449:. Bendt Alster assumed that the reference to Gudam's mother buying a donkey and a sack for him is an indication that his ultimate fate is meant to be humiliating, as it constitutes a reversal of the well attested motif of a mother praising a victorious protagonist, and that his status will be reduced from that of a “proud hero” to a traveling peddler. However, according to Alhena Gadotti the passage should instead be taken as an indication that Gudam is now as helpless as a child and as such will have to depend on his mother. Seth Richardson argues that Gudam's fate reflects his "uncouth" characters and indicates he was unfit to live in a city, and views it as an example of a passage reflecting the perception of countryside as unsafe compared to urban areas.
1606:
194:, in which Gudam participates, though his exact role in it is unknown. Alternatively, he might have not been invited to partake in it. He subsequently enters a storehouse and starts rampaging in search of beer and liquor, but due to the loss of the first lines of the narrative, it is not certain under what circumstances these actions began. Gudam is then surrounded by armed inhabitants of Uruk and hears the speech of the minstrel Lugalgabagal, in which his voracity is condemned:
1912:
114:, though only one (CBS 13859) is a full tablet, with the other (Ni 4409) being a broken fragment of a tablet's left side. Additionally, an Old Babylonian literary catalog most likely contains the first line of the composition, which is not preserved on either tablet. It is only partially preserved and has been restored as
488:
was simply an alternative or older version of the
Gilgamesh myth, and some of its elements parallel other works of Mesopotamian literature instead. The similarities include the role of the possibly bull-like Gudam and the Bull of Heaven. It has also been noted that Lugalgabal plays a similar role in
311:
Researches also interpret the role of
Lugalgabagal differently, with Alhena Gadotti assuming he was in service of Inanna, as he directly states that he is acting on behalf of a woman when he speaks to Gudam. Bendt Alster also assumed that Inanna was the woman meant, though he argued the minstrel was
254:), smites him with a dual-sided axe. Gudam starts crying and pleads with Inanna to be spared, offering to bring her cattle and sheep from the mountains in exchange. The final section of the story is poorly preserved, though apparently Inanna accepts his offer, and sends him to live in a
525:
likely reflects the incorporation of elements from another, presently unidentified source. Alhena
Gadotti compares the scene in which the citizens of Uruk surround Gudam with the description of Enkidu's arrival in Uruk in the Standard
287:
outright describes him as a mythical bull. However, the text does not provide any information about his appearance. Bendt Alster considered it unlikely that Gudam was a bull, preferring to treat him as a figure similar to humans and
489:
both texts, as his involvement precedes the intervention of a hero against a bull-like being; he is not mentioned in any other sources, and his name is not attested as an ordinary given name outside of literary texts.
375:") which precedes her name elsewhere is a possible obstacle for this interpretation. Bendt Alster instead assumed that Šupeštur is a personal name, and suggests linking this figure with the fishermen who help
189:
revolves around the eponymous being, Gudam, who is not mentioned in any other sources. According to Bendt Alster's interpretation, it most likely begins with a description of preparations for a festival of
167:
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in 1938, though both of them relied only on the first discovered exemplar and are now considered outdated. Few other studies have been dedicated to it through the twentieth century, though in 1976
547:(possibly a personal name), is compared to an ox, and destroyed the city on behalf of the gods in the distant past, before its destruction by war and deluge which is the main topic of the lament.
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significance, despite the possible connection to the aforementioned myth, which according to him might have dealt with such topics. Ultimately none of the proposals can be conclusively proven.
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identified an additional fragment, Ni 4409, which remains the only known additional copy. A section of the poem was also translated by
Wolfgang Heimpel for the corresponding article in
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in particular have been pointed out. Some authors go as far as describing them as two variants of the same narrative, though according to Alhena
Gadotti despite a plausible
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which has been a subject of scholarly inquiries is the identity of the fisherman. Gianni
Marchesi has proposed that he can be identified as
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The fact that Gudam is left alive presumably reflects his repentance, in contrast with the antagonist of another myth focused on Inanna,
442:. However, she rules out the possibility that it was a reflection of a hypothetical myth involving a battle between Inanna and Ninurta.
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in a field near
Zabalam. She declares that his mother will have to hire a donkey and purchase a sack for him. The text concludes with a
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52:. The minstrel Lugalgabagal criticizes his behavior, but his remarks only enrage him more. He is finally stopped by a fisherman of
1192:
Gadotti, Alhena (2006). "Gilgameš, Gudam, and the Singer in
Sumerian Literature". In Michalowski, Piotr; Veldhuis, Niek (eds.).
1791:
1628:
1418:
171:. The first complete modern edition was published in 1990 by Willem Römer. Subsequently, another was prepared in 2001 for the
56:. The goddess herself subsequently decides to spare his life when he starts pleading, and sends him to live in a ditch near
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The woman he mentions is presumably Inanna. His intervention sends Gudam into a rage. He declares that he will destroy the
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308:. Laura Feldt assumes he was either a mythical part bull, part human being, or a god figuratively described as bull-like.
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being a potential exception from this rule. Laura Feldt argues that it can be considered a conscious reference, with the
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is considered a close parallel, with some authors outright considering the two texts to be variants of one narrative.
239:), until a hero intervenes. The anonymous protagonist, described as the "junior fisherman, the fisherman of Inanna" (
300:. However, he did tentatively voice support for the proposal that he might be related to the well-attested motif in
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Weapons of words. Intertextual competition in
Babylonian poetry: a study of Anzū, Enūma eliš, and Erra and Išum
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look similar and could be confused if damaged. However, Alhena
Gadotti instead proposes to read this phrase as
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sources. It is agreed that a change occurred between the composition of the individual Sumerian poems and the
517:, as Enkidu, initially portrayed as a human and servant of Gilgamesh, came to be described as a supernatural
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have also been noted. However, the latter was unsuccessful, as while Gilgamesh was willing to spare him,
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It has also been suggested that Gudam might have in part been the model for the portrayal of Enkidu in
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is listed alongside compositions focused on Gilgamesh. Narrative similarities between it and the poem
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Go on, do not do it! That which the woman has ordered me (to say), O people, I have come (to say)!"
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a servant of Gudam, and was trying to mediate between him and Inanna but ended up insulting him.
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A further topic which has been a subject of debate is the term used to refer to Gudam's weapon,
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The Babylonian Gilgamesh epic: introduction, critical edition and cuneiform texts
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Approaches to Sumerian literature: studies in honor of Stip (H.L.J. Vanstiphout)
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122:"Gudam went out to the city". The catalog places it between the first lines of
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possibly being a satirical reflection of myths focused on Ninurta, such as
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A further mythical being compared to Gudam is a bovine monster from the
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being the result of ancient textual corruption of damaged TUR(/dumu/)-
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Reallexikon der Assyriologie und Vorderasiatischen Archäologie
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Assyria and beyond: studies presented to Mogens Trolle Larsen
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Assyria and beyond: studies presented to Mogens Trolle Larsen
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has been proposed, though this hero is absent from it. In an
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connection between the two texts it is implausible that the
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reflection of a real enemy of the city of Uruk, for example
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in 1914, with a second translation subsequently prepared by
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403:. This name is otherwise only attested in association with
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The Sorceress: The Secrets of the Immortal Nicholas Flamel
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but otherwise absent from literary texts, with the phrase
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and starts killing the people around him with his weapon (
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Gudam, in the street of Uruk, the multitudes followed you.
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You did not drink beer, what you drank was your own blood.
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You did not eat bread, what you ate was your own flesh.
60:. Many aspects of the story are a subject of debate in
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The Epic of Gilgamesh, or This Unnameable Little Broom
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The singer repeated the song, he strummed the strings:
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and other texts have also been noted. In particular,
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110:. Two copies have been discovered so far, both in
283:", it is possible that he was an ox-like being.
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279:Due to the meaning of Gudam's name, "he is an
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1399:Electronic Text Corpus of Sumerian Literature
174:Electronic Text Corpus of Sumerian Literature
8:
1233:. Oxford New York: Oxford University Press.
492:Similarities between the pleas of Gudam and
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1377:: CS1 maint: location missing publisher (
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292:. He assumed he might have been a
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1196:. Leiden: Brill. pp. 67–83.
1165:. In Dercksen, Jan Gerrit (ed.).
1107:. In Dercksen, Jan Gerrit (ed.).
345:, as the beginnings of the signs
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504:urged him to kill him instead.
469:catalog of literary texts, the
1105:"Gudam and the Bull of Heaven"
1:
1345:Wisnom, Laura Selena (2020).
1318:. In Leick, Gwendolyn (ed.).
543:. This being, referred to as
1949:2nd-millennium BC literature
1262:Reallexikon der Assyriologie
1140:. Oxford University Press.
1975:
1256:Heimpel, Wolfgang (1971),
1227:George, Andrew R. (2003).
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1314:Richardson, Seth (2009).
1275:Marchesi, Gianni (2004).
1202:10.1163/9789047410683_007
1134:Black, Jeremy A. (2006).
461:and myths about the hero
457:A connection between the
1645:Gilgamesh in the Outback
1629:The Great American Novel
222:in Uruk and a temple in
1785:Demon with a Glass Hand
1103:Alster, Bendt (2004).
407:and closely connected
315:Another aspect of the
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269:Your praise is sweet!
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118:, originally possibly
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1688:The Epic of Gilgamesh
1575:Other mythical beings
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1161:Feldt, Laura (2004).
521:, which according to
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1873:Gilgamesh flood myth
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1700:(1964 Turkish opera)
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120:gud-dam iri ba-ra-è,
24:, also known as the
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1759:Where Is Gilgamesh?
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1337:978-1-134-26128-4
1147:978-0-19-929633-0
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999:, pp. 30–31.
930:, pp. 35–36.
891:, pp. 34–35.
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902:
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863:
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852:, p. 12.
851:
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813:
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773:
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755:, p. 70.
754:
749:
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725:
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693:
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673:, p. 21.
672:
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614:
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571:Marchesi 2004
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1817:Gilgamesh II
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1686:
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1627:
1592:Scorpion man
1470:Enmebaragesi
1434:
1392:
1346:
1319:
1304:. Retrieved
1284:
1280:
1266:, retrieved
1261:
1229:
1193:
1166:
1151:. Retrieved
1136:
1108:
1097:Bibliography
1087:Gadotti 2006
1082:
1075:Gadotti 2006
1070:
1058:
1051:Gadotti 2006
1046:
1039:Gadotti 2006
1019:
1012:Gadotti 2006
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943:Gadotti 2006
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916:Gadotti 2006
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884:
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833:Gadotti 2006
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802:Gadotti 2006
772:Gadotti 2006
753:Gadotti 2006
736:Gadotti 2006
731:
709:Gadotti 2006
692:Gadotti 2006
632:
625:Gadotti 2006
620:
613:Gadotti 2006
608:
601:Heimpel 1971
544:
538:
536:
531:
512:
506:
497:
496:in the myth
491:
485:
482:intertextual
474:
470:
458:
456:
444:
436:
430:
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416:
398:
396:
392:cosmological
380:
379:in the myth
366:
362:
354:
350:
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342:
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332:
316:
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245:tur-re šu-ḫa
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133:
123:
119:
116:gud-dam iri
115:
87:
85:
69:
65:
44:copies from
32:
31:
26:
25:
20:
19:
18:
1839:Video games
1614:Adaptations
1490:Utnapishtim
1264:(in German)
1063:George 2003
997:Alster 2004
955:Wisnom 2020
928:Alster 2004
889:Alster 2004
877:Alster 2004
862:Alster 2004
850:George 2003
821:Alster 2004
787:Alster 2004
724:Alster 2004
671:Alster 2004
654:Alster 2004
637:Alster 2004
447:Shukaletuda
415:, with the
381:Inanna and
361:known from
262:to Inanna:
155: [
148:Arno Poebel
62:Assyriology
1933:Categories
1770:Television
1621:Literature
1445:Characters
1365:1120783834
1349:. Leiden.
1306:2023-04-08
1281:Orientalia
1268:2023-04-09
1153:2023-04-09
970:Feldt 2004
901:Feldt 2004
586:Black 2006
551:References
528:Babylonian
388:South Wind
355:šu-peš tur
27:Gudam Epic
1829:Gilgamesh
1723:Gilgamesh
1716:(Nørgård)
1714:Gilgamesh
1705:Gilgamesh
1698:(Kodallı)
1696:Gilgamesh
1485:Urshanabi
1460:Gilgamesh
1373:cite book
1293:0030-5367
1220:568279426
463:Gilgamesh
371:("divine
359:Gilgamesh
294:satirical
141:version B
125:Gilgamesh
92:cuneiform
71:Gilgamesh
1917:Category
1725:(Brucci)
1707:(Saygun)
1511:Anunnaki
1301:43076896
1249:51668477
1185:57477273
1127:57477273
519:wild man
509:Akkadian
437:Epic of
405:Ningirsu
306:bull-man
260:doxology
249:inana-ke
96:Sumerian
73:and the
1587:Humbaba
1541:Shamash
1499:Deities
1480:Shamhat
1397:in the
1258:"Gudam"
494:Humbaba
426:Lugal-e
409:Ninurta
290:deities
224:Zabalam
136:Humbaba
98:in the
82:History
58:Zabalam
36:, is a
1954:Inanna
1809:Comics
1778:Darmok
1762:(2024)
1754:(1997)
1746:(1985)
1672:(2009)
1664:(2006)
1656:(1991)
1648:(1986)
1640:(1984)
1632:(1973)
1561:Silili
1556:Siduri
1536:Ninsun
1530:Inanna
1526:Ishtar
1475:Enkidu
1453:Humans
1363:
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1299:
1291:
1247:
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1218:
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1183:
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1144:
1125:
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502:Enkidu
413:Zababa
377:Inanna
368:dingir
339:tur-re
325:Dumuzi
304:, the
192:Inanna
112:Nippur
54:Inanna
46:Nippur
1883:Mashu
1861:Other
1521:Enlil
1297:JSTOR
432:Angim
400:šarur
329:Kuara
256:ditch
241:šu-ḫa
220:Eanna
159:]
106:as a
90:is a
1878:Uruk
1735:Film
1506:Adad
1379:link
1361:OCLC
1351:ISBN
1332:ISBN
1289:ISSN
1245:OCLC
1235:ISBN
1216:OCLC
1206:ISBN
1181:OCLC
1171:ISBN
1142:ISBN
1123:OCLC
1113:ISBN
545:e-ne
439:AnzĂ»
349:and
298:Elam
185:The
181:Plot
132:and
129:Akka
127:and
108:myth
86:The
50:Uruk
1566:Wer
1545:Utu
1465:Aga
1324:doi
1198:doi
435:or
233:-ur
229:šar
143:).
30:or
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1516:Ea
1375:}}
1371:{{
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383:An
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157:pl
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.