Source citation ledger
Epic of Gilgamesh
translation · c. 1200 BCE (this recension)
The Epic of Gilgamesh, Standard Babylonian version (flood tablet; underworld material).
Standard Babylonian version
These are separate Atlas meetings that cite this source. Citation is not proof.
Mesopotamian tradition
Water is associated with Flood.
The Gilgamesh flood is water as world-covering disaster, survived by Utnapishtim. It is not baptism and not Daoist softness.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
associated with · sourced · documented
Water is associated with Underworld.
Gilgamesh’s journeys include waters that bound the world of the dead and the far-away. Mesopotamian waters of the dead are not the Styx by another name until later readers say so.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
associated with · partially sourced · documented
Underworld appears in Mesopotamian tradition.
Gilgamesh and Enkidu’s underworld material is a Mesopotamian below. It is not Xibalba’s ballcourt of trials.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Flood appears in Mesopotamian tradition.
Utnapishtim’s flood is told inside Gilgamesh. It is a Mesopotamian survival story with a boat and a later hush.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Mesopotamian tradition is connected to Death.
Gilgamesh’s poem is preoccupied with death after Enkidu. Mesopotamian tradition here meets death as an epic problem, not an Egyptian weighing.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
connected to · sourced · documented
Descent appears in Mesopotamian tradition.
Gilgamesh’s journeys include waters and a far-away of the dead. The descent is a Mesopotamian epic problem.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Dream appears in Mesopotamian tradition.
Gilgamesh’s epic treats dreams as narrative foreknowledge: Gilgamesh’s meteor-and-axe dreams are read as signs of Enkidu, and Enkidu’s dream carries knowledge of the dead. That is Mesopotamian epic material, not Artemidorus’s Greek handbook.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Cedar appears in Mesopotamian tradition.
The Standard Babylonian Gilgamesh epic sends Gilgamesh and Enkidu to the Cedar Forest to cut timber and face Humbaba. A named cedar-expedition in that poem, not Dioscorides’ kedros and not Yggdrasil.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Dilmun appears in Mesopotamian tradition.
The Epic of Gilgamesh seats Utnapishtim in Dilmun, the far clean land at the waters’ mouth. A named Dilmun land in that epic, not Eden as a Qur’anic garden and not a generic paradise flatten.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Irkalla appears in Mesopotamian tradition.
The Epic of Gilgamesh names Irkalla among underworld seats in Enkidu’s vision of the house of dust. A named Irkalla underworld in that epic speech, not Duat and not a generic underworld flatten alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Gilgamesh epic appears in Mesopotamian tradition.
The Atlas source Gilgamesh is the Standard Babylonian Epic of Gilgamesh — the Mesopotamian long tale of Gilgamesh, Enkidu, and the search after death. A named Mesopotamian epic text in that tradition, not flood as a free-standing concept and not descent as a generic underworld word.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Bull appears in Mesopotamian tradition.
The Epic of Gilgamesh seats the Bull of Heaven among the assaults on Uruk that Gilgamesh and Enkidu defeat. A named bull in that Mesopotamian epic, not Rigveda cattle speech already filed as cow and not a generic strength-animal dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Reed appears in Mesopotamian tradition.
The Epic of Gilgamesh names reed huts and marsh reed among the flood survivor’s world and the southern waters. A named plant in that epic, not papyrus as the Egyptian marsh plant and not aulos as Hellenic reed-pipe.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Serpent appears in Mesopotamian tradition.
The Epic of Gilgamesh has a serpent take the plant of youth and shed its skin. A named serpent in that Mesopotamian epic, not Asklepios’s temple snake and not Apep.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Scorpion appears in Mesopotamian tradition.
The Epic of Gilgamesh seats scorpion-men as guardians at Mount Mashu on the road to Utnapishtim. A named scorpion figure in that epic, not zodiac Scorpius and not Pliny pharmacy.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Lapis lazuli appears in Mesopotamian tradition.
The Epic of Gilgamesh names lapis lazuli among royal and ornamental stones of that Mesopotamian world. A named blue stone in that epic, not Pliny dye speech and not a generic gem dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Sword appears in Mesopotamian tradition.
The Epic of Gilgamesh seats swords among the weapons Gilgamesh and Enkidu carry against Humbaba and the Bull of Heaven. A named sword in that Mesopotamian epic, not an Iliad combat dump and not shield as the defensive plate alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Shield appears in Mesopotamian tradition.
The Epic of Gilgamesh seats shields among the warrior gear of Gilgamesh and Enkidu in the Humbaba and Bull of Heaven combats. A named shield in that epic, not aspis or scutum as Hellenic/Roman type-names and not sword as the cutting weapon alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Broadaxe appears in Mesopotamian tradition.
The Epic of Gilgamesh has axes cast and taken for the Cedar Forest expedition against Humbaba; the published broadaxe is that epic’s woodcutting/combat axe-class among existing object ids (no bare axe entity). A named axe-class tool in that poem, not labrys as a Minoan double-axe and not adze as the dressing tool alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Adze appears in Mesopotamian tradition.
The Epic of Gilgamesh seats cedar timber cut for a great door and temple carpentry after the Humbaba expedition; the adze is the published dressing tool for that woodwork among existing object ids. A named carpentry tool in that poem’s cedar-door neighborhood, not opening-adze as Egyptian funerary gear and not broadaxe as the felling axe alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Throne appears in Mesopotamian tradition.
The Epic of Gilgamesh seats thrones among Ishtar’s offered royal gifts and the kingship furniture of Uruk. A named throne in that epic, not a generic seat dump and not crown as the head-mark alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Crown appears in Mesopotamian tradition.
The Epic of Gilgamesh seats crowns among the royal marks of Gilgamesh’s kingship and the glory offered in Ishtar’s gift speech. A named crown in that epic, not diadem as a headband alone and not throne as the seat alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Diadem appears in Mesopotamian tradition.
The Epic of Gilgamesh seats royal head-ornaments among Uruk kingship and wedding/gift speech; the published diadem is that headband class beside crown. A named royal head-band in that epic’s glory neighborhood, not crown as the full royal mark alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Cup appears in Mesopotamian tradition.
The Epic of Gilgamesh seats cups among Siduri the ale-wife’s drinking gear and the feast vessels of Uruk. A named cup in that epic, not chalice as a later cult-cup type-name and not cauldron as the large cooking vessel alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Cauldron appears in Mesopotamian tradition.
The Epic of Gilgamesh seats large cooking and feast vessels among Uruk wedding and hospitality speech; the published cauldron is that deep vessel class. A named feast-cauldron neighborhood in that epic, not cup as the drinking vessel alone and not Celtic cauldron dumps.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Drum appears in Mesopotamian tradition.
The Epic of Gilgamesh seats the pukku (often rendered drum or ball) among the playthings that fall to the underworld and draw Enkidu’s descent. A named drum-class object in that epic, not bell as a struck metal signal and not lyre as the stringed instrument alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Lyre appears in Mesopotamian tradition.
The Epic of Gilgamesh seats music and celebration among Uruk’s feast and mourning neighborhoods; the published lyre is the stringed instrument class for that court speech. A named lyre-class instrument in that epic’s feast/lament world, not kithara or chelys as Hellenic type-names and not drum as the pukku alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Altar appears in Mesopotamian tradition.
The Epic of Gilgamesh seats altars among the offerings and prayers Gilgamesh and Enkidu make to Shamash before the Cedar Forest expedition. A named altar in that epic, not temple as the larger house and not a generic sacrifice dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Reed boat appears in Mesopotamian tradition.
The Epic of Gilgamesh seats reed craft and marsh boats among the southern waters of the flood survivor’s world and the ferry toward Dilmun’s neighborhood. A named reed-boat in that epic, not reed as the plant already walked and not canoe as a dugout alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Canoe appears in Mesopotamian tradition.
The Epic of Gilgamesh seats small watercraft among the waters Gilgamesh must cross with Urshanabi and the flood survivor’s boat world. A named canoe-class craft in that epic’s water-crossing neighborhood, not reed-boat as the marsh-reed hull alone and not coracle as a round skin boat invent.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Chariot appears in Mesopotamian tradition.
The Epic of Gilgamesh seats a chariot of lapis and gold among Ishtar’s offered gifts to Gilgamesh. A named chariot in that epic, not wagon as a load cart and not wheel as the rolling part alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Wheel appears in Mesopotamian tradition.
The Epic of Gilgamesh names golden wheels on the chariot Ishtar offers Gilgamesh. A named wheel in that gift speech, not chariot as the whole vehicle alone and not a generic potter’s wheel dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Bronze appears in Mesopotamian tradition.
The Epic of Gilgamesh seats cast metal weapons and gear among the axe and sword furniture prepared for the Cedar Forest. A named bronze-class metal in that epic’s casting neighborhood, not copper as the element-only row and not iron as a later blade metal alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Carnelian appears in Mesopotamian tradition.
The Epic of Gilgamesh seats carnelian among the precious stones of royal treasure and Enkidu’s funeral offerings beside lapis. A named carnelian in that epic, not lapis-lazuli as the blue stone already walked and not a generic gem dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Ivory appears in Mesopotamian tradition.
The Epic of Gilgamesh seats luxury materials among Uruk’s wealth and gift speech; ivory is published luxury inlay/ornament ware in that treasure neighborhood. A named ivory in that epic’s luxury world, not bone as raw osseous material and not a Pliny pharmacy dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Sandal appears in Mesopotamian tradition.
The Epic of Gilgamesh seats clothing and footwear among the civilizing of Enkidu and the dressed bodies of Uruk. A named sandal in that epic’s dress speech, not boot as a later closed shoe and not linen as the cloth alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Ring appears in Mesopotamian tradition.
The Epic of Gilgamesh seats rings and jewelry among royal gifts, treasure, and funeral offerings. A named ring in that epic, not signet-ring as a seal-device invent and not armlet as the arm ornament alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Armlet appears in Mesopotamian tradition.
The Epic of Gilgamesh seats arm ornaments among the jewelry of gift and funeral treasure speech. A named armlet in that epic, not ring as the finger jewel alone and not torque as a Celtic neck-ring type-name.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Linen appears in Mesopotamian tradition.
The Epic of Gilgamesh seats cloth garments among the clothing Shamhat gives Enkidu and the dressed bodies of Uruk. A named linen-class cloth in that epic’s dress speech, not wool as the other textile alone and not veil as a covering alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Wool appears in Mesopotamian tradition.
The Epic of Gilgamesh seats textile clothing among Enkidu’s dressing and Uruk feast dress; wool is the published fleece-cloth class beside linen. A named wool cloth in that epic’s dress neighborhood, not linen as the plant-fiber cloth alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Staff appears in Mesopotamian tradition.
The Epic of Gilgamesh seats traveler’s gear among Gilgamesh’s road to Utnapishtim and the long walk beyond the waters. A named staff-class walking stick in that journey speech, not scepter as the royal symbol-only row and not a magician’s wand dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Forge appears in Mesopotamian tradition.
The Epic of Gilgamesh has weapons cast for the Cedar Forest expedition; the forge is the published metal-heating hearth of that casting speech. A named forge in that epic’s weapon-making neighborhood, not kiln as the pottery/brick furnace alone and not anvil as the hammer-block invent.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Kiln appears in Mesopotamian tradition.
The Epic of Gilgamesh opens on Uruk’s walls of kiln-fired brick; the kiln is the published firing furnace of that burnt-brick speech. A named kiln in that epic’s wall-building neighborhood, not forge as the metal hearth alone and not brick as an unpublished lemma.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Hearth appears in Mesopotamian tradition.
The Epic of Gilgamesh seats domestic fireplaces among Uruk house and feast speech beside the city’s baked-brick world. A named hearth in that epic’s house neighborhood, not forge as the smithing hearth alone and not kiln as the industrial furnace alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Torch appears in Mesopotamian tradition.
The Epic of Gilgamesh seats portable fire among night roads, Cedar Forest approaches, and underworld-neighbor darkness. A named torch in that epic’s night-travel neighborhood, not lamp as the oil vessel alone and not candle as a later stick-light.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Lamp appears in Mesopotamian tradition.
The Epic of Gilgamesh seats fixed oil-lights among house and temple neighborhoods of Uruk beside portable torches on the road. A named lamp in that epic’s lighting speech, not torch as the carried brand alone and not lantern as a shielded later type.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Coffer appears in Mesopotamian tradition.
The Epic of Gilgamesh seats treasure chests and stored wealth among Uruk’s house of goods and funeral offerings. A named coffer in that epic’s treasure-store neighborhood, not clay-tablet as the writing surface and not a generic box invent.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Stylus appears in Mesopotamian tradition.
The Epic of Gilgamesh opens with Gilgamesh writing his toils on a tablet; the stylus is the published writing tool of that tablet speech. A named stylus in that epic’s writing neighborhood, not quill as a feather pen and not clay-tablet as the surface alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Chisel appears in Mesopotamian tradition.
The Epic of Gilgamesh seats worked stone and carved record among the stela/tablet speech of Gilgamesh’s deeds and the dressing of cedar timber; the chisel is published cutting furniture for that craft neighborhood. A named chisel in that epic’s carving speech, not adze as the wood-dressing tool alone and not stylus as the writing point alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Clay tablet is used in Writing.
The Epic of Gilgamesh opens with Gilgamesh writing the whole of his labour on a tablet and leaving a written record of his toils. Clay-tablet used in that writing practice, not wax-tablet as a Roman wax surface and not a second appears_in→mesopotamian beside the Herodotus seat already held.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh’s flood tablet seats bitumen among the caulking of Utnapishtim’s boat. A named bitumen in that flood episode, not a second appears_in→mesopotamian beside the Herodotus seat already held and not pitch as the element-only neighbor.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Shekel weight is used in Burial.
The Epic of Gilgamesh seats weighed treasure among Enkidu’s funeral offerings and the precious goods Gilgamesh sets out for the dead. Shekel-weight used in that burial-offering measure speech, not a second appears_in→mesopotamian beside the Herodotus seat already held.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
Mina weight is used in Burial.
The Epic of Gilgamesh seats mina-scale weighed goods among funeral treasure speech for Enkidu. Mina-weight used in that burial-offering measure neighborhood, not a second appears_in→mesopotamian beside the Herodotus seat already held.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
Talent weight is used in Burial.
The Epic of Gilgamesh seats large weighed treasure among funeral offerings; the talent is the published large-unit weight in that burial-measure neighborhood. Talent-weight used in that funeral speech, not a second appears_in→mesopotamian beside the Herodotus seat already held.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats carnelian among the precious stones Gilgamesh offers in Enkidu’s funeral. Carnelian used in that burial-offering practice, not lapis as the blue stone already walked and not a second gem dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats altars among the prayers and offerings Gilgamesh and Enkidu make to Shamash before facing Humbaba. Altar used in that prayer practice, not a generic sacrifice dump and not temple as the larger house.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats drum-class sound among mourning for Enkidu and the underworld neighborhood of the pukku. Drum used in that lament practice, not lyre as the stringed lament neighbor alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats stringed music among mourning speech for Enkidu. Lyre used in that lament practice, not drum as the pukku lament neighbor alone and not kithara as a Hellenic type-name.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
Gilgamesh appears in Mesopotamian tradition.
The Epic of Gilgamesh seats Gilgamesh as king of Uruk — two-thirds divine, builder of the walls, companion of Enkidu, and seeker after death. A named Mesopotamian epic hero in that poem, not a generic culture-hero dump and not Enkidu as the wild companion alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Enkidu appears in Mesopotamian tradition.
The Epic of Gilgamesh seats Enkidu as the wild-man companion formed for Gilgamesh, civilised through Shamhat, and dead after the Cedar Forest and Bull of Heaven. A named Mesopotamian epic companion in that poem, not Gilgamesh as the king alone and not a generic wild-man invent.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Enki appears in Mesopotamian tradition.
The Epic of Gilgamesh’s flood tablet seats Ea/Enki as the god who warns Utnapishtim to build the boat and survive the deluge. A named Mesopotamian craft-wisdom god in that flood speech, not Marduk as Enuma’s combat king and not a generic water-god dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Inanna appears in Mesopotamian tradition.
The Standard Babylonian Epic of Gilgamesh seats Ishtar — the goddess whose sacred-marriage offer Gilgamesh refuses and who sends the Bull of Heaven — under the Inanna/Ishtar identity already published as inanna. A named Mesopotamian goddess presence in that poem, not a Descent-of-Inanna text dump and not Marduk.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · culturally specific
Uruk appears in Mesopotamian tradition.
The Epic of Gilgamesh opens and closes on Uruk — Eanna, the baked-brick walls, and the city Gilgamesh rules and returns to. A named Mesopotamian city seat in that poem, not Babylon as Enuma’s city and not Nineveh as the tablet findspot alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Mountain trail appears in Mesopotamian tradition.
The Epic of Gilgamesh seats the long mountain trail through darkness under Mashu among Gilgamesh’s night road toward the far waters. A named mountain-trail in that epic, not mountain-pass as the twin-peak gate alone and not road as the broader way-word.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Salt Marsh appears in Mesopotamian tradition.
The Epic of Gilgamesh seats southern marsh and waters among the flood survivor’s world at the edge of the sweet and bitter waters. A named salt-marsh neighborhood in that epic, not reed-bed as the reed thicket alone and not sea as open salt alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Gatehouse appears in Mesopotamian tradition.
The Epic of Gilgamesh seats the gates of Uruk among the city’s walled entries and the places the Bull of Heaven assaults. A named gatehouse in that epic’s wall-and-gate speech, not gate as the opening already met under Herodotus and not courtyard as the inner court alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Pleasure Garden appears in Mesopotamian tradition.
The Epic of Gilgamesh seats Siduri’s shore garden and the far jewelled garden among places of rest, drinking counsel, and wonder on Gilgamesh’s road. A named pleasure-garden neighborhood in that epic, not orchard as fruit-tree planting alone and not Dilmun as the flood survivor’s clean land already walked.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Boatyard appears in Mesopotamian tradition.
The Epic of Gilgamesh’s flood tablet seats the building of Utnapishtim’s great boat — timber, bitumen, and workmen — as a named boat-building place in that survival speech. A named boatyard neighborhood in that epic, not reed-boat as the marsh craft alone and not ferry-landing as the crossing shore alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Open Field appears in Mesopotamian tradition.
The Epic of Gilgamesh seats open country and fields among Enkidu’s wild range and the lands outside Uruk’s walls where hunters meet the wild-man. A named open-field in that epic, not steppe as the broader grassland alone and not arable-field as a tilled farm invent alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Brickworks appears in Mesopotamian tradition.
The Epic of Gilgamesh opens by praising Uruk’s baked-brick walls and kiln-fired brickwork. A named brickworks neighborhood in that wall-building speech, not brick as the unit already filed beside and not ziggurat as the staged tower already walked under Herodotus.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Brick appears in Mesopotamian tradition.
The Epic of Gilgamesh opens with the baked bricks of Uruk’s walls — measure the courses, inspect the brickwork. A named brick in that epic, not adobe-brick as the sun-dried mud unit alone and not clay as the raw element already met.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Adobe brick appears in Mesopotamian tradition.
The Epic of Gilgamesh’s Uruk wall speech sits beside Mesopotamian mud-brick building; adobe-brick is the published sun-dried mud-brick unit in that wall neighborhood beside kiln-fired brick. A named adobe-brick in that epic’s brickwork world, not brick as the fired course alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Brick mold appears in Mesopotamian tradition.
The Epic of Gilgamesh’s praise of measured brick courses implies the mold-made brick of Uruk’s walls; brick-mold is the published forming tool in that brickwork neighborhood. A named brick-mold in that epic’s wall-craft speech, not brick as the finished unit alone and not brick-trowel as the laying tool invent.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
The Epic of Gilgamesh seats stringed music among mourning for Enkidu; harp is the published large stringed instrument class beside lyre in that lament neighborhood. Harp used in that lament practice, not lyre as the already-walked lament string alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats funeral goods and remains-care among Enkidu’s burial offerings; bone-box is the published osseous-remains container in that burial neighborhood. Bone-box used in that burial practice, not coffer as the treasure chest already walked and not ash-chest as the ash container alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
The Epic of Gilgamesh seats funeral offerings and the care of the dead after Enkidu; ash-chest is the published ash/remains chest in that burial neighborhood beside bone-box. Ash-chest used in that burial practice, not bone-box as the bone container alone and not coffer as treasure store alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
Blanket chest appears in Mesopotamian tradition.
The Epic of Gilgamesh seats stored goods and house chests among Uruk’s wealth and the gear of travel and funeral; blanket-chest is the published domestic storage chest in that store neighborhood beside coffer. A named blanket-chest in that epic’s house-store speech, not coffer as the treasure chest alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Funeral Oration is used in Burial.
The Epic of Gilgamesh seats Gilgamesh’s spoken praise and farewell over Enkidu among funeral speech at the companion’s death. Funeral-oration used in that burial speech, not lament-performance as sung/performed lament alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
used in · sourced · documented
Malediction appears in Mesopotamian tradition.
The Epic of Gilgamesh seats spoken malediction among Ishtar’s anger and other harm-speech after the Bull of Heaven. A named malediction in that epic, not curse-formula as the formulaic wording alone and not blessing as the opposite speech.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Battle Cry appears in Mesopotamian tradition.
The Epic of Gilgamesh seats war shouts and combat cries among the Humbaba and Bull of Heaven fights. A named battle-cry in that epic, not contest-speech as the gate challenge alone and not field-holler as a wrong shelf.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Frame tale appears in Mesopotamian tradition.
The Epic of Gilgamesh opens and closes with the frame of Gilgamesh’s written toils and the invitation to read the walls of Uruk — a named frame-tale structure around the adventures. A named frame-tale in that epic, not epic-song as the long song form alone and not One Thousand and One Nights as a later frame dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
appears in · sourced · documented
Legend appears in Mesopotamian tradition.
The Epic of Gilgamesh seats the told legend of Gilgamesh’s deeds as Mesopotamian long-tale speech the walls and tablet preserve. A named legend in that epic’s tale-speech, not epic-song as the sung long form alone and not myth as a cosmogonic dump.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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Exile and return appears in Mesopotamian tradition.
The Epic of Gilgamesh seats Gilgamesh’s departure from Uruk after Enkidu’s death and his return to the city’s walls — exile-and-return as the road’s close. A named exile-and-return motif in that epic, not quest as a generic seek alone and not Dilmun as the far land alone.
from Epic of Gilgamesh, c. 1200 BCE (this recension)
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