KARAMANIA

با سپاس

از ابی عزیز برای این بلاگ سودمند در مورد این افسانۀ کهن.

افسانۀ اساطیری دیگری نیز در هندوستان هست (مهاباراتا) که خوشحال می شوم هر زمان استاد ابی وقت کرد در بارۀ آن نیز بلاگی بنویسد.

So Amrika stole d BARBI idea from Iranians?! sigh. Just kiddin!

Everything is sacred.

Ebi jaan

Very interesting,,, thx for sharing...
Btw, are those horns on the statue's head (pic)!!?  ;-) 

Dass shomaa

dard nakoneh ostaad. Short & informative. but a bit less shawarma & a bit more kooskoos & sit ups would,ve done her justice .

Cheers & thx Ebi jaan!!!

Path of Kiaan Resurrection of True Iran Hoisting Drafshe Kaviaan //iranianidentity.blogspot.com //www.youtube.com/user/samsamsia

Dear Monda

My pleasure!

Azadeh

Ebi aziz

Sepaas az vaghtet!... it needs at least a day to really get into it, nah?  It needs planning on my part. When I do, I may ask for your help and Azadeh's if I get stuck.

ماندا جان.....

با تشکر از آزاده عزیز، چند خطی هم به فارسی:

حماسه گیل گَمِش یکی از قدیمی‌ترین و نامدارترین آثار حماسی ادبیات دوران تمدن باستان است که در منطقهٓ میان‌رودان/بین انهرین شکل گرفته‌است. قدیمی‌ترین متون موجود مرتبط با این حماسه به هزارهٓ سوم پیش از میلاد مسیح می‌رسد که به زبان سومری می‌باشد،البته نسخه‌هایی به زبان‏های اکدی و بابِلی و آشوری نیز موجود است. کامل ترین متن آن که به ما رسیده‌است متنی است بر الواحی از خشت . این مجموعه شامل دوازده لوح است، هر لوح مشتمل بر شش ستون پله وار به صورت شعر که ضمن کاوش در بقایای کتابخانه آشوربانیپال پادشاه آشور بدست آمد. هریک از این دوازده لوح یا دوازده سرود شامل شش ستون است در سیصد سطر، مگر آخرین لوح آن که آشکارا الحاقی و به وضوح از یازده لوح قبلی کوتاه تر است.

 نخستین ترجمه فارسی آن توسط دکتر منشی‌زاده در سال ۱۳۳۳ انجام شد و بعد از آن نیز ترجمه‌های دیگری منتشر شد.

 باز یافتن انکیدو گیل گمش را و رای زدن ایشان از برای جنگیدن با خومبه به ، نگهبان جنگل سدر خدایان.

 ترک گفتن انکیدو شهر را و بازگشت وی.

نخستین رویای انکیدو  بر انگیختن شمش _ خدای سوزان آفتاب _ گیل گمش را به جنگ با خومبه به و کشتن ایشان دروازه بان خومبه به را.
 رسیدن ایشان به جنگل های سدر مقدس

نخستین رویای گیل گمش

دومین رویای گیل گمش

جنگ با خومبه به و کشتن وی ، بازگشتن به اوروک.

گفت و گوی گیل گمش با ایشتر _ الهه عشق_ و بر شمردن زشتکاری های او.

جنگ گیل گمش و انکیدو با نر گاو آسمان و کشتن آن و جشن و شادی بر پا کردن.

 دومین رویای انکیدو

بیماری انکیدو مرگ اانکیدو و زاری گیل گمش

شتاب کردن گیل گمش به جانب دشت و گفت و گو با نخجیر باز.

سومین رویای گیل گمش

رو در راه نهادن گیل گمش در جست و جوی راز حیات جاویدان و رسیدن وی به دروازه ی ظلمات ، گفت و گو با دروازه بانان و به راه افتادن در دره های تاریکی.

راه نمودن شمش _ خدای آفتاب_ گیل گمش را به جانب سی د.ری سابی تو فرزانهی کوهساران نگهبان درخت زندگی

رسیدن گیل گمش به باغ خدایان

گفت و گوی گیل گمش و سی دوری سابی تو ؛و راهنمایی سی دوری سابی تو ،خاتونی فرزانه ، گیل گمش را به جانب زورق ئوت _ نه پیش تیم . دیدار گیل گمش و اورشه نبی کشتیبان ؛ به کشتی نشستن و گذشتن از آب های مرگ .

دیدار گیل گمش و ئوت نه پیش تیم دور ، گیل گمش را ؛ و شکست گیل گمش. آگاهی دادن ئوت نه پیش تیم دور ، گیل گمش را ار راز گیاه اعجاز امیز دریا.

به دست آوردن گیل گمش گیاه اعجاز آمیز را و خوردن مار ، گیاه را و بازگشت گیل گمش به شهر اوروک

عزیمت گیل گمش به جهان زیرین خاک و گفت و گوی او با سایه انکیدو . پایان کار گیل گمش

دانلود ترجمه دکتر منشی زاده:

//ketabamoon.blogsky.com/1387/11/26/post-107/

//adababad.mihanblog.com/post/37

Ebi aka Haaji

Azadeh jan,

Thank you so much for helping me understand this convoluted story! War was the main theme of those times as it still is in our lifetime, sadly!

I am more impressed by your clarity and writing than the myth itself!  Zahmat keshidi Azadeh jan, mamnoonam.  

Ebi jan

A very interesting and informative article.

I wish you wrote more.

Sepaas dooste aziz.

عالی

ممنون ابی جان

Monda Jan

Emotions such as fear and anger that you see in this part of the story that Ebi has described, can be understood only in the context of the whole story. I don't have Persian keyboard, so I can give you a summary of the story only in English. I hope this helps.

So, with your permission, Ebi Jan.

Mesopotamian story of "Gilgamesh" is the first/oldest surviving written story (some 4500 years old, and carved in Akkadian cuneiform on clay tablets.) It describes one man's search for immortality.

In his youth, Gilgamesh is a powerful, self-centered and egotistical ruler determined to make a name for himself through great works -built by enslaving his own people. Furthermore, he lays claim to the virginity of every young woman in his city-state of Uruq. In despair, the people pray to Goddess Ishtar for deliverance.

Because the people have prayed to Ishtar, she will respond. She creates a "second Gilgamesh," a Gilgamesh with heart. She forms him out of a lump of clay and tosses it into the wilderness. This new creation is named Enkidu.

Enkidu is a seductive wildman and a charming free spirit. He captures the hearts of the people of Uruq and he blends his soul with that of Gilgamesh. They are in love. But for the heart of Gilgamesh to really open, Gilgamesh must understand how deeply he loves. The drama carries on. Enkidu and Gilgamesh join forces and look for great feats to accomplish and terrifying monsters to slay.

At the end of one great conquest, Goddess Ishtar comes to mortal Gilgamesh, seductively, offering her hand in marriage  (in most of the myths concerning Ishtar, she is described as a heartless woman who destroyed her mates and lovers.) But Gilgamesh rejects her, and does so with an eloquent speech full of insults. In rage, Ishtar asks her father Anu, god of the air, to sends down the Bull of Heaven, which is meant to destroy Gilgamesh.

Instead, it is the Bull of Heaven that is slain - with the help of Enkidu. Gilgamesh has not been humbled. His heart has not been opened. The prayers of the people of Uruq have not been answered. Ishtar wails from the high walls of Uruq, ignored by the triumphant heroes.

Now begins the power of the story. As ordered by Goddess Ishtar, Enkidu is stricken with a slow, debilitating loss of power - dying without glory, merely ebbing away. When he dies, Gilgamesh goes mad with grief and rejects all his kingly trappings. He takes on the rags of the wildman that Enkidu once was, storms out of Uruq, and seeks immortality beyond the very ends of the earth.

And who is waiting there for him, when he actually reaches this remote region? A barmaid who calls herself Siduri - a disguised Ishtar. She is kind and forthright. He seeks immortality, so she gives him advice on how to reach the one man who can help him. And she smiles. Her parting words, before he sets off on this last stretch of his journey, are these, "...if the boatman will not help you cross over the lake, you can always come back to me...."

Gilgamesh sets off in search of the boatman. When the boatman does not immediately respond to his calls, Gilgamesh displays his typical arrogance and quick anger by destroying the stone images in the boat. In doing so, he has destroyed the power that carries the boat safely across the death  -  waters of the lake.

With genuine patience, the boatman offers a last alternative - and so here you see Gilgamesh bringing "twice-sixty" poles to push the boat along. Each pole can be used only once before it is eaten up by the toxic waters.

The goal of this lake-crossing is to reach the one human who has achieved immortality, a man called Utnapishtim. What Utnapishtim shares with Gilgamesh is a story within itself - but in the end, Gilgamesh is still denied the immortality he seeks. Utnapishtim advises him to return home, and to live out his life.

At the end of this long circular journey, the empty-handed Gilgamesh approaches the great walls of Uruq. His heart has opened. No longer arrogantly proud, he recognises the beauty of the city of Uruq - the walls, the city within, and the people who dwell there. And he recognizes it as the home of Ishtar.  .... The humbled Gilgamesh eventually dies.

Although the story is about Gilgamesh, it is in fact a tribute to Ishtar, the goddess of love, fertility and also (interestingly) war.

Azadeh

....

I got that myself Ebi jan :o)   But why the fear? the anger? Can you elaborate on that piece? Lotfan be farsi benevis ke kharfahm sham.

.............

آزاده جان:

ممنون

ماندا جان:

یک کلام یعنی : " من یکی خرت نمیشم!!"

Ebi aka Haaji

tozeeh lotfan

“نه، تو را من به زنی نخواهم خواست. تو یکی فسرده تابه‌ای بر سر یخ. یکی درٍ ناتمامی تو که نه باد را مانع می‌شود نه سرمای سوزان را…بیا تا عاشقان خاکسترنشین‌ات را به نام بر تو شماره کنم…”

Please elaborate on the blame?  

Fascinating piece of mythology!

Please consider writing more and often.  Sepaas Ebi!

(I'm not even done reading all your links yet so I will come back with questions... See how the urge to comment works? it is impulsive but out of sheer excitement of learning something new and mind-provoking)

Ishtar/Anahita/Aphrodite, etc.

Thank you, Ebi Jan, for this interesting piece.

It is important to note that Ishtar and other "Fertility Goddesses" were originally Primordial Mother Goddesses who had given life to other gods and goddesses of a pantheon, and had created the earth, the sky, humans, plants and everything else in the Universe.

It is with the gradual creation of social paternity and male-dominated institutions that these Creators of All Things are reduced to the status of "Fertility Goddesses" and in some cases, as in the case of Anahita in Zoroastrianism, they are pushed further down into becoming simple angels.

Azadeh