1. Chapter 13 Lecture Two of Two The Quest for Eternal Life ©2012 Pearson Education Inc.

2. The Quest for Eternal Life Gilgamesh’s quest Utnapishtim – = Ziusudra, Atrahasis, Noah Lions Mashu Scorpion Men Siduri – Your quest is hopeless ©2012 Pearson Education Inc.

3. The Quest for Eternal Life Utnapishtim granted immortality – The story of the flood – Enlil interceded for him because of his service during the flood The test of sleep The herb Went back to Uruk and engraved his tale on a stone ©2012 Pearson Education Inc.

4. THE HERO CAUGHT BETWEEN NATURE AND CULTURE ©2012 Pearson Education Inc.

5. Between Nature and Culture The quest for knowledge about death could not be Egyptian – They knew the answers and didn’t fear death Natural versus culture – Understandable dichotomy in a culture where “civilization” began – Enkidu, the natural man who falls because of a sexual “sin” and becomes “wise” – Cf. Adam and Eve ©2012 Pearson Education Inc.

6. Between Nature and Culture After his own quest, Gilgamesh dons once again the accoutrements of a civilized man ©2012 Pearson Education Inc.

7. FOLKTALE MOTIFS AND HEROIC MYTHS ©2012 Pearson Education Inc.

8. Folktale Motifs and Heroic Myths Factual (legendary) basis – There was a king of Uruk named Gilgamesh – His story over time acquires stock elements of folktale and heroic myth – It sets a pattern for typical heroic myth ©2012 Pearson Education Inc.

9. Folktale Motifs and Heroic Myths Partly divine birth Miraculous birth and childhood Great strength is a benefit and menace A friend Falls under enemy’s power of spell Breaks a taboo Is tempted Responsible for friend’s death ©2012 Pearson Education Inc.

10. Folktale Motifs and Heroic Myths The quest Help from gods Return home and is domesticated Rewarded for his efforts Great funeral ©2012 Pearson Education Inc.

11. PERSPECTIVE 13 Tolkien's Modern Hero in The Lord of the Rings ©2012 Pearson Education Inc.

12. Lord of the Rings The central figure, Frodo, is a reluctant hero, but share many characteristics with classical heroes. ©2012 Pearson Education Inc.

13. OBSERVATIONS: HEROIC NUDITY ©2012 Pearson Education Inc.

14. Heroic Nudity The tradition of nudity starts after the Bronze Age – Homer’s heroes are not referred to nude, except Odysseus, who’s ashamed Perhaps associated with Greek athletics, which was in the nude Greek koroi were nude, unlike Egyptian statues, which the Greek resemble in many ways ©2012 Pearson Education Inc.

15. Heroic Nudity Female nudes are late – the Late Classical Period (400 BC – ) Becomes Heroic Nudity and imitated even by Roman artists to show their patron’s “connection” the Greek heroic past. ©2012 Pearson Education Inc.

16. Heroic Nudity Fig 13.3Fig. 13.4 ©2012 Pearson Education Inc. National Archaeological Museum, Athens; Scala/Art Resource, New York The Art Archive / Museo Nazionale Palazzo Altemps. Rome; Gianni Dagli Orti

17. End ©2012 Pearson Education Inc.