The Sumer Poem 'Inanna'

As she passes the ruins she recreates the pleasant things that had been there. Despite the reasonable arguments that her goods belonged to God and whatever God does is just, there is in the poem an undercurrent of regret that the loss is not fully compensated for by the hope of the treasure that lies above. (84)

The Exaltation of Inanna reads as an ode filled with several flatteries given to Inanna in the same way a child flatters a mother before asking for a piece of candy. Enheduanna immediately addresses Inanna after describing Inanna’s beauty and how great her powers are. Enheduanna finally claims ownership after telling Inanna that she's aware of all the powers Inanna possesses and as the High Priestess she prayed to her. Enheduanna explains how Lugalanne was once an ally of hers until he kicked her out of the priesthood and now the people that are controlled by him are sinners and hate her Nanna. Enheduanna wants Inanna to haunt Lugalanne into giving Enheduanna back her position as High Priestess. Enheduanna also describes how she has come to

The poem makes it clear that Eve is not the sole person to blame for humanities sin of eating the fruit of knowledge. In these lines, “If any Evill did in her remaine, / Beeing made of him, he was the ground of all;”

“The Epic of Gilgamesh” is a didactic story set out to expose the inevitability of death. The true meaning of this story is sometimes overlooked because the story is told in heighten language not easily understood. The epic hero in this story is Gilgamesh; he undertakes a quest for knowledge which is overshadowed by his ignorance. The tragic death of Enkidu, Gilgamesh’s trusted companion forces the epic hero to change his perception of death. To overcome great obstacles one must be willing to put their ignorance aside. Tzvi Abusch’s analyzes “The Epic of Gilgamesh” in his article “The development and meaning of the Epic of Gilgamesh”. Abusch’s explication of Gilgamesh’s identity, friendship, achievements and ignorance towards death lacks substance.

The title “Myth” seems to be appealing to the Greek tradition of storytelling, and the poem itself seems to be motivated by or at least influenced by Erebus, a Greek deity, who is the personification of darkness and shadows. In Greek mythology, Erebus, is referred to as the limbo the dead have to pass to reach Hades, who rules the underworld of death. In her poem, Trethewey uses Erebus’s as dream like “Rift” between sleeping and waking in which the speaker is able to see the lost loved one is alive and well. In the poem Trethewey references the Erebus in the beginning of stanza two and end of stanza five. Of course, this is easy to relate to Trethewey

is dirt, nothing but clay is Enkidu.Weeping as if I were a woman I roam the paths and

The Greek myth is how about how the seasons change and the poem is Demeter talking to Hades. Demeter is talking to Hades about her daughter Persephone and how he kidnapped her and cause the

The enchantment in this poem begins by the earth welcoming the speaker back home. This speaker expresses that, “She took me back so tenderly.” This statement exemplifies to the reader that death is not a scary process. In this case, the earth is being portrayed as a woman. This is significant because women are often portrayed as being nurturing and caring. For the reader, this can trigger memories or ideas of who the reader would picture the earth as. Whether that be a mother, grandmother, aunt, sister, etc. the reader can

The Epic of Gilgamesh is the greatest surviving epic poem from Ancient Mesopotamia. The original author is unknown, since the epic was passed on orally for many generations during the second millennium B.C.E before being written down in clay tablets. However, the definitive fragmented revision of the epic is accredited to Sin-leqi-unninni, a Babylonian priest and scholar. The Epic of Gilgamesh follows Gilgamesh’s quest for immortality, remarking the question of what it means to be human. The story starts with King Gilgamesh of Uruk in Southern Mesopotamia, an arrogant and oppressive ruler who is two thirds divine and one third human. The citizens of Uruk, tired of Gilgamesh’s behavior, plead the Gods to stop him. In response, the Gods fabricate Enkidu to confront Gilgamesh, but before he does that, he needs to become civilized first. In the act of turning into a civilized man, Enkidu, like all human beings, loses his innocence, as well as his deep connection with nature.

Finally in the third stanza there is the semantic field of nature: ‘mountain’, ‘rivers’, ‘seas’. Nature has the role of judge. It decides whether she has to be punished or not. Nature is represented as a sort of divine entity deciding of her fate because she has decided of someone else’s right to live. Again the water is represented several times with ‘rivers’ (line 17) and ‘seas’ (line 18 and 19) it gives the impression that she thinks

Inanna, Queen of Heaven and Earth is composed of multiple stories of Inanna and her role as a queen, daughter, wife and warrior. Both stories were written in very different time periods; the first story was written in Baghdad, Iraq in 2003. Inanna, Queen of Heaven and Earth was written in the 1750 BC in Sumeria near Baghdad. Throughout the stories, Inanna is shown as a determined and strong character. In The Iraqi Nights, the first story we read, a young and determined woman is kidnapped and descended to the underworld.

…"/(VI.II.28-34). Inanna did not take Gilgamesh 's rejection lightly she ran to her father and unleashed the bull of heaven upon Uruk. Gilgamesh had to protect his people, so himself along with his equal Enkidu charged after the bull and the battle ended twistedly resulting in the death of Enkidu, and the Gilgamesh 's heroic journey began at the loss of his dear friend Enkidu.

Two epic poems from two great civilizations depict their authors' varying views of the Underworld: The Odyssey and The Aeneid. The Greek poet Homer describes the hardships of Odysseus and his struggle to return home to his beloved wife and family after the Trojan War in The Odyssey. The Roman poet Virgil composed The Aeneid for the first emperor of the Roman Empire, Caesar Augustus, in order to rebuild Rome after the civil war had ended. The Aeneid portrays a demigod, Aeneas, whose mission is to create a grand city that will be known as Rome. This paper analyzes the differences and similarities in how Virgil and Homer view the Underworld in The Odyssey

We can see the poem deals with the entire story of man's fall from grace, including background for Satan's motives. In Paradise Lost, Eve was tricked by Satan, who assumed the form of a serpent, into eating from the Tree of Knowledge. Satan had whispered into her ear when she was asleep, and when he spoke to her later, he used his cunning to mislead her:

Imagery is seen all throughout the poem, but can be seen specifically when Keats is referencing death. Through the uses of the word “hemlock” which is a poison made of herbs, and “Lethe” which is, in Greek mythology, “a river in Hades (the underworld). Souls about to be reincarnated drank from it to forget their past lives.” (Melani) These words, along with others, paint a distinct picture of death and forms a very dark image of Keats’ inner thoughts. In the 2nd Stanza, Keats describes the real world with words such as “Flora” which is the “goddess of flowers and fertility.” (Melani) and Hippocrene which is, in Greek mythology, a “spring sacred to the Muses, located on Mt.Helicon. Drinking its waters inspired poets.” (Melani) Through the uses of these words, readers can infer that Keats seems to think that life, when enjoyed, is blissful and pure. Imagery is used