What is the Concept of Morality & Mortality from the Tales of Odyssey and Gilgamesh

the odyssey

The Odyssey as we probably are aware it today was composed down in about 700 BC and The Epic of Gilgamesh was created at some point around 3000 BC. Today, individuals look to medicinal science and marvel if or when immortality will be accomplished. A hundred years prior to that, finding Fountain of Youth was the major quest for people. Prior to that, individuals looked to enchantment or stipends of eternal life from the gods. It’s astounding how a few parts of being human don’t change.

The story of Gilgamesh and his journey dates back around 3000 BC. It is a saga that started in the Mesopotamian range. It has made due to the present as stone tablets and pieces of stone tablets which are being exhumed from the remains of deserted urban areas in the cutting edge Middle East. The Odyssey, a Greek story, was created and recorded in around 700 BC, however the stories it contains are accepted to date from the earliest starting point of the 12th century BC (Gerald K Gresseth, 1975).

Gilgamesh and Odysseus are both men. They are conventional men who have been conceded sure qualities, one has physical quality and one has mental quality. In any case, they encounter hardships and commit errors. They attempt to wind up through life simply like any normal man. The two works of writing, the Classic tales Gilgamesh and the Odyssey, are thought about as articulations of looks for this importance of life through information. The two stories are to some degree mirrors of themselves in this way. Gilgamesh and Odysseus discover their own implications of life through hardships pretty much as any customary man would (Bruce Louden, 2011).

Preceding being composed down, these stories were transmitted from era to era orally by expert minstrels. There is some theory with respect to who formed the variant utilized today, however initiation is by and large credited to Homer. Regardless of the huge measure of time that went between the composition of The Epic of Gilgamesh and the Odyssey, the stories offer numerous similitudes, including a basic topic of the mortality of man and dieing. In both The Epic of Gilgamesh and the Odyssey, each man realizes that he should in the end bite the dust, however there are escape clauses (Gil Michaux, 2003).

With the help of the gods, life can be expanded. In the event that Odysseus stays with Calypso, he can be immortal as in he lives everlastingly, however in the event that he leaves, he will age once more. This is not genuine immortality. It is an augmentation of life. The gods can’t change the destiny of man. They can simply postpone it. Both stories obviously characterize man’s qualification from the gods, in that men are mortal while the gods are most certainly not (Robert Fizgerald, 1998).

In the introduction of the Epic of Gilgamesh, we discover that he is 66% god and 33% man. He is lord of Uruk. He is more than anybody can yearning to be, yet he is still mortal and must experience passing of a friend or family member and demise himself. This will end up being Gilgamesh’s inquiry of life as we will see. The Odyssey is to some degree diverse in the configuration of occasions, so we don’t know much about Odysseus until some other time in the story. Be that as it may, because of perusing the Iliad we realize that Odysseus is the ruler of Ithaca and he is a noteworthy part of the Trojan war.

In the start of the Odyssey, we do realize that Odysseus has a family which is battling without him. He will come to understand his family implies more to the conservation of his life than anything he could learn in war. So both of our characters are exceptionally fortunate, on account of the gods (Thomas H. Maugh II, 2008).

To overthrow Humbaba, Gilgamesh goes to Cedar forest and take Enkidu with him. Before leaving, Gilgamesh implores Shamash for consent to enter the Cedar Forest, and over the span of clarifying his yearning, he again emphasizes the possibility that man can’t live always and that he needs to set up his name in another way. He needs wonderfulness and he needs to be recalled. He even respects falling in fight to Humbaba, trusting that having his name connected to an extraordinary fight will guarantee immortality in the recollections of men. Obviously, Gilgamesh does not wish for death, maybe in light of the fact that that would keep him from finding further greatness, yet in the event that he tastes defeat, at that point he needs amazing a way that will guarantee his name his recollected.

The sister story to the Odyssey, the Illiad, says much in regards to discovering wonderfulness and a brilliant demise, yet the Odyssey has no genuine parallel with this subject, since it is principally an account of homecoming (Nanno Marinatos, 2001). The main example in the Odyssey where Odysseus could be said to look for brilliance is amid his experience with the Cyclops, Polyphemus. Due to the way of the Odyssey as a story of homecoming and the tragedies of war, this demonstration of wonderful view that sets up as the main reason for Odysseus’ later problems.

Lowliness, or if nothing else the great sense to make a speedy getaway, would have made them pull off unobtrusively from the place where there is the Cyclops, yet rather he insults him, gives his name away, and subsequently uncovers himself to Poseidon. Poseidon, chafed at Odysseus, takes activities that keep him from achieving home, dragging out his arrival to Ithaka into a 10-year long difficulty that he scarcely endures (Amy Goodwin, 2008).

The Epic of Gilgamesh places a great deal of accentuation on the need of looking for radiance for one’s name. The Odyssey takes the inverse methodology. In the Odyssey, Odysseus’ demonstration of greatness looking for is the reason for the passings of his entire team and it is the thing that keeps him from going home to his significant other and child straightforwardly after the war. The suitors in his home, the misery and mental anguish of his better half and child, his own particular enduring, all are a consequence of looking for eminence (Bruce Louden, 2011). Thus, the Odyssey leaves the peruser with the feeling that eminence alone isn’t sufficient, which is a subject that The Epic of Gilgamesh moves to in the later stories.

Gilgamesh’s state of mind towards demise changes definitely after the experience with the Bull of Heaven. Ishtar is affronted by Gilgamesh and Enkidu and persuades alternate gods that one of them must kick the bucket. This destiny falls on Enkidu and instead of biting the dust eminently in fight, he kicks the bucket from affliction. Much more dreadful, it is a drawn out affliction that leaves Gilgamesh damaged. Enkidu’s vision of the underworld, where even awesome men like lords and sovereigns are diminished to fowl men that eat dust and dirt, panics Gilgamesh.

Gilgamesh sees that in spite of the colossal enterprises they had together, Enkidu’s passing is still last and a memory of past glories is insufficient. Enkidu is still sentenced to sit perpetually in the place of the dead (Gerald K Gresseth, 1975). Gilgamesh endures on the grounds that his sibling has been taken from him, additionally in light of the fact that he wouldn’t like to have the same destiny. He needs to live. He understands that a sublime demise is still passing, yet rather than acknowledge it, he embarks to discover immortality. This disposition towards passing has an immediate parallel in the Odyssey, communicated through Odysseus’ gathering pain at seeing the assaulted condition of the shades in Hades.

It helps him to remember how last demise is. In the shade of Elpenor, he sees that demise goes to each man, incredible and little. In the shade of Agamemnon, he sees that demise asserts the colossal. In the shade of his mom, he feels his own particular looming demise by and by, and in addition a more significant feeling of misfortune at the recollections and time with family he passed up a major opportunity for by leaving home looking for transcendence.

Indeed, even the shades of incredible saints like Achilles and Heracles end up in the domain of the dead, enduring the same destiny as all men (Amy Goodwin, 2008). They are isolated from life and their loved ones, as Gilgamesh gets himself isolated from Enkidu. The lesson for Odysseus is that he ought to appreciate all aspects of life while he can, before he bites the dust, in light of the fact that after death eminence amounts to nothing, particularly to the dead. Not at all like Gilgamesh, he acknowledges it.

After numerous trials and voyages, Gilgamesh experiences his own shade of Achilles, as a lady that lives in the greenery enclosure of the gods named Siduri. She gives Gilgamesh counsel that echoes Achilles’ announcement. When she asks in the matter of why he has voyage in this way, he advises her that he is hunting down an approach to live until the time is up (Evans Lansing Smith, 1997).

Siduri tries to inspire Gilgamesh to see that his journey is vain and urges him to appreciate the life he has left in him. Man can’t maintain a strategic distance from death and there is no measure of valor that can change the way that after death, a man will sit in the place of the dead people. The imperative thing to do is to appreciate the universe of the living while despite everything one has life, which is a lesson that Odysseus learned by addressing the shades of fallen. There’s more to life than just glory (Nancy Saunders, 1972).

While, Prior to addressing the shades in Hades, Odysseus was all the while living for enterprise. The experience, particularly of seeing his mom, whom he attempted and neglected to embrace, twice, helped him to remember how short life is, and what it truly intends to bite the dust. The Epic of Gilgamesh’s parallel for the Odyssey’s shades can be found in Gilgamesh’s experience with Utnapishtim. Gilgamesh endeavors to persuade Utnapishtim to give him the key to living always by breezing through a test, which is itself an indication of how crazy it is for a man to need to live until the end of time.

Not able to finish this test, Utnapishtim sends Gilgamesh home, however tries to fortify his point through two more cases. Utnapishtim gives Gilgamesh an arrangement of garments to wear on his arrival travel that won’t destroy or hint at maturing. This is a suggestion to Gilgamesh that even straightforward articles will outlast a man. One final goad to effectively express the idea is the plant that Utnapishtim outlines for Gilgamesh. It is a plant that will reestablish a man’s childhood to him. Gilgamesh is effective in getting the plant, yet before he comes back with it to Uruk, or can utilize it himself, it is grabbed far from him by a snake, advising him that life is temporary and can’t be clutched by man. Immortality is for the gods alone (Jonathan Burgess, 1999).

Notwithstanding being composed by individuals from two distinct societies, more than one thousand years separated, the coherence of thoughts with respect to the afterlife exhibited in both works remains strikingly comparative. In both The Epic of Gilgamesh and the Odyssey, the saints concede altogether that they realize that immortality is saved to the gods. In both stories, there are cases of chances to expand one’s life, maybe to a similarity of immortality, yet this is a special case, as opposed to a tenet, and is not genuine immortality. Man has a destiny and that destiny is to in the long amazing.

Just the gods live for eternity. In both stories, there is a conspicuous apprehension of being overlooked, and to abstain from being overlooked, men go out looking for grandness, to guarantee that their names are recollected. Both stories, however, remind man that the best some portion of living is being alive and that radiance means nothing after death. Indeed, even wonderful legends end up in Hades or the place of the dead longing for the living while the living long for the dead (Jonathan Burgess, 1999). What both of these stories attempt to give reader is that radiance isn’t in the same class as it’s made out to be. Life is astounding and ought to be valued by filling our guts with great things, by moving, being joyful, devouring and cheering, in light of the fact that being alive and investing energy with friends and family is worth more than ruling over the greater part of the depleted dead.

Both works are legends, and despite the fact that the first Gilgamesh epic is much more established than the Odyssey, the form that is typically perused and showed which are interpreted from twelve dirt tablets as of now being showcased in the University of Pennsylvania historical center, those tablets date from around the same time or even somewhat later, so that the writer of that rendition may really have perused the Odyssey. Both manage lords on missions and cooperating with gods (Rose Hammond, 2013), yet I don’t see an incredible similarity past that. Odysseus is more keen and more good than Gilgamesh, and those qualities convey him to a more joyful and more effective conclusion than Gilgamesh comes to.

Two or three different likenesses: both their journeys are it might be said missions for themselves. Gilgamesh looks for immortality in somehow, from the earliest starting point, albeit just last part of the epic is an unmitigated journey for it, and Odysseus battles to come back to his home and family. Both, as well, turn down the adoration for goddesses. Gilgamesh does as such obtusely and thoughtlessly that he causes her anger and endures the demise of his closest companion, and Odysseus does as such smoothly that the rejected goddess winds up rebuking alternate gods for separating them. Another distinction is that Gilgamesh’s story closes with his demise, and Odysseus is alive and large and in charge toward the end of the Odyssey, with his passing just foreshadowed in years yet to come.



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