Podcasts about Humbaba

Ibland är samtiden så samtida att bara den äldsta litteraturen är god nog. Henrik Nilsson återser ett gammalt epos och fångas av fragmenten. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Det händer att jag känner en viss övermättnad på samtida litteratur och tänker på den portugisiske poeten Fernando Pessoas rader: ”Så många samtida dikter! Så många poeter alldeles av idag – alla intressanta, allt intressant … / Ah, men ändå bara nästan …” Om en ny teaterpjäs läser jag då att den är ”brännande aktuell”, och genast falnar min nyfikenhet. Konstverken som lägger sig alltför tätt inpå sin tid, romanerna som på ett alltför inställsamt sätt marscherar i takt med dagarna – det är inte bara det att de åldras så snabbt; de är gagnlösa redan nu, på grund av den snäva synen på vad detta nu egentligen rymmer.En sådan konstnärligt trång dag tar jag istället ut det allra äldsta ur bokhyllan, Gilgamesheposet. Det bygger på berättelser om Gilgamesh – kung i staden Uruk – som skrevs ner på kilskriftstavlor för ungefär fyratusen år sedan på det numera utdöda språket sumeriska. En del av dessa berättelser ledde efter hand fram till själva eposet på det fornsemitiska språket akkadiska, som talades under lång tid i Mesopotamien. Under denna nästan tusen år långa process ändrades delar av innehållet och inriktningen, och Gilgamesh utvecklades mot en mer komplex gestalt.När jag börjar läsa avslöjar ett hundöra i boken att det inte är första gången jag ger mig i kast med eposet. Varför övergav jag Gilgamesh och hans vän Enkidu redan under deras färd mot Cederskogen i tavla IV? Det är ju inte någon omfattande textmassa. För en nutida läsare kan vandringen ändå te sig mödosam, full av förvirrande sidospår och lösa stenar. Ibland kommer man till en plats som är mycket lik en man redan tror sig ha passerat. Andra gånger måste man hitta vägen utan stigmarkeringar, eftersom det här och var saknas rader eller hela stycken. Men det gäller att ta många raster och samtidigt acceptera att upprepningarna och de lösa stenarna är en del av vandringen. Dessutom gör det ingenting om man inte fullföljer läsningen vid första försöket. Gilgamesh är van vid att vänta på sina läsare. Han tros visserligen ha en verklig förlaga, som levde för ungefär 4700 år sedan. Men därefter tog de myter över som gör honom inte till en enhetligt fixerad personlighet, utan snarare till en skugga som med skiftande konturer rör sig genom seklerna. En avgörande händelse ägde rum år 1850 vid utgrävningarna av den assyriska kungen Assurbanipals bibliotek i dagens Irak, då arkeologer under ruinerna upptäckte de lertavlor med kilskrift som man ett par decennier senare lyckades tyda. Dessa ligger till grund för den standardversion av eposet som vår egen tids översättningar bygger på. En standardversion som förändras efterhand som forskare hittar nya fragment att foga till helheten.Till skillnad från vid första försöket kan jag den här gången inte sluta läsa om Gilgamesh. Snart tycker jag att doften av cederträ slår upp från boksidorna, och jag börjar leka med tanken på att inrätta tillvaron i dubbeltimmar – 12 istället för 24 – liksom babylonierna gjorde. Jag tror att alla läsare finner sina delar av eposet som talar just till dem. Är det kanske när ursprungsmänniskan Enkidu – skapad som Gilgamesh dubbelgångare för att avlasta invånarna i Uruk från kungens överskottsenergi – lämnar vilddjuren han levt med och blir människa? Eller när Gilgamesh efter att ha vandrat genom en lång beckmörk tunnel når fram till den skimrande juvelträdgården, i en passage som korresponderar med Edens lustgård i Bibeln, sagosamlingen Tusen och en natt och vissa buddhistiska texter?För mig når berättelsen sin smärtpunkt när Enkidu dör och Gilgamesh blir medveten om sin egen dödlighet. Då övergår äventyren i tvivel, och övermodet byts mot ett ifrågasättande av den egna existensen. Trots utmattande resor visar sig odödligheten vara omöjlig att uppnå, vilket leder till en sorts försoning hos Gilgamesh. När han mot slutet av eposet återvänder till sin hemstad säger han stolt till sin följeslagare: ”Gå upp på Uruks murar, vandra runt! Inspektera grunden, granska murverket!” Det är inte bara till Uruk Gilgamesh återvänder, utan också till sitt eget liv – det enda han har.Knut Tallqvists första svenska översättning av eposet publicerades 1945 och finns fortfarande tillgänglig. 2001 kom Lennart Warrings och Taina Kantolas betydligt mer omfattande översättning där forskningen fyllt igen en hel del luckor. Fortfarande saknas dock så många rader och avsnitt att det ibland känns som att lyssna till någon som talar högt och fragmentariskt i sömnen under en feberyra.Ett forskningsprojekt försöker nu med AI:s hjälp fylla de resterande luckorna utifrån den omfattande databasen Fragmentarium som översätter babyloniska fragment. Är vi alltså på väg mot den fullständiga versionen av Gilgamesheposet? Och varför längtar jag inte efter att arbetet ska slutföras? Jag minns något jag såg i en skranglig tågvagn mellan den grekiska hamnstaden Pireus och Aten för några år sedan. Snett mitt emot mig satt en kvinna i shorts. På sitt ena lår hade hon tatuerat en kort fras på engelska: ”Die with …” Det tredje och sista ordet i tatueringen gick inte att urskilja eftersom det täcktes av handväskan hon höll i. Jag brann av nyfikenhet att få veta fortsättningen, men förstod att jag knappast kunde be henne lyfta på handväskan. Min fråga var också Gilgameshs fråga: Hur ska vi dö? Och hur ska vi vara dödliga? I efterhand förstår jag att tatueringen fortfarande verkar i mig just eftersom jag aldrig fick veta fortsättningen på den. På ett liknande sätt är luckorna i eposet förvisso ett hinder. Men samtidigt är det genom ofullständigheten som verket lever vidare och går oss till mötes. Efter att gång på gång läst om Gilgamesheposet tror jag mig nu förstå varför jag inte fullföljde läsningen första gången, och varför jag så tidigt vek ett hundöra i boken. Efter att Gilgamesh och Enkidu drabbat samman och stångats som tjurar i Uruk, omfamnar de varandra och blir vänner. Men Enkidu har svårt att anpassa sig till människornas liv i staden och blir deprimerad. Gilgamesh föreslår då att de ska bege sig till Cederskogen och kämpa mot monstret Humbaba. Det är egentligen ett dumdristigt kamikazeuppdrag. Men vad går upp mot ett omöjligt äventyr för att väcka livsandarna? ”Tag min hand, min vän, låt oss gå tillsammans”, säger Gilgamesh. I det ögonblicket är det som om den uråldriga kilskriften också vänder sig rakt till sin avlägsna läsare och säger: ”Tag min hand, min läsare, låt oss gå tillsammans.” Där vill jag hejda de båda vännerna – under den farliga vandringen mot skogsbrynet med höga cederträd, då mod och rädsla väger lika och striden ännu inte börjat. Lämnar man Gilgamesh och Enkidu där, lämnar man dem aldrig. Henrik Nilssonförfattare och essäist LitteraturGilgamesh-eposet. Översättning Knut Tallqvist (Modernista, 2022).Gilgamesheposet. Översättning Lennart Warring och Taina Kantola (Natur & Kultur, 2001).

Episode: We're back, with Tablet V of the Epic of Gilgamesh. Chris and Amy take us on a deep dive into the great cedar forest at the mountains of the gods, where they will face Humbaba, guardian of the forest. Tune in and enjoy! Click to listen back to PART 1,  PART 2, PART 3, PART 4, and PART 5.  Hosts: Chris McKinny and Amy Balogh Article by Amy mentioned in the Episode: Balogh, Amy L. "Chapter 2 The Tree of Life in Ancient Near Eastern Iconography". In The Tree of Life, (Leiden, The Netherlands: Brill, 2020). Access the article HERE. Give: Visit our Donate Page if you want to help Biblical World and OnScript continue by becoming a regular donor. Image Attribution: Wikipedia. By Rama, CC BY-SA 3.0 fr, https://commons.wikimedia.org/w/index.php?curid=50284881  

In this week's episode of 'Sleepy Seedlings: The Bedtime Podcast with Trees', we explore the Mighty Cedars of Lebanon, trees that have stood for thousands of years, witnessing the passage of time. Revered for their strength and endurance, these majestic trees have been mentioned in texts as old as the Epic of Gilgamesh, where they were guarded by the fearsome Humbaba. With their deep roots and towering presence, the cedar trees remind us of the quiet resilience found in nature. As you listen to the soothing sounds of a gentle breeze moving through the cedar branches and the soft hum of Lebanese night insects, let the strength of the cedar inspire you. Just as these trees have weathered countless storms, you too can find your inner calm and steadiness. Settle in, relax, and allow the quiet power of these ancient trees to guide you into peaceful rest. Hosted on Acast. See acast.com/privacy for more information.

Grandpa Bill today overviews The Sumerian Epic of Gilgamesh is an epic poem from ancient Mesopotamia. It is the oldest known work of literature, dating back to the 3rd millennium BC. The epic tells the story of Gilgamesh, the king of Uruk, and his quest for immortality. The epic is divided into 12 tablets, each of which tells a different part of Gilgamesh's story. The first tablet introduces Gilgamesh as a powerful but tyrannical king. The gods, responding to the people's pleas, create Enkidu, a wild man, to challenge Gilgamesh. Gilgamesh and Enkidu become fast friends, and together they embark on many adventures. They defeat the monster Humbaba and the Bull of Heaven, and they travel to the Cedar Forest, where they cut down a sacred tree. However, Enkidu dies soon after their return to Uruk. Gilgamesh, grief-stricken, sets out on a quest to find the secret of immortality. He travels to the ends of the earth and meets many strange and wonderful creatures, including the goddess Ishtar and the immortal sage Utnapishtim. In the end, Gilgamesh does not find the secret of immortality, but he does learn to accept his own mortality. He returns to Uruk and rules wisely until his death. The Epic of Gilgamesh is a complex and multi-layered work. It can be read as a story about friendship, adventure, and loss. It can also be read as a meditation on the nature of mortality and the meaning of life. The epic has been translated into many languages and is still widely read today. It is a classic work of world literature and a valuable source of insight into the ancient Mesopotamian worldview. Here are some of the key themes of the Epic of Gilgamesh: Friendship: Gilgamesh's friendship with Enkidu is one of the central themes of the epic. Their friendship is deep and enduring, and it helps Gilgamesh to grow and change. Adventure: Gilgamesh is a restless and adventurous spirit. He is always seeking new challenges and new experiences. His quest for immortality takes him to all corners of the known world. Loss: Gilgamesh experiences the loss of his friend Enkidu, which forces him to confront his own mortality. This loss helps him to become more compassionate and understanding. Mortality: The Epic of Gilgamesh is a meditation on the nature of mortality and the meaning of life. Gilgamesh's quest for immortality ultimately fails, but he learns to accept his own mortality and live life to the fullest. The Epic of Gilgamesh is a powerful and moving story that has resonated with readers for centuries. It is a story that explores universal themes such as friendship, adventure, loss, and mortality. Planet Nine or some say planet 10? Hypothetical large planet in the far outer Solar System Planet Nine is a hypothetical ninth planet in the outer region of the Solar System. Its gravitational effects could explain the peculiar clustering of orbits for a group of extreme trans-Neptunian objects, bodies beyond Neptune that orbit the Sun at distances averaging more than 250 times that of the Earth. #solarsystem #space #solar #astronomy #solarenergy #nasa #universe #solarpanels #solarpower #science #cosmos #galaxy #planets #spacex #moon #astrophotography #solarpanel #earth #renewableenergy #stars #astrophysics #sun #greenenergy #energy #milkyway #gogreen #mars #cleanenergy #planet #cosmology --- Send in a voice message: https://podcasters.spotify.com/pod/show/bhsales/message

In this months This Old Tree host Doug Still talks to John Perlin Historian, author of A Forest Journey: The Role of Trees in the Fate of Civilization. The two discuss the story of Gilgamesh. Gilgamesh, the Sumerian king of Uruk, threatens to cut down the sacred Cedar Forest and claim its wood for his people. First, he must kill the terrifying guardian of the forest, Humbaba. Can he do it? What will the gods think, and what will it mean for humanity? The story's message is central to John Perlin's republished book, A Forest Journey: The Role of Trees in the Fate of Civilization. Forests, and the wood they provide, have been crucial to human society since the beginning of recorded time, and now the fight against climate change. But what does history tell us about how we treat them?

El monstruo primigenio o al menos este es de los primeros que se tienen registro. Escrito en piedra Gilgamesh y Humbaba estarán acá en el Bestiario.Acomódate para escuchar las historias que tiene el Conde Fabregat para los mortales del siglo XXI. #condefabregat #historias #storytelling Hosted on Acast. See acast.com/privacy for more information.

Munissez-vous d'un casque ou des enceintes, et partez pour une balade en forêt...Préparez-vous à pénétrer dans la Forêt des Cèdres sacrés en compagnie de Gilgamesh et ses guerriers. Priez pour que l'ogre redoutable Humbaba ne vous fasse pas subir ses 7 éclats divins...Bonne écoute :)Soutenez-nous sur Tipeee: https://fr.tipeee.com/les-capsules-dolen/Suivez-nous sur les réseaux:Spotify: https://open.spotify.com/show/4IjUGYE9K6ZZL5JKipBbv8Apple Podcast: https://podcasts.apple.com/us/podcast/les-capsules-dolen/id1538569072Youtube: https://www.youtube.com/channel/UCg75MAmM-mP2JNvcJ_N4tEQFacebook: https://www.facebook.com/lescapsulesdolenInstagram: https://www.instagram.com/les_capsules_dolen/Linkedin: https://www.linkedin.com/company/les-capsules-d-olen/Newsletter: https://eda0602c.sibforms.com/serve/ Devenez membre pour continuer l'exploration https://plus.acast.com/s/les-capsules-dolen. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On this episode of Iron, Silver and Salt the trio goes back to some of the earliest fiction to look at one of the original monsters of fiction: Humbaba from the Epic of Gilgamesh. Chris returns, after resting peacefully. The plight of the human condition weighs heavily on Adrian. Will keeps JAQing it (Just Asking Questions). And the group tells you how to handle the guardian monster Humbaba. Sources:  The Epic of Gilgamesh:    

Gilgamesh and Endiku face off with Humbaba in the Cedar Forrest. But their hero's welcome is short-lived. Andrea, Brandon, and Matt discuss the fallout of their battle, insulting the gods, and the dreams of Endiku.Join the discussion on CIRCE Circle: https://circe.circle.so/c/overdue-classics/Send questions or comments to podcasts@circeinstitute.orgFind the books here: https://bookshop.org/lists/overdue-classics Hosted on Acast. See acast.com/privacy for more information.

A fúria de Ishtar: Máscaras de argila de Humbaba; A morte e a saga --- Send in a voice message: https://podcasters.spotify.com/pod/show/pedro-mendes-ju00fanior/message

Gilgamesh, the Sumerian king of Uruk, threatens to cut down the sacred Cedar Forest and claim its wood for his people. First, he must kill the terrifying guardian of the forest, Humbaba. Can he do it? What will the gods think, and what will it mean for humanity? The story's message is central to John Perlin's republished book, A Forest Journey: The Role of Trees in the Fate of Civilization. Forests, and the wood they provide, have been crucial to human society since the beginning of recorded time, and now the fight against climate change. But what does history tell us about how we treat them? GuestJohn PerlinHistorian, author of A Forest Journey: The Role of Trees in the Fate of CivilizationPatagonia Booksjohn-perlin.comVoice DramatizationMartha Douglas-OsmundsonLinkedInConsulting EditorDavid Still, IISpecial Thanks to:My father, David Still, for his advice and interpretation of The Epic of GilgameshAll readings from the Epic of Gilgamesh translated by Andrew George.Theme MusicDiccon Lee, www.deeleetree.comArtworkDahn Hiuni, www.dahnhiuni.com/homeWebsitethisoldtree.showTranscripts available.Follow onFacebook or Instagram We want to hear about the favorite tree in your life! To submit a ~3 or 4 minute audio story for consideration for an upcoming episode of "Tree Story Shorts" on This Old Tree, record the story on your phone's voice memo app and email to:doug@thisoldtree.netThis episode was written in part at LitArts RI, a community organization and co-working space that supports Rhode Island's creators. litartsri.org

Hidden within the poetic verses of the Epic of Gilgamesh, one of the world's oldest religious texts, are indispensable clues to the nature and origin of the world's earliest religious tradition- "The Ancient Tradition".  Once you've given Tablet V a listen, turn your ear to our sister podcast, "The Ancient Tradition", where we reveal striking similarities in the ancient record- myths, cosmologies, theologies, and sacred writings- which point to an original, pure religion in deep antiquity.  Is it the true religion?  If so, you are in for the theological adventure of a lifetime. In this audio recording of the Epic of Gilgamesh, Tablet V, King Gilgamesh and Enkidu make their journey to the Forest of Cedar.    Gilgamesh and Enkidu confront the ogre Humbaba in the Forest of Cedar.  Taking courage from Enkidu, Gilgamesh battles Humbaba.  Shamash sends thirteen winds to aid Gilgamesh, blinding Humbaba.  Gilgamesh thrusts a dagger in Humbaba's neck, slaying the ogre.  Gilgamesh and Enkidu claim victory.Join us for this episode and visit us on the web at theancienttradition.com and www.youtube.com/@theancienttradition for more amazing comparative religion.

When Perseus cut off Medusa's head, shouldn't she have lost her power? Dr. Kate Birney says “Definitely not!” and reveals the Middle Eastern origins of this ghastly Greek monster.  Dr. B also shows us how the ancient Greeks used Medusa's terrifying power to protect themselves from evil spirits. Check out our instagram @OCCNY or search #livefrommountolympus to see some scary images of Medusa and her Mesopotamian inspiration, Humbaba!     Live from Mount Olympus is a production of the Onassis Foundation, and co-produced by The TEAM. The podcast is directed by Tony Award-winner Rachel Chavkin (Hadestown) and Zhailon Levingston (Tina: The Tina Turner Musical) and created by Peabody Award-winning producer Julie Burstein. Karen Brooks Hopkins is the executive producer. Live from Mount Olympus is presented by TRAX from PRX with support from the Corporation for Public Broadcasting. Find out more at Onassis.link/Olympus Our actors include Vinie Burrows, Jill Frutkin, Divine Garland, Amber Gray, Adrienne Hopkins, Natalie Hopkins, Modesto "Flako" Jimenez, Libby King, Ian Lassiter, Zhailon Levingston, Christina Liberus, Nehemiah Luckett, Jake Margolin, James Harrison Monaco, Kristen Sieh, Jillian Walker, Baby Perseus is played by Calvin Samuel Blanch and Whit Vega Margolin-Vaughan, and André De Shields is Hermes. Our production team includes: sound designer David Schulman; production assistant Tessa Zitter; writer Nathan Yungerberg; music composed and performed by Magda Giannikou with Luca Bordonaro; and illustrations by Jason Adam Katzenstein. Our guest today, Dr. Kate Birney, is Chair of the Archaeology Department at Wesleyan University. Our mythlets are produced by Tessa Zitter and Julie Burstein and mastered by John Melillo.

Sales DC January 2022 Solicits Comic Reviews: Batman: The Audio Adventures Special by Dennis McNicholas, Paul Scheer, Bobby Moynihan, Heidi Gardner, Ike Barinholtz, Anthony Marques, Leonardo Romero, Emma Kubert, Derec Donovan, German Peralta, Jacob Edgar, Juni Ba, Jon Mikel, J. Bone, Rich Ellis, Jesus Hervas, Roberto Poggi, Dave Stewart, Hi-Fi, Nick Filardi, Rex Lokus, David Baron, Kristian Rossi, Dee Cunniffe Batman: The Imposter 1 by Mattson Tomlin, Andrew Sorrentino, Jordie Bellaire Batman Urban Legends 8 Strange Adventures 12 by Tom King, Mitch Gerads, Doc Shaner Robins 1 by Tim Seeley, Baldemar Rivas, Romulo Fajardo Jr Black Panther Legends 1 by Tochi Onyebuchi, Sektor Fiadzigbey Darkhold: Iron Man 1 by Ryan North, Guillermo Sanna, Ian Herring Eternals Forever by Ralph Macchio, Ramon F Bachs, Rachelle Rosenberg Star Wars: The High Republic - Trail of Shadows 1 by Daniel Jose Older, Dave Wachter, Marchisio Immortal Hulk 50 by Kieron Gillen Marvel Meow by Nao Fuji Clear 1 by Scott Snyder, Francis Manapul ET-ER 1 by Dan Panosian, Jeff McComsey, Javier Pulido, Shawn Crystal James Bond: Himeros 1 by Rodney Barnes, Antonio Fuso Electric Black 1 by Joseph Paul Schmalke, Rich Woodall Ninja Scouts and the Mask of Humbaba 1 by Kevin Doyle, Martin Plsko Creepy Cat GN by Cotton Valent Weird Western Adventures: The Lady and The Witch by Greg Boucher, Mark Otto, Ken Lamug, Sergio Rios, Alex Schwafel, Edgar Tavitas The New Monster (A Pocket Reynolds Chiller) by Chris Reynolds Chilling Adventures of Sabrina 9 by Roberto Aguirre-Sacasa, Robert Hack, Jack Morelli Additional Reviews: Candyman, Sheets, Delicates, Aquaman cartoon pilot, stories by Junji Ito, Young Justice s4 (first two episodes), Baking Impossible, James Bond: No Time To Die Longbox of Horror: Uncanny X-Men by Chuck Austen News: British soap news, Adam Warlock cast, Omninews, another Walking Dead show, new How to Train Your Dragon spin-off, Star Wars cruise ship comic, new Lanzing/Kelly kickstarter, Adventures Everywhere kickstarter, Spider-Verse II title, Hawkeye release schedule, Daredevil: Woman Without Fear 3-issue mini, DC anti-comicsgate, Milestone news, Robins #1 drops early on DC Universe Infinite, Superman drops the "American Way", Gene Luen Yang Monkey Prince maxiseries, WW crossover event, Y cancelled, Aquamen Glenn asks a Symbiote Spider-Man question. Trailers: Home Sweet Home Alone, Scream 5, Black Phone, Needle in a Timestack, The Batman, Doctor Who, Flashpoint Comics Countdown: Mazebook 2 by Jeff Lemire Immortal Hulk 50 by Kieron Gillen, Joe Bennett, Belardino Brabo, Ruy Jose, Paul Mounts Black Hammer: Reborn 4 by Jeff Lemire, Caitlin Yarsky, Dave Stewart Unbelievable Unteens 4 by Jeff Lemire, Tyler Crook,  Strange Adventures 12 by Tom King, Mitch Gerads, Doc Shaner Mamo 4 by Sas Milledge Six Sidekicks of Trigger Keaton 5 by Kyle Starks, Chris Schweizer Batman '89 3 by Sam Hamm, Joe Quinones, Jordan Gibson, Leonardo Ito Ordinary Gods 4 by Kyle Higgins, Felipe Watanabe, Joseph Clark, Frank William Deadbox 2 by Mark Russell, Ben Tiesma, Popov

The Epic of Gilgamesh (c. 1200 BCE, Standard Babylonian) is based on Gilgamesh of Uruk, a historical king subject to centuries of cult-worship and mythmaking before his exploits were written down. Although this was not unlike the fate of many ancient rulers, the Epic of Gilgamesh separates itself by its poetic modernity and psychological complexity. In this video, Joel Parrish and Alex Sheremet discuss Gilgamesh's failed quest for immortality, the ‘wild man' Enkidu as Gilgamesh's foil and savior, proto-feminist characters such as the prostitute Shamhat, as well as structural questions and the power of specific passages before critiquing a Christian reading of Babylonian polytheism and Great Flood myths. You can also watch this episode on our YouTube channel: https://youtu.be/Ldg1wfTuenY Read the latest writing from the automachination universe: https://automachination.com Joel's website: https://poeticimport.com Read Alex's (archived) essays: https://alexsheremet.com Music sample: Lowkemia - "Lorem Ipsum" (CC BY-SA 3.0) Timestamps: 0:00 – Comparing two translations of the epic (Andrew George vs. David Ferry) 4:58 – History of the Epic of Gilgamesh + competing versions 13:16 – A synopsis of the Epic of Gilgamesh 17:38 – Appending Tablet XII 22:12 – Tablet I: Gilgamesh, Ecclesiastes, and goodness vs. greatness as Nietzschean concepts 35:48 – Tablet I (cont.): The creation of Enkidu 46:30 – Tablet I (cont.): Is Shamhat a proto-feminist icon? 53:48 – Has the Adam and Eve story been misinterpreted? 01:01:15 – Gilgamesh dreams of Enkidu 01:03:45 – Tablet II: Enkidu confronts Gilgamesh in Uruk 01:12:53 – Tablet III: Gilgamesh is given more dimensions 01:16:36 – Tablet IV: What explains Enkidu's overly sanguine interpretation of dreams? 01:24:46 – Tablet V: is Humbaba merely a stock villain? 01:30:20 – Tablet VI: Ishtar and the Bull of Heaven 01:41:18 – Tablets VII & VIII: the death and funeral of Enkidu 01:51:14 – Tablet IX: Gilgamesh mourns Enkidu 02:00:36 – Joel: these are some of the most modern lines in the epic 02:05:50 – Tablet X: a Christian lecturer on Gilgamesh's Great Flood 02:18:30 – …but what does Genesis ACTUALLY say of such interpretations? 02:43:18 – Alex: monotheism concentrates polytheistic dualities into one being  02:48:12 – Tablet XI: Gilgamesh fails to gain immortality 02:54:41 – Tablet XII re-visited

A fascinating neo-Babylonian find sheds more light on the Epic of Gilgamesh and specifically of the slaying of Humbaba. God bless you! Thank you for listening! Please join with us an subscribe and share!

"Max et Uno ont acheté une drôle de bouteille bleue au marché aux puces. Quand Max la débouche, une fumée crépitante s'en échappe et un génie apparaît ! C'est Humbaba, le gardien de la forêt Rouge." Albin Michel Jeunesse, en partenariat avec RTL, ouvre sa grande bibliothèque. Dans cet épisode de "Lis-moi une histoire", nous vous proposons : "Le Génie de la bouteille" d'Eva Susso, une histoire pleine de magie et de friandises. "Lis-moi une histoire" est un podcast quotidien présenté par Laurent Marsick. Chaque épisode, vous propose une histoire passionnante, fascinante, instructive, lue par un ou une bibliothécaire. Tous les contes sélectionnés dans ce podcast sont publiés aux éditions Albin Michel Jeunesse.

Gilgamesh

"He who saw the Deep" are the first words of the standard version of The Epic of Gilgamesh, the subject of this discussion between Melvyn Bragg and his guests which was first broadcast in 2016. Gilgamesh is often said to be the oldest surviving great work of literature, with origins in the third millennium BC, and it passed through thousands of years on cuneiform tablets. Unlike epics of Greece and Rome, the intact story of Gilgamesh became lost to later generations until tablets were discovered by Hormuzd Rassam in 1853 near Mosul and later translated. Since then, many more tablets have been found and much of the text has been reassembled to convey the story of Gilgamesh, king of Uruk the sheepfold, and Enkidu who the gods created to stop Gilgamesh oppressing his people. Together they fight Humbaba, monstrous guardian of the Cedar Forest, and kill the Bull of Heaven, for which the gods make Enkidu mortally ill. Gilgamesh goes on a long journey as he tries unsuccessfully to learn how to live forever, learning about the Great Deluge on the way, but his remarkable building works guarantee that his fame will last long after his death. With Andrew George Professor of Babylonian at SOAS, University of London Frances Reynolds Shillito Fellow in Assyriology at the Oriental Institute, University of Oxford and Fellow of St Benet's Hall and Martin Worthington Lecturer in Assyriology at the University of Cambridge Producer: Simon Tillotson

Hello, This is Richard, and this is the fourth part of the Story of Gilgamesh, an epic story from ancient Mesopotamia. If you heard the earlier stories, you will know that King Gilgamesh and his friend, the strongman Enkidu, defeated Humbaba the dragon. When they then killed the Bull of Heaven, the gods took their revenge by making Enkidu die. Gilgamesh was grief-stricken and left the city and his Royal life behind him to set out on a journey.  

Hello, this is Richard, and this is the second part of our epic story from ancient Mesopotamia. Its hero is a king called Gilgamesh, and he has been joined by a wildman called Enkidu who is now his adopted brother. Enkidu stayed at the palace of Gilgamesh as an honoured guest, and in the evening he joined the feasting in the great hall while the musicians played on drums, flutes and trumpets. The two strongmen drank toasts to one another's long life and health. Gilgamesh the king stood up, and the banqueters fell quiet. He turned to his friend and made the following speech. “Enkidu, you l

For what might be the first time ever, Brooke remains calm in the face of Alyssa's dumb, horny, anger, as a monster from the Epic of Gilgamesh shows down against what is either a weather phenomenon or tiny fae in jet planes.                                                   

Gilgamesh, king of Urkuk, and his adopted brother, the wildman Enkidu, travel to Lebanon to fight the dragon, Humbaba. Adapted from the myth from ancient Mesopotamia. Support the show.

Here we continue the adventures of Gilgamesh and Enkidu, as they travel far from their city to battle the lord of forests, the fearsome force of nature, the Humbaba itself. This is part two of the Epic of Gilgamesh. Find us online at oldeststories.net

In part 2 of this 3-part series, Gilgamesh and his friend Enkidu venture into the sacred cedar forest to confront the demon Humbaba and make great names for themselves. These actions and motivations may seem questionable today, and raise questions about the enduring value of the ancient story. What do these two have to teach us about the human condition? Do they simply illustrate timeworn heroic values—for better or for worse--- or does this poem connect past and present in a meaningful, useful way?A transcript of this podcast is available at www.mythicmojo.com. Thanks for listening and keep the mystery in your life alive.Support the show (https://www.patreon.com/mythmatterspodcast)

Continuing our series, Gilgamesh and Enkidu battle Humbaba, then Ishtar (goddess of love and war) notices Gilgamesh washing up after the battle and falls in love with him.

After slaying the giant Humbaba, Gilgamesh and Enkidu find themselves challenged by the gods themselves. The fallout from their next fight leads Gilgamesh on an existential journey for the gift of immortality.  Sponsors! BetterHelp - Mythology listeners get 10% off your first month with discount code MYTH when you go to BetterHelp.com/Myth.

Gilgamesh y Enkidu vencen al gigante Humbaba que guarda el bosque de cedros del País de los vivos donde moran los dioses. Luego Istar, al diosa de la pasión y el deseo es despreciada por Gilgamesh, en venganza , la diosa envía el toro celeste como castigo...

"He who saw the Deep" are the first words of the standard version of The Epic of Gilgamesh, the subject of this discussion between Melvyn Bragg and his guests. Gilgamesh is often said to be the oldest surviving great work of literature, with origins in the third millennium BC, and it passed through thousands of years on cuneiform tablets. Unlike epics of Greece and Rome, the intact story of Gilgamesh became lost to later generations until tablets were discovered by Hormuzd Rassam in 1853 near Mosul and later translated. Since then, many more tablets have been found and much of the text has been reassembled to convey the story of Gilgamesh, king of Uruk the sheepfold, and Enkidu who the gods created to stop Gilgamesh oppressing his people. Together they fight Humbaba, monstrous guardian of the Cedar Forest, and kill the Bull of Heaven, for which the gods make Enkidu mortally ill. Gilgamesh goes on a long journey as he tries unsuccessfully to learn how to live forever, learning about the Great Deluge on the way, but his remarkable building works guarantee that his fame will last long after his death. With Andrew George Professor of Babylonian at SOAS, University of London Frances Reynolds Shillito Fellow in Assyriology at the Oriental Institute, University of Oxford and Fellow of St Benet's Hall and Martin Worthington Lecturer in Assyriology at the University of Cambridge Producer: Simon Tillotson.

"He who saw the Deep" are the first words of the standard version of The Epic of Gilgamesh, the subject of this discussion between Melvyn Bragg and his guests. Gilgamesh is often said to be the oldest surviving great work of literature, with origins in the third millennium BC, and it passed through thousands of years on cuneiform tablets. Unlike epics of Greece and Rome, the intact story of Gilgamesh became lost to later generations until tablets were discovered by Hormuzd Rassam in 1853 near Mosul and later translated. Since then, many more tablets have been found and much of the text has been reassembled to convey the story of Gilgamesh, king of Uruk the sheepfold, and Enkidu who the gods created to stop Gilgamesh oppressing his people. Together they fight Humbaba, monstrous guardian of the Cedar Forest, and kill the Bull of Heaven, for which the gods make Enkidu mortally ill. Gilgamesh goes on a long journey as he tries unsuccessfully to learn how to live forever, learning about the Great Deluge on the way, but his remarkable building works guarantee that his fame will last long after his death. With Andrew George Professor of Babylonian at SOAS, University of London Frances Reynolds Shillito Fellow in Assyriology at the Oriental Institute, University of Oxford and Fellow of St Benet's Hall and Martin Worthington Lecturer in Assyriology at the University of Cambridge Producer: Simon Tillotson.

"He who saw the Deep" are the first words of the standard version of The Epic of Gilgamesh, the subject of this discussion between Melvyn Bragg and his guests. Gilgamesh is often said to be the oldest surviving great work of literature, with origins in the third millennium BC, and it passed through thousands of years on cuneiform tablets. Unlike epics of Greece and Rome, the intact story of Gilgamesh became lost to later generations until tablets were discovered by Hormuzd Rassam in 1853 near Mosul and later translated. Since then, many more tablets have been found and much of the text has been reassembled to convey the story of Gilgamesh, king of Uruk the sheepfold, and Enkidu who the gods created to stop Gilgamesh oppressing his people. Together they fight Humbaba, monstrous guardian of the Cedar Forest, and kill the Bull of Heaven, for which the gods make Enkidu mortally ill. Gilgamesh goes on a long journey as he tries unsuccessfully to learn how to live forever, learning about the Great Deluge on the way, but his remarkable building works guarantee that his fame will last long after his death. With Andrew George Professor of Babylonian at SOAS, University of London Frances Reynolds Shillito Fellow in Assyriology at the Oriental Institute, University of Oxford and Fellow of St Benet's Hall and Martin Worthington Lecturer in Assyriology at the University of Cambridge Producer: Simon Tillotson.

GILGAMESH – la ricerca dell’immortalità Dietro le quinte: interviste, trailer. Ascolta con cuffie. DUE ATTORI, TANTI MICROFONI, TANTA FISICITÀ l’antica epopea sumera rivisitata con immagini e suoni in un viaggio teatrale ai confini del tempo. con KEVIN BLASER e TOMMASO GIACOPINI creazione e regia PATRIZIA BARBUIANI Produzione podcast: RADIO PETRUSKA Creazione audio: Markus Zohner http://www.barbuiani.com/gilgamesh-la-ricerca-dellimmortalita-nuova-produzione/ L’epopea di Gilgamesh è uno dei più antichi poemi conosciuti e narra le gesta di un antichissimo e leggendario re sumero, Gilgamesh, alle prese con il problema che da sempre ha assillato l’umanità: la morte e il suo impossibile superamento. Questa primissima epopea nella storia dell’essere umano è stata rilevata su 12 colonne. L’epopea (o più semplicemente „il Gilgamesh“) è anteriore ai poemi omerici (VIII sec. a.C.) e ai Veda indiani (1500 a.C.). Le prime redazioni sumeriche del poema sono fatte risalire ad oltre il 2000 a.C. Documenti su Gilgamesh sono stati rinvenuti più o meno ovunque in Mesopotamia, ma anche al di fuori, come in Anatolia (Hattusa, capitale dell’impero ittita) o in Palestina (Megiddo). Da un testo così antico emerge una tematica di grande attualità nella nostra società. A distanza di 4000 anni, gli uomini sono ancora impegnati nella ricerca dell’immortalità. Gilgamesh, per due terzi divino, per un terzo uomo, spadroneggia nella città di Uruk da lui fatta costruire con grande ingegno e sontuosità. Protetto dagli dei, favorito dal Dio del Sole Shamash, egli utilizza la sua grande forza in guerre continue in cui coinvolge i giovani della città. Il suo impeto non si arresta, il suo potere si fa più oppressivo, finché gli abitanti di Uruk, stanchi dei soprusi invocano gli dei affinché li aiutino. Gli dei creano una copia umana e rozza simile a lui per forza e coraggio, Enkidu, in modo da anteporgli un eroe di egual temperamento. Dopo uno scontro Gilgamesh ed Enkidu diventano amici inseparabili e partono per nuove avventure. Combattono contro il guardiano della Foresta dei Cedri, Humbaba, contro il Toro Celeste, ma per volere divino Enkidu deve morire. Gilgamesh stravolto dal dolore per la perdita dell’amico, inizia un lungo viaggio che lo porterà lontano, oltre il mare, alla ricerca di Utnapishtim, colui che ha superato il Diluvio e che conosce il segreto dell’immortalità.

Medusa is a big topic and a figure that is as hard to pin down as her wriggling hair. In this program we take a longer look at some of Medusa’s mythological compatriots (the Hindu goddess Kali, the Sumerian demon Humbaba) and think about our ongoing fascination with this dangerous feminine power.We are fascinated and we are afraid— with good reason. Facing this awful, awesome presence is the challenge.MITM theme music by Travis Rosenberg. Thanks to Radio Free Joshua Tree for providing MITM a home on internet radio-- and thank you for listening!Support the show (https://www.patreon.com/mythmatterspodcast)

The conclusion of the adventure, the confron-tation with Humbaba.***The image is a Sumerianclay model of the face of Humbaba, said to be the image of coiled intestines.
Music excerpt is 
“Fantasia On A Theme By Thomas Tallis” from the album, Vaughan Williams: Symphonic Works