أدب مقارن.....

موضوع: أدب مقارن..... الثلاثاء يناير 25, 2011 8:55 pm

Important

Quotation from Gilgamesh:

1. Humbaba’s mouth is fire; his roar the floodwater;

his breath is death. Enlil made him guardian
of the Cedar Forest, to frighten off the mortal

who would venture there. But who would venture
there? Humbaba’s mouth is fire; his roar

is the floodwater; he breathes and there is death.
He hears the slightest sound somewhere in the Forest.

Enlil made him terrifying guardian,
Whose mouth is fire, whose roar the floodwater.
—Tablet II

Explanation for Quotation 1 >>

Enkidu speaks these lines in Tablet II, as he and Gilgamesh
prepare to invade the forbidden Cedar Forest and fight the demon Humbaba. One
of the most remarkable literary techniques in this epic is the artful
repetition within the verses, though generalizing about literary style is
difficult, since every English translation renders the poem so differently, and
the ancient versions differ so vastly. Some of these repetitions relate to
formal structure, which means that at one time they might have provided
mnemonic assistance to help storytellers, who had no written versions, remember
the tale. But the effect of these repetitions can also be powerfully
incantatory, in English translation as well as in Gilgamesh’s original
languages. These lines convey not only Humbaba’s awesome presence but also the
paralyzing fear that he inspires in his challengers. Their hypnotic, driving
quality suggests Enkidu and Gilgamesh’s agitated psychological state: they must
quell the obsessive, chattering voices of dread in their minds before they can
stand up to Humbaba.

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2. What could I offer

the queen of love in return, who lacks nothing at all?
Balm for the body? The food and drink of the gods?

I have nothing to give to her who lacks nothing at all.
You are the door through which the cold gets in.

You are the fire that goes out. You are the pitch
that sticks to the hands of the one who carries the bucket.

You are the house that falls down. You are the shoe
that pinches the foot of the wearer. The ill-made wall

that buckles when time has gone by. The leaky
water skin soaking the water skin carrier.
—Tablet VI

Explanation for Quotation 2 >>

On Tablet VI, when Gilgamesh returns from the Cedar Forest
with the head of Humbaba, the goddess Ishtar is overcome with lust. Gilgamesh
rejects her proposition scornfully. The poetry of Gilgamesh often
requires scholarly explication to fill in the blanks of the story, explain the
complex origins of Mesopotamian gods, and reconcile the inconsistencies in a
narrative that stitches together two millennia’s worth of stories. When
Gilgamesh spurns Ishtar, however, his insults are clear, pointed, and
hilarious. The setup is familiar—the proud, handsome young man, and the rich,
jaded, older woman who wants to make him her plaything. As obscure as Gilgamesh
might be in its details, its broad outlines are timeless and universal. The
epic contains a lot of angst and brooding about death, but it also evinces a
tremendous relish for the sensuous pleasures of life.

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3. Enkidu, . . . your mother is a
gazelle,
and . . . your father who created you, a wild ass.
[You were] raised by creatures with tails,
and by the animals of the wilderness, with all its breadth.

The paths going up to and down from the forest of cedars
All mourn you: the weeping does not end day or night
—Tablet VIII

Explanation for Quotation 3 >>

After Enkidu dies, Gilgamesh pours out his grief in this
impassioned lamentation. He projects his grief onto a rural landscape so that
it seems the entire natural world mourns for Enkidu, even the animals and the
paths in the forest. His lamentation poignantly evokes Enkidu’s wild origins
and also reveals the extent of Gilgamesh’s grief. This kind of projection will
appear again centuries later in the pastoral elegies of the ancient Greeks and
later European writers. Pastoral literature gives an idealized picture of the simple,
natural life of shepherds, and an elegy is a poem that expresses sorrow for the
dead. Pastoral elegies present the natural world as mourning the deceased as
well. They include long descriptions of the deceased, those who mourn them, the
unfairness of death, and the possibility of a next life. The simple diction and
the animal imagery in these lines evoke the biblical “Song of Songs” as well.
The austere lyricism of Gilgamesh’s ancient poetry, though present
throughout the epic, stands out in this passage.

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4. As for you, Gilgamesh, let your
belly be full,
Make merry day and night.
Of each day make a feast of rejoicing.
Day and night dance and play!
Let your garments be sparkling fresh,
Your head be washed; bathe in water.
Pay heed to a little one that holds on to your hand,
Let a spouse delight in your bosom.
—Tablet X

Explanation for Quotation 4 >>

After Gilgamesh braves the dark passage under the
twin-peaked mountain through which the sun passes on its daily travels, he
emerges into a magical garden by the sea, which represents a kind of second
birth. The garden belongs to Siduri the veiled bar maid, the goddess of
wine-making and brewing. With some trepidation, she permits the
disreputable-looking Gilgamesh to enter her tavern. Then she gives him some
pointed advice: he should give up his futile quest for eternal life and make
the most of the life he’s living now. For unknown reasons, Sin-Leqi-Unninni did
not include Siduri’s famous speech in his version of The Epic of Gilgamesh. Fortunately,
it survived in an old Babylonian text. While Siduri’s words anticipate by
thousands of years the “Carpe Diem” of the Roman Horace, and the famous words
“Make the most of what we yet may spend / Before we too into the Dust descend”
of the medieval Persian astronomer poet Omar Khayyam, they evoke a similar
spirit of making the most of the present moment.

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5. And so they traveled until they
reached Uruk.
There Gilgamesh the king said to the boatman:

“Study the brickwork, study the fortification;
climb the ancient staircase to the terrace;

study how it is made; from the terrace see
the planted and fallow fields, the ponds and orchards.

One league is the inner city, another league
is orchards; still another the fields beyond;

over there is the precinct of the temple. . . . ,
Three leagues and the temple precinct of Ishtar.”

Measure Uruk, the city of Gilgamesh
—Tablet XI

Explanation for Quotation 5 >>

These words mark one of the most astonishing transitions in
literature. Only a few lines earlier, Gilgamesh was in despair because he lost
his magical plant, his last opportunity for immortality, which he believes is a
sign that he should abandon his quest. But this loss was also the moment of
truth. Accompanied by Urshanabi the boatman, who has been forbidden to have any
further commerce with the immortals, he approaches the vast, beautiful urban
expanse of Uruk, with its cultivated fields and orchards and its towering
ziggurat devoted to Ishtar, all of it enclosed by intricately wrought walls.
Gilgamesh, seeing it anew, regards it with pride and awe. Offering up his realm
for the boatman’s admiration, Gilgamesh repeats, word for word, the opening
lines of the epic. This is my city, he says. My place. He has
quested to the ends of the earth for the meaning of life and found it at last
in his own home. Thus ends The Epic of Gilgamesh.

مع اني ما بنتمي للانجليزي بشي
بس بجد مجهوووووووود وتشكر عليه
علاء
يعطيك العااافيه
وموفقيييييييييين يارب

عنجد علاء شكرا كتير .. و شكرا لمجهودك الرائع ..

الله لايضيع تعبكن يارب

وبكرة تلاقو كل شي درستوه يااااااااااااااارب

علاء انت رائع وبتجنن ياطيوب

يعطيك الف عافية

موفقين جميعا

لا شكر على واجب...نحنا أخوة...شكرا إلكن

هي مقارنه بين genesis and babylonian
Comparing Genesis 1 with the Enuma Elish
Genesis 1 gives the Biblical account of creation. Some major points of difference between the Enuma Elish and Genesis 1 are
• There were many gods in the Enuma Elish; there is only one God in Genesis
o Apsu the primordial god begat with Mummi-Tiamat all the gods in the Enuma Elish
o Marduk created the sky and earth with body parts of another god that he had vanquished
• Humans were created to do the work of gods in the Enuma Elish; humans are given great importance in Genesis
o Marduk creates man to serve the gods: "a savage man I will create; he will be charged with the service of the gods"
o There is a high view of humans in Genesis, with God giving authority to man
• Creation is good in Genesis; some of creation was evil in the Enuma Elish
o Genesis 2:2 reveals that all that God created was good
o In the Enuma Elish, some things created are evil, for example monster-serpents are borne by Mother Hubur
• Genesis shows structure and order to creation; the Enuma Elish does not
o In Genesis we are shown a picture of a purposeful creation
o In comparison, there is a very chaotic picture of creation in the Enuma Elish, where creation is often due to begetting - for example, wind was begot by another god

هي المعلومات من النت ....بس دكتورنا الكريم محاضرته فيها شح معلومات
عفكرة المحاضرة رقم 9 مهمة

شكرا مرة تانية علاء .. بتعرف عم اقرا اقرا .. لك عم افهم بس ما عم اعرف شو بدي احفظ .. لهيك قررت افهم و بس ..ههه ..

و هلق بقرا المحاضرة رقم تسعة .. ثانك يووووووووووووو ..