The concordance 11 witnesses
Orientation
A king two-thirds divine and one-third mortal cannot make peace with the missing third: that is the wound the Gilgamesh epic dramatizes, and it is why Jung returns to it so often. In Symbolic Life he calls Gilgamesh an arriviste par excellence, a man of ambitious plans whose confrontation with the wild man Enkidu functions as clinical amplification for the neurotic pattern of the overreaching analysand. In the 1936 to 1941 seminar notes Jung reads the falling-star dream that announces Enkidu’s arrival as the hero’s call to individuation, the shadow erupting into a life organized until then around conquest alone. Symbols of Transformation treats Gilgamesh’s return with Utnapishtim’s herb as a libido-symbol, the pneumatic gift that marks a hard-won reversal of psychic regression. Joseph Campbell, in The Hero with a Thousand Faces, makes the stone-weighted plunge to the cosmic sea-bottom paradigmatic of the boon that cannot be held, and in Occidental Mythology reads the hero’s refusal of the tavern-keeper’s counsel as myth’s clearest picture of a man who will not accept mortal limitation. Robert Bly, in Iron John, takes the temple prostitute’s seduction of Enkidu as the mechanism by which wildness is drawn toward civilization and toward friendship.
A more striking parallel to our case is the great Babylonian epos of Gilgamesh. Gilgamesh is really an arriviste par excellence, a man of ambitious plans, like our dreamer, and a great king and hero.
Jung deploys the Gilgamesh epic as a direct clinical amplification, arguing that the hero’s overweening ambition and subsequent confrontation with the dragon-shadow mirrors the neurotic pattern of the contemporary analysand.
, Collected Works Volume 18: The Symbolic Life, 1976thesis
Gilgamesh tied stones to his feet and plunged. Down he rushed, beyond every bound of endurance, while the ferryman remained in the boat. And when the diver had reached the bottom of the bottomless sea, he plucked the plant.
Campbell presents Gilgamesh’s descent to the cosmic sea-bottom as the archetypal hero’s attainment of the boon — a narrative enactment of the road of trials culminating in contact with the deepest regenerative powers.
, The Hero With a Thousand Faces, 2015thesis
Gilgamesh, however, was of a different hope and purpose: he insisted on his quest; and the woman sent him on to the ferryman of death, who would pole him across the cosmic sea to the isle of the blessed.
Campbell situates Gilgamesh’s refusal of the tavern-keeper’s counsel as the definitive gesture of the hero who will not accept mortal limitation, framing the entire quest as a mythological prototype of the drive toward immortality.
, Occidental Mythology: The Masks of God, Volume III, 1964thesis
Hiawatha’s being appointed the ruler of the home-wind has its exact parallel in the Gilgamesh Epic, where Gilgamesh obtains from the wise old Utnapishtim, who dwells in the West, the magic herb which brings him safely over the sea to his native land.
Jung employs the Gilgamesh episode as a comparative mythological parallel to demonstrate that the hero’s return home via a pneumatic gift is a universal libido-symbol expressing the conquest of regression.
, Symbols of Transformation, 1952thesis
In the Gilgamesh myth, the idea of the Perfect Man, the Complete Man, is that two-thirds of man is divine and one-third human.
Jung invokes the Gilgamesh epic’s anthropology of divine-human proportionality as a mythological analogue for the psychological concept of the transcendent totality of the self, set against the merely human ego.
, Dream Analysis: Notes of the Seminar Given in 1928-1930, 1984thesis
Gilgamesh’s real experience of his calling was that dream in which a star falls on him. The dream is interpreted by his mother as referring to Enkidu, the appearance of Gilgamesh’s natural brother, a savage who lives with the gazelles.
Jung reads Gilgamesh’s star-dream as the initiating call to individuation, interpreting Enkidu’s advent as the eruption of the shadow into the hero’s life and the beginning of his destined path.
, Dream Interpretation Ancient and Modern: Notes from the Seminar Given in 1936-1941, 2014supporting
When Gilgamesh was apprised of the marvel, ‘Go, my hunter,’ he said; ‘take along with you a temple prostitute, and when he comes to the watering hole, with the beasts, let her throw off her clothes.’
Bly uses the Enkidu seduction episode from the Gilgamesh epic to illustrate the mythological mechanism by which the wild man is drawn from animal innocence into the world of human culture and masculine friendship.
, Iron John: A Book About Men, 1990supporting
‘You are beautiful, Enkidu, like a very god,’ she said to him. ‘Why do you run with the beasts of the plain? Come, I will take you to the ramparts of Uruk … where Gilgamesh dwells, unmatched in might, who, like a wild bull, wields power over men.’
Campbell presents the harlot’s invitation to Enkidu as the mythological summons that propels the wild man toward civilization and toward his destined bond with Gilgamesh, structuring both figures as complementary aspects of heroic humanity.
, The Hero With a Thousand Faces, 2015supporting
The same theme of the Deluge is found in the Epic of Gilgamesh. This famous work, which has been fairly well preserved, casts still greater light on the similarities to the biblical narrative. In all probability, we may assume the existence of a common, and quite archaic, source.
Eliade places the Epic of Gilgamesh at the center of the deluge tradition, noting that its flood narrative illuminates the similarities to the biblical account and points to a common, quite archaic source behind both.
, A History of Religious Ideas, Volume 1, 1978supporting
In this narrative events are, as in the Epic of Gilgamesh, set in train by the exuberant energy of youth.
Seaford invokes the Gilgamesh epic obliquely as a structural comparand for the Enuma Elish, noting that both narratives derive their momentum from youthful, excessive vitality rather than from divine decree alone.
, Money and the Early Greek Mind: Homer, Philosophy, Tragedy, 2004aside
113–114, in Alexander Heidel, The Gilgamesh Epic and Old Testament Parallels, 2nd ed. (Chicago: University of Chicago Press, 1949).
Jaynes cites Heidel’s scholarly edition of the Gilgamesh epic as a source text within his argument about the development of narrative consciousness and historical inscription in ancient Mesopotamia.
, The Origin of Consciousness in the Breakdown of the Bicameral Mind, 1976aside