Homosexuality in The Epic of Gilgamesh Essay Example

Although underreported and deeply stigmatized, same-sex relationships existed long before the modern era. Sadly, modern society still views straight relationships as the standard, and thus readers often view literature with a bias towards heterosexuality. By actively disregarding this societal norm we can examine texts in a wildly different light. In fact, both the language and content within The Epic of Gilgamesh strongly lends itself to the possibility that Enkidu and Gilgamesh were in a queer relationship with one another. The author applies the roles of man and wife to the two men, deemphasizes the importance of their relationships with women, and shows the intense effect the men have on each other. These facets of the story (upon many others) all strongly suggest that Gilgamesh and Enkidu’s relationship was romantic.

The epic maintains the traditional roles of heterosexual marriage, applying the role of wife to Enkidu and husband to Gilgamesh. Enkidu is created as a means to check the power and tyranny of Gilgamesh. Before his creation, none could match the strength or size of the mighty ruler. The citizens call for “a match for the storm of his heart,” and thus, Enkidu is created (I, 96). Referring to Enkidu as a “match” for Gilgamesh’s heart begins to build the suggestion that the men are in a romantic relationship. Soon, a figure of an axe comes to Gilgamesh in his dreams, and his mother is quick to explain the nature of this vision:

“My son, the axe you saw is a friend,

like a wife you’ll love him, caress and embrace him,

and I, Ninsun, I shall make him your equal.” (I, 288-290)

This explanation of Gilgamesh’s dream sets a romantic undertone for the foretold relationship. Ninsun states that not only will Gilgamesh soon encounter a friend, but that their relationship will exceed friendliness and he will love this friend “like a wife.” Additionally, clarifying that Gilgamesh will “caress and embrace” Enkidu in the manner of a married couple directly implies that a sexual relationship will emerge between the two men. Later in the tale, Gilgamesh tenderly cares for Enkidu’s dead body, covering him “like a bride” (VIII, 59). Here, the language likening the men to a married couple reappears. From Gilgamesh and Enkidu’s first meeting to their last, the author repeatedly refers to the men as a married couple. However, this particular use of language is not the only factor that designates Enkidu as a wife and Gilgamesh as a husband. 

Enkidu’s semi-feminine energy balances the hyper-masculine tendencies of the ruler Gilgamesh, further fueling the married couple analogy. When Enkidu is created, he is described as having “long tresses like those of a woman” (I, 106). Conversely, Gilgamesh is described using traditionally masculine traits like “powerful,” “mighty,” and “handsome” (I, 75, 62). Their wildly differing descriptions set the precedent that Gilgamesh is the “man in the relationship,” and Enkidu the woman. Later in the poem, Enkidu grows increasingly concerned with protecting Gilgamesh on their journey to slay Humbaba, often urging him to turn back for his own safety (III, 230). In doing so, Enkidu embraces the duty of protector and embodies the idea of passivity--both characteristics that are frequently associated with the role of a wife. 

Although the men have several sexual encounters with women throughout the tale, these relationships are empty and only serve as a method of sexual release, whereas Gilgamesh and Enkidu share a more complex, fulfilling relationship. When we are introduced to Gilgamesh, he is described as a menace to the people of Uruk.

The young men of Uruk he harries without warrant, 

Gilgamesh lets no son go free to his father.

By day and by night his tyranny grows harsher,

Gilgamesh, [the guide of the teeming people!]

It is he who is shepherd of Uruk-the-Sheepfold,

[but Gilgamesh] lets no [daughter go free to her] mother. (I, 67-72)

 The ruler Gilgamesh is described as harassing the young male citizens and sleeping with the young women. However, if we discard the notion that these characters are inherently heterosexual, this passage suggests that Gilgamesh has sexual encounters with both the men and women of Uruk. Although further passages go into more detail about his relationships with women, these passages also directly state that the relationships were purely sexual. In my view, these meaningless relationships are only used to bolster Gilgamesh’s pride and emphasize his extreme power over his citizens. Eventually, the goddess Ishtar takes a liking to Gilgamesh and suggests a more serious relationship than those he had had in the past.

On the beauty of Gilgamesh Lady Ishtar looked with longing: 

'Come, Gilgamesh, be you my bridegroom!

Grant me your fruits, O grant me!

Be you my husband and I your wife! (V, 6-9)

Lady Ishtar’s proposition of marriage should appeal to Gilgamesh, considering that she is a goddess and she flatters him so. However, Gilgamesh spurns her without a moment’s hesitation. Any rational man (or demigod) would consider the proposal to marry and “grant their fruits” to a powerful goddess. Nevertheless, Gilgamesh turns her down, returning to Enkidu. Scorned and enraged, Ishtar’s wrath eventually leads to Enkidu’s demise. Conversely, Enkidu’s relationship with Shamhat was integral for his personal and romantic development, for she led him to Gilgamesh.

Rather than solely regarding Shamhat as a sexual object, a more thorough reading of the texts finds Shamhat to be the instigator of Gilgamesh and Enkidu’s relationship. Additionally, her sexual relations with Enkidu only served as a means of domestication for the man, and neither of them had romantic feelings for the other. After sleeping together for several days, Enkidu finds he felt “weakened,” but that he now had “reason and wide understanding” (I, 201-202). He lost the part of himself that aligned with the wild animals, and gained his humanity. Sleeping with Shamhat was instinctual for him, and once they concluded, he “turned his gaze to his herd” once again (I, 195). This scene shows that while Enkidy had changed into a man, he still had no respect or love for Shamhat, and was ready to abandon the woman who made him human. In fact, I’d argue that he wasn’t attracted to her romantically at all, and only slept with her because of his animalistic desire for sexual gratification. Once Enkidu realizes he cannot return to the wild, Shamhat tells him about Gilgamesh.

‘He is fair in manhood, dignified in bearing,

graced with charm is his whole person.

He has a strength more mighty than yours,

unsleeping he is by day and by night

‘O Enkidu, cast aside your sinful thoughts!

Gilgamesh it is whom divine Shamash loves. (I, 236-241)

After Shamhat’s description of Gilgamesh, she notices an outward reaction from Enkidu, and implores him to put a halt to his “sinful thoughts.” Although many interpret this passage to be a description of Enkidu’s jealousy of the man Shamhat loves, it was already established that Enkidu does not want to pursue a relationship with Shamhat, so this interpretation is invalid. Additionally, earlier in the passage Enkidu had decided that he “should seek a friend” in Gilgamesh rather than a rivalry (I, 214). Instead of jealousy, Enkidu’s “sinful thoughts” arise in response to Shamhat’s description of Gilgamesh and his “manhood.” In layman's terms, Enkidu is developing a crush on Gilgamesh due to Shamhat’s account of the King’s strength and beauty. This passage shows Enkidu’s immediate attraction to Gilgamesh, and that he longs for him before they even meet.  

While Gilgamesh was once seen as a heartless tyrant, Enkidu’s death brings out a more sensitive side of the once-cruel ruler, revealing the depth of his love for Enkidu. 

[my friend] Enkidu, [whom I loved so dear,] 

[who with me went through every danger:]

[the doom ofmortals] overtook [him.]

‘Six days [I wept for him and seven nights:] 

[I did not surrender his body for burial] 

until [a maggot dropped from his nostril.] (X, 57-60)

As a result of Enkidu’s death, Gilgamesh is devastated, spiraling into a period of deep depression and mourning. He restates his love for his dear departed friend, and details how he was so unwilling to accept Enkidu’s death that he watched over his lifeless body until “a maggot dropped from his nostril” (X, 60). Gilgamesh’s reaction to this death shows that their connection went beyond just a casual friendship. He is willing to reveal his sensitivity and push away his pride when it comes to this relationship, which is far different from the brutal tyrant Gilgamesh that was introduced in Tablet I. 

While the Epic of Gilgamesh is highly regarded as an action-packed tale of a king, we can now see that while this meaning persists, it is also a love story about the journey of Enkidu and Gilgamesh. They spurn all women who may cross their paths, and spend the entirety of the story growing closer as friends and lovers. By the end of the epic, the titular character of Gilgamesh has changed completely, all thanks to the kindness and love from his companion Enkidu. Their love adds another layer of complexity to the ancient text, turning the story from a run-of-the-mill myth to a Mesopotamian Romeo and Juliet.