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Gilgamesh: A New English VersionFrom Stephen Mitchell
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Gilgamesh is considered one of the masterpieces of world literature, but until now there has not been a version that is a superlative literary text in its own right.
Acclaimed by critics and scholars, Stephen Mitchell's version allows us to enter an ancient masterpiece as if for the first time, to see how startlingly beautiful, intelligent, and alive it is.
- Sales Rank: #2339 in Books
- Brand: Stephen Mitchell
- Published on: 2006-02-01
- Released on: 2006-02-01
- Original language: English
- Number of items: 1
- Dimensions: 8.44" h x .80" w x 5.50" l, .60 pounds
- Binding: Paperback
- 290 pages
- Gilgamesh A New English Version
From Publishers Weekly
The acclaimed translator of the Tao Te Ching and the Bhagavad Gita now takes on the oldest book in the world. Inscribed on stone tablets a thousand years before the Iliad and the Bible and found in fragments, Gilgamesh describes the journey of the king of the city of Uruk in what is now Iraq.At the start, Gilgamesh is a young giant with gigantic wealth, power and beauty—and a boundless arrogance that leads him to oppress his people. As an answer to their pleas, the gods create Enkidu to be a double for Gilgamesh, a second self. Learning of this huge, wild man who runs with the animals, Gilgamesh dispatches a priestess to find him and tame him by seducing him. Making love with the priestess awakens Enkidu's consciousness of his true identity as a human being rather than as an animal. Enkidu is taken to the city and to Gilgamesh, who falls in love with him as a soul mate. Soon, however, Gilgamesh takes his beloved friend with him to the Cedar Forest to kill the guardian, the monster Humbaba, in defiance of the gods. Enkidu dies as a result. The overwhelming grief and fear of death that Gilgamesh suffers propels him on a quest for immortality that is as fast-paced and thrilling as a contemporary action film. In the end, Gilgamesh returns to his city. He does not become immortal in the way he thinks he wants to be, but he is able to embrace what is.Relying on existing translations (and in places where there are gaps, on his own imagination), Mitchell seeks language that is as swift and strong as the story itself. He conveys the evenhanded generosity of the original poet, who is as sympathetic toward women and monsters—and the whole range of human emotions and desires—as he is toward his heroes. This wonderful new version of the story of Gilgamesh shows how the story came to achieve literary immortality—not because it is a rare ancient artifact, but because reading it can make people in the here and now feel more completely alive.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Mitchell's version of Gilgamesh should be the standard for general and classroom readers for the foreseeable future. It includes everything in the Akkadian texts, though shorn of some fragmentary passages and emended by Mitchell for clarity (extensive endnotes flag every change Mitchell makes and provide literal translations wherever Mitchell feels such would further illuminate meaning and spirit). The prologue and the closing page, both of which advert to Gilgamesh's great city of Uruk, are cast in five-beat lines, with the story per se in 11 books of four-beat lines. Mitchell manages both meters masterfully, writing verse that is musical and propulsive for all its "free" characteristics. The 66-page introduction interprets the entire poem as a philosophical fable as well as an engaging, episodic story, and not without describing some of the prosodic devices of the ancient Babylonian poem. Mitchell understands the poem to be overarchingly concerned with self-discovery and acceptance, with appreciating that humans are mortal, hence less than the gods, but also capable of love, and thus greater than mere gods. Ray Olson
Copyright © American Library Association. All rights reserved
Review
"Beautifully retold and a page-turner in the bargain. Like Seamus Heaney's recent retelling of Beowulf, this book proves that in the right hands, no great story ever grows stale."
-- Newsweek
"A flowing, unbroken version that reads as effortlessly as a novel...with startlingly familiar hopes, fears, and lusts. Mitchell...cracks open the lessons in Gilgamesh by rebuilding its clay fragments into a poem easy on the eyes and the transcultural imagination....Vibrant, earnest, unfussily accessible.... The muscular eloquence and rousing simplicity of Mitchell's four-beat line effectively unleash the grand vehemence of the epic's battle scenes, and the characters' ominous visions emerge with uncanny clarity."
-- The New York Times Book Review
"Utterly enthralling reading, thanks to Mr. Mitchell's skill and flair in recasting the ancient text."
-- The New York Sun
"Seamus Heaney isn't the only one intent on making the classics relevant to our times. Mitchell...offers a limpid retelling of this story about absolute power.... Its message of love, loss, and endurance [is] rendered in fresh, forceful language."
-- Los Angeles Times
"The mysterious, sinewy surge of his verse [is] thoroughly modern, yet an uncanny evocation of the primeval."
-- The Boston Globe
Most helpful customer reviews
5 of 5 people found the following review helpful.
Very interesting version of the Gilgamesh adventures
By sandy10m
I had not read the entire Gilgamesh story before, but I read some passages in high school English class. This is a great edition that ties together the fragments of the Gilgamesh story that have survived for thousands of years in a way that seems true to the way it was written in the original language and text. I enjoyed listening to the tales, and especially the commentary about the writing of this version and the research involved in piecing together the fragments. Enjoyable, especially for a long road trip.
7 of 7 people found the following review helpful.
A quiet overlay of moral ambiguity.
By Charles T. Bauer
Was captivated all month by the epic poem Gilgamish - (Mesopotamia 1000 BC) "The oldest story in the world." And the original "Bromance" or "Buddy Film". Lost until the 19th c. Found on many tablets (some of clay, some of Lapis).
My favorite character is the monster HUM-BABA who guards the Cedar Forest from ecologically destructive humans, but otherwise minds his own business and attends to his job of being ugly and dangerous, and it's all working just fine. Until now.
King Gilgamish and his new sidekick Enkidu (a former Wild Man recently civilized by seven days on top of a willing and eager temple priestess, richly described) decide they want fame, so, like many foolish young men, and the foolish governments that set them up, Gilgamish and Enkidu go on a pre-emptive monster-slaying quest.
From here flows a tale rich in very hard lessons, very hard won, but always with a quiet overlay of moral ambiguity.
One un-mistakable pleasure, repeated more than once, is that the closest anyone can come to immortality is not procreation (hardly mentioned, and by this time Gilgamish and buddy Enkidu are, interestingly, pretty much married), but by ***building*** and doing so for permanence, and for beauty, always using only the finest materials, and the finest craftsmanship, etc. The whole poem is, in the end, a quest for immortality, with many dead ends, but ARCHITECTURE turns out to be the best we can do.
(And, of course, leaving the Cedar Forest and HUM-BABA alone.)
5 of 5 people found the following review helpful.
Two - Two Gilgamesh for the Price of One.
By Peter B. Mason
This version of the great Babylonian epic Gilgamesh is immensely readable and lively, Mr. Mitchell's version does not try to overawe the reader but strives to make the material approachable, and at this he certainly succeeds. My own regret is that the editor/translator - Stephen Mitchell's introduction was so thorough and lengthy that it all but made the actual tale redundant. While informative, the introduction was too much of a blow by blow account to be labeled a proper introduction, it was rather a " synopsis en toto" {that's a term I just made up but I think you get the picture.
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