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Essay on Gilgamesh: Character Analysis

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Through the encounters of the rule character, King Gilgamesh, the 'Epic of Gilgamesh' recommends that demonstrations of individual significance and self-centeredness are not the way to a satisfying life and heritage. The Epic of Gilgamesh is based on friendship and moreover is the tale of gods, beasts, and men. The heritage of the story Gilgamesh was turned into various components that had been discussed throughout the story.

Throughout the Story in the Epic, it is the childishness depicted by King Gilgamesh that proposes to the peruser that a genuine life inheritance requires more than individual guilty pleasure and acclaim. As a lord, Gilgamesh acts less like a gatekeeper shepherd, looking out for the groups of Uruk, than he does as a wild, uncontrolled power the individuals of Uruk allude to as an unparalleled brute and a 'loose bull' (3). The explanation he is portrayed in such negative terms is that he does nothing positive for the residents of Uruk. Rather, he invests his energy in taking little youngsters from their families, just as keeping young ladies from their spouses for his very “own motivation' (4). That the ruler tyrannizes over his natives thusly recommends that he yearns for power and significance, however, shows he couldn't care less for his kin in the manner a shepherd would think about his run. Another case of Gilgamesh's self-centeredness is his surrender of Uruk for the acclaim of killing Humbaba, the wild gatekeeper of the woods.

Continuously in the story, Gilgamesh's idea of what makes his life significant is evolving. The enthusiastic breakdown of the ruler may propose the disposal of his negative biases, for example, self-centeredness, which will permit new astuteness, for example, energy about others, to enter his brain. This progress is additionally reflected in the section of gloominess; Gilgamesh takes on his venture for everlasting status: Oh the night, unholy and daze, that wrapped him when he ventured forward upon that way (62). While the picture of gloominess seems to recommend a lost center, it might likewise serve to explain the exercise in the content. It recommends a feeling of helplessness that goes with the change of Gilgamesh's own convictions before he picks up sight of every single “valuable great,' (63) that leads to a satisfying life. After coming all the way back, Gilgamesh asks Urshanabi to 'study the base, the block, the old structure [of the dividers encompassing Uruk.

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Courageous missions being both outer and interior in nature, critics have likewise recognized a few different kinds of journeys inside 'Gilgamesh'. The saint's central outer mission is to build up 'acclaim down through the ages' (Tablet V, 186), yet he additionally travels looking for everlasting status or if nothing else a way to escape passing (Tablet XI). With the demise of Enkidu, Gilgamesh likewise missions methods for tolerating and conquering his despondency (Tablet VIII). Obviously, Enkidu and Gilgamesh together make a physical and accordingly outside mission to search out the beast, Humbaba (Tablets IV and V). To probably some degree, Gilgamesh is likewise effective in his journeys. The opening of the epic addresses his prosperity at accomplishing not deficient distinction ('Gilgamesh' Tablet I 1-52). That his notoriety additionally outperforms his previous overbearing period (Tablet I 55-85) recounts his improvement as a ruler, as well. In spite of the fact that Gilgamesh doesn't really prompt this journey (it appears to be fairly to be the assurance of the Anu directions so 'Uruk may have tranquility' (Tablet I 90)), it is as yet a mission and Gilgamesh is integral to it. It is additionally effective, just like the experience with Humbaba and even Gilgamesh's offer to get used to sorrow. This procedure of human advancement and the related procedure of kinship have their cost. To some degree, it is a development procedure; the modifying balance as the once indiscreet pioneer turns out to be genuinely chivalrous and well-known according to his people. In part, it is likewise a procedure of progress, however, since Gilgamesh must figure out how to acknowledge his very own mortality and to acknowledge how human advancement itself can appreciate a sort of coherence past the physical passing of oneself.

Apart from these, Gilgamesh himself is likewise the subject of extraordinary acclaim inside the ballad and there is a sure sentimentality clear in the manner that time unfurls. In the opening lines of the epic, the speaker hails Gilgamesh as an extraordinary and savvy pioneer ('Gilgamesh'Tablet I 1-52). He additionally has a striking physic and is 66% perfect; rather like Odysseus and Achilles in this regard moreover.

Like most saints, Gilgamesh has considerable defects, as well. Prior to the formation of Enkidu, Gilgamesh torments his kin with a practically overbearing fixation for brilliance. He was, the artist proclaims, 'harrying the youngsters of Uruk ridiculous' ('Gilgamesh' Tablet I 59). In an exceptionally strict sense, his own desire undermined his resident's ability to live their lives, with youngsters kept from their spouses and Gilgamesh likewise leaving 'no young lady to her mom' (65). In a strict sense, he upsets the lives of his kin and keeps them from living. This blemish-specific imperfection comes into the center as he looks for the mystery of unceasing life, clearly tossing off the duty of his sovereignty to do as such. Through his association with Enkidu and even the last inability to get away from his strict mortality, however, he likewise understands that interminability takes numerous structures.

In conclusion, the epic attracts specific consideration again to the dividers of Uruk to stress this point and the potential for human advancements to have a physical indication regardless of whether the individual self didn't. In the epic of Gilgamesh, the story all around flips into the bonding between friendship, flaws, demises, and the creation of the god.


  1. “The Epic of Gilgamesh.”The Norton Anthology of World Literature: Volume A. Puchner, Martin. Ed. New York: W.W. Norton & Company. 2012. 95-151. Print.
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