality of their work depended ontheir clientele. Ivory work was always of the higheststandards, probably because of Egyptian competition. Phoenicians sold their wares all over the Middle East, andthe spread of Middle Eastern style and iconography, likethe alphabet, can be attributed to these great traders ofantiquity. The Babylonians, in coalition with the Medes andScythians, defeated the Assyrians in 612 BC and sackedNimrud and Nineveh. They did not establish a new style oriconography. Boundary stones depict old presentationscenes or the images of kings with symbols of the gods. Neo-Babylonian creativity manifested itself architecturallyat Babylon, the capital. This huge city, destroyed (689 BC)by the Assyrian Sennacherib, was restored byNabopolassar and his son Nebuchadnezzar II. Divided bythe Euphrates, it took 88 years to build and wassurrounded by outer and inner walls. Its central feature wasEsagila, the temple of Marduk, with its associatedseven-story ziggurat Etemenanki, popularly known later asthe Tower of Babel. The ziggurat reached about 300 ft inheight and had at the uppermost stage a temple (a shrine)built of sun-dried bricks and faced with baked bricks. Fromthe temple of Marduk northward passed the processionalway, its wall decorated with enamelled lions. Passingthrough the Ishtar Gate, it led to a small temple outside thecity, where ceremonies for the New Year Festival wereheld. Nabonidus (reigned 556-539 BC), the last Babylonianking, rebuilt the old Sumerian capital of Ur, including theziggurat of Nanna, rival to the ziggurat Etemenanki atBabylon. It survived well and its facing of brick has recentlybeen restored. In 539 BC the Neo-Babylonian kingdom fell to thePersian Achaemenid king Cyrus the Great. Mesopotamiabeame part of the Persian Empire, and a royal palace wasbuilt at Babylon, which was made one of the empiresadministrative capitals. Among the remains from Babylonof the time of Alexander the Great, is a theater he built atthe site known now as Humra. The brilliance of Babylonwas ended about 250 BC when the inhabitants of Babylonmoved to Seleucia, built by Alexanders successors.