{"id":195063,"date":"2026-09-07T09:38:37","date_gmt":"2026-09-07T09:38:37","guid":{"rendered":"https:\/\/iwell-guard.com\/?page_id=195063"},"modified":"2026-09-07T09:41:15","modified_gmt":"2026-09-07T09:41:15","slug":"gilgamesh","status":"publish","type":"page","link":"https:\/\/iwell-guard.com\/gl\/gilgamesh\/","title":{"rendered":"Gilgamesh"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"195063\" class=\"elementor elementor-195063 elementor-3021 elementor-bc-flex-widget\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f3e3c3b e-flex e-con-boxed e-con e-parent\" data-id=\"f3e3c3b\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-bbc821e e-flex e-con-boxed e-con e-child\" data-id=\"bbc821e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-d188d32 e-con-full e-flex e-con e-child\" data-id=\"d188d32\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-058fd72 elementor-widget elementor-widget-heading\" data-id=\"058fd72\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h1 class=\"elementor-heading-title elementor-size-default\">Gilgamesh, rei de Uruk e heroe de epopea<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3e492cb elementor-widget elementor-widget-text-editor\" data-id=\"3e492cb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Gilgamesh \u00e9 rei de Uruk e, como heroe de epopea, a figura central do m\u00e1is antigo gran poema \u00e9pico da humanidade transmitido en escritura cuneiforme. Gilgamesh \u00e9 probablemente o heroe literario m\u00e1is c\u00e9lebre da tradici\u00f3n altomesopot\u00e1mica.<\/p><p>Como rei lendario de Uruk, reina segundo as listas reais durante uns 126 anos e conv\u00e9rtese despois nunha figura semidivina, cuxa busca da inmortalidade \u00e9 o tema central da epopea que leva o seu nome.<\/p><p>A Epopea de Gilgamesh, na s\u00faa versi\u00f3n est\u00e1ndar can\u00f3nica de 12 t\u00e1boas, \u00e9 unha das obras m\u00e1is antigas conservadas da literatura universal e trata cuesti\u00f3ns centrais da existencia humana.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-cc9ddbb e-con-full e-flex e-con e-parent\" data-id=\"cc9ddbb\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f6b7fd5 elementor-widget elementor-widget-html\" data-id=\"f6b7fd5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t\t<div class=\"iwg-pill-row\"><span class=\"iwg-klasse-badge\" tabindex=\"0\" data-tooltip=\"Deus \/ Deusa: Poder supremo personificado no pante\u00f3n dunha cultura, con \u00e1mbitos claros de competencia \u2014 forzas da natureza, destino, guerra, fertilidade. Venerado a trav\u00e9s de cultos, ofrendas e instituci\u00f3ns templarias.\">Deus<\/span><a href=\"https:\/\/iwell-guard.com\/gl\/mesopotamia\/\" class=\"iwg-kultur-badge\" tabindex=\"0\" data-tooltip=\"Berce da relixi\u00f3n documentada \u2014 Sumer, Acadia, Babilonia, Asiria (aprox. 3500 a.C. at\u00e9 330 a.C.).\">Mesopotamia<\/a><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-27e3cd9 e-con-full e-flex e-con e-child\" data-id=\"27e3cd9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ae065e5 elementor-toc--minimized-on-tablet elementor-widget elementor-widget-table-of-contents\" data-id=\"ae065e5\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;exclude_headings_by_selector&quot;:[],&quot;no_headings_message&quot;:&quot;Non se atoparon t\\u00edtulos nesta p\\u00e1xina.&quot;,&quot;headings_by_tags&quot;:[&quot;h2&quot;,&quot;h3&quot;],&quot;marker_view&quot;:&quot;bullets&quot;,&quot;icon&quot;:{&quot;value&quot;:&quot;fas fa-circle&quot;,&quot;library&quot;:&quot;fa-solid&quot;,&quot;rendered_tag&quot;:&quot;&lt;svg class=\\&quot;e-font-icon-svg e-fas-circle\\&quot; viewBox=\\&quot;0 0 512 512\\&quot; xmlns=\\&quot;http:\\\/\\\/www.w3.org\\\/2000\\\/svg\\&quot;&gt;&lt;path d=\\&quot;M256 8C119 8 8 119 8 256s111 248 248 248 248-111 248-248S393 8 256 8z\\&quot;&gt;&lt;\\\/path&gt;&lt;\\\/svg&gt;&quot;},&quot;minimize_box&quot;:&quot;yes&quot;,&quot;minimized_on&quot;:&quot;tablet&quot;,&quot;hierarchical_view&quot;:&quot;yes&quot;,&quot;min_height&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"table-of-contents.default\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__header\">\n\t\t\t\t\t\t<h2 class=\"elementor-toc__header-title\">\n\t\t\t\t\u00cdndice\t\t\t<\/h2>\n\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--expand\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__ae065e5\" aria-expanded=\"true\" aria-label=\"Open table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-down\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M207.029 381.476L12.686 187.132c-9.373-9.373-9.373-24.569 0-33.941l22.667-22.667c9.357-9.357 24.522-9.375 33.901-.04L224 284.505l154.745-154.021c9.379-9.335 24.544-9.317 33.901.04l22.667 22.667c9.373 9.373 9.373 24.569 0 33.941L240.971 381.476c-9.373 9.372-24.569 9.372-33.942 0z\"><\/path><\/svg><\/div>\n\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--collapse\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__ae065e5\" aria-expanded=\"true\" aria-label=\"Close table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-up\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M240.971 130.524l194.343 194.343c9.373 9.373 9.373 24.569 0 33.941l-22.667 22.667c-9.357 9.357-24.522 9.375-33.901.04L224 227.495 69.255 381.516c-9.379 9.335-24.544 9.317-33.901-.04l-22.667-22.667c-9.373-9.373-9.373-24.569 0-33.941L207.03 130.525c9.372-9.373 24.568-9.373 33.941-.001z\"><\/path><\/svg><\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<div id=\"elementor-toc__ae065e5\" class=\"elementor-toc__body\">\n\t\t\t<div class=\"elementor-toc__spinner-container\">\n\t\t\t\t<svg class=\"elementor-toc__spinner eicon-animation-spin e-font-icon-svg e-eicon-loading\" aria-hidden=\"true\" viewBox=\"0 0 1000 1000\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M500 975V858C696 858 858 696 858 500S696 142 500 142 142 304 142 500H25C25 237 238 25 500 25S975 237 975 500 763 975 500 975Z\"><\/path><\/svg>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8ee736b e-con-full e-flex e-con e-child\" data-id=\"8ee736b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3b44efa iwg-hero-image elementor-widget elementor-widget-image\" data-id=\"3b44efa\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_mesopotamien_gilgamesh-683x1024.webp\" class=\"attachment-large size-large wp-image-196687\" alt=\"Gilgamesh - Deuses da tradici\u00f3n mesopot\u00e1mica, ilustraci\u00f3n hist\u00f3rica\" srcset=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_mesopotamien_gilgamesh-683x1024.webp 683w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_mesopotamien_gilgamesh-200x300.webp 200w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_mesopotamien_gilgamesh-768x1152.webp 768w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_mesopotamien_gilgamesh.webp 1024w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f624568 e-con-boxed e-flex e-con e-parent\" data-id=\"f624568\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-642c4d0 e-con-full e-flex e-con e-child\" data-id=\"642c4d0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-01e289b elementor-widget elementor-widget-heading\" data-id=\"01e289b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Mito e orixe<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1063586 elementor-widget elementor-widget-text-editor\" data-id=\"1063586\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Gilgamesh remite historicamente, con toda probabilidade, a un rei de Uruk do per\u00edodo din\u00e1stico arcaico, a comezos do III milenio a. C. O seu nome aparece nas listas reais sumerias como o quinto rei da primeira dinast\u00eda de Uruk, nunha serie de gobernantes que en parte te\u00f1en car\u00e1cter semidivino.<\/p><p>Xa na tradici\u00f3n sumeria antiga se pensaba que era medio divino, pois a s\u00faa nai Ninsun, unha deusa menor, estaba unida a Lugalbanda, tam\u00e9n un gobernante deificado.<\/p>\n<p>Os relatos sumerios antigos sobre Gilgamesh non forman unha novela unitaria, sen\u00f3n unha serie de cantos individuais. Entre eles at\u00f3panse \u00abGilgamesh e Aga\u00bb, \u00abGilgamesh e Huwawa\u00bb, \u00abGilgamesh e o toro celestial\u00bb, \u00abA morte de Gilgamesh\u00bb e \u00abGilgamesh, Enkidu e o inframundo\u00bb.<\/p><p><span data-nosnippet>Na \u00e9poca paleobabil\u00f3nica, arredor do 1800 a. C., estes cantos foron reunidos nunha primeira composici\u00f3n coherente, xa en lingua acadia. Na \u00e9poca mesoasiria, arredor do 1200 a. C., xurdiu a posterior versi\u00f3n est\u00e1ndar en doce t\u00e1boas, atribu\u00edda ao sacerdote Sin-leqi-unninni.<\/span><\/p>\n<p>A epopea segue primeiro ao rei Gilgamesh, desatado, que atormenta os seus s\u00fabditos con esixencias desmedidas. Os deuses crean a Enkidu, un home salvaxe de forza equiparable \u00e1 s\u00faa. Ambos conv\u00e9rtense en amigos e parten xuntos para vencer a Humbaba, o gardi\u00e1n do bosque de cedros.<\/p><p>Tras esa vitoria, Gilgamesh ofende \u00e1 deusa Ishtar, que como castigo env\u00eda o toro celestial contra a cidade. Os dous heroes matan o toro, e como consecuencia os deuses fan enfermar a Enkidu como sacrificio expiatorio. A s\u00faa morte sume a Gilgamesh nunha profunda crise vital e leva-o a buscar a inmortalidade.<\/p>\n<p>Gilgamesh viaxa a Utnapishtim, o superviviente do gran diluvio, quen lle conta a historia do diluvio e lle imp\u00f3n probas nas que fracasa. Na viaxe de volta atopa unha planta que devolve a xuventude, pero unha serpe rouballa.<\/p><p>Gilgamesh regresa a Uruk e contempla con orgullo as murallas da s\u00faa cidade: esa \u00e9 a s\u00faa gloria perdurable. Este remate compositivo consid\u00e9rase unha das formulaci\u00f3ns finais m\u00e1is conmovedoras da literatura antiga.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-00d601c e-con-full e-flex e-con e-child\" data-id=\"00d601c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-209af5e elementor-widget elementor-widget-heading\" data-id=\"209af5e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">S\u00edmbolos e atributos<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9a25502 elementor-widget elementor-widget-text-editor\" data-id=\"9a25502\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Gilgamesh repres\u00e9ntase na arte figurativa como un heroe de gran estatura, con barba e cabelo rizado. Os seus atributos principais son a maza de guerra, a mi\u00fado con dobre cabeza, e o arco. En relevos neoasirios aparece \u00e1s veces cun le\u00f3n baixo o brazo, unha representaci\u00f3n que simboliza a s\u00faa forza f\u00edsica superior.<\/p>\n<p>Unha tradici\u00f3n iconogr\u00e1fica repres\u00e9ntao como heroe entre dous le\u00f3ns erguidos, unha posici\u00f3n que no repertorio visual altomesopot\u00e1mico identifica ao \u00abse\u00f1or dos animais\u00bb. Esta posici\u00f3n comp\u00e1rtenla varias figuras heroicas e divindades do pante\u00f3n. Relevos do palacio de Sarg\u00f3n II en Khorsabad mostrano nesta posici\u00f3n, o que subli\u00f1a o alcance transcultural da s\u00faa figura.<\/p>\n<p>O seu compa\u00f1eiro Enkidu constit\u00fae un tipo iconogr\u00e1fico propio, representado a mi\u00fado con cabelo longo, vestimenta de pel e trazos de animal salvaxe. Os dous heroes xuntos forman un <span class=\"iwg-fachbegriff\" data-tooltip=\"Un elemento de contido recorrente na arte ou na narraci\u00f3n.\" tabindex=\"0\">motivo<\/span> altomesopot\u00e1mico de parella, que m\u00e1is tarde reaparece de forma comparable en relatos gregos e persas. O <span class=\"iwg-fachbegriff\" data-tooltip=\"Un elemento de contido recorrente na arte ou na narraci\u00f3n.\" tabindex=\"0\">motivo<\/span> da estreita parella heroica de amigos foi retomado por Friedrich Schiller e moitos outros autores da \u00e9poca moderna.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-099eba1 e-con-full e-flex e-con e-child\" data-id=\"099eba1\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-11c9a82 elementor-widget elementor-widget-heading\" data-id=\"11c9a82\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Culto e veneraci\u00f3n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d7655e3 elementor-widget elementor-widget-text-editor\" data-id=\"d7655e3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Gilgamesh, ao contrario que moitos heroes do mundo antigo, foi obxecto real de culto. Inscrici\u00f3ns da \u00e9poca sumeria antiga e paleobabil\u00f3nica documentan <span class=\"iwg-fachbegriff\" data-tooltip=\"Ofrenda a unha divindade para expresar agradecemento, petici\u00f3n ou veneraci\u00f3n.\" tabindex=\"0\">ofrendas<\/span> feitas ao seu <span class=\"iwg-fachbegriff\" data-tooltip=\"Un ser incorp\u00f3reo ao que se lle atrib\u00fae acci\u00f3n no mundo.\" tabindex=\"0\">esp\u00edrito<\/span> no mes do pranto polos mortos. Invoc\u00e1bano sobre todo como divindade adivi\u00f1atoria e xu\u00edza no inframundo, onde deb\u00eda acoller os mortos e mostrarlles o cami\u00f1o.<\/p>\n<p>Un <span class=\"iwg-fachbegriff\" data-tooltip=\"Un lugar sagrado dedicado \u00e1 veneraci\u00f3n dunha divindade.\" tabindex=\"0\">santuario<\/span> importante era o Eturkalama en Uruk, <span class=\"iwg-fachbegriff\" data-tooltip=\"Entregado ao sagrado mediante un acto relixioso e as\u00ed elevado por riba do coti\u00e1n.\" tabindex=\"0\">consagrado<\/span> a el e aos seus antepasados. Tam\u00e9n en Nippur e Babilonia se invocaba o seu nome en textos de conxuro e liturxias de lamento. Consideraba-se que o seu <span class=\"iwg-fachbegriff\" data-tooltip=\"Un ser incorp\u00f3reo ao que se lle atrib\u00fae acci\u00f3n no mundo.\" tabindex=\"0\">esp\u00edrito<\/span> era especialmente poderoso nas pr\u00e1cticas de adivi\u00f1aci\u00f3n, pois, como heroe, entrara d\u00faas veces no inframundo: unha vez para recuperar a Enkidu, outra tras a s\u00faa propia morte.<\/p>\n<p>Na \u00e9poca neoasiria, o seu prestixio literario mant\u00edvose intacto, a\u00ednda que o aspecto cultual foi diminu\u00edndo. Asurbanipal, o gran rei bibliotecario, fixo conservar a Epopea de Gilgamesh en varios exemplares na s\u00faa biblioteca.<\/p><p>Un gran n\u00famero das t\u00e1boas conservadas procede desta colecci\u00f3n real en N\u00ednive. Tam\u00e9n en Hattusa, capital dos hitatas, elaborouse unha traduci\u00f3n hitita, o que mostra a difusi\u00f3n internacional do relato.<\/p>\n<p>Na \u00e9poca babil\u00f3nica tard\u00eda e sel\u00e9ucida, a tradici\u00f3n literaria foise esvaecendo. A\u00ednda as\u00ed, en fontes xudeo-aramaicas e sirias aparecen rastros do material de Gilgamesh, a mi\u00fado reinterpretados noutros heroes. A tradici\u00f3n directa non rematou at\u00e9 o soterramento completo da cultura escrita mesopot\u00e1mica no s\u00e9culo I d. C.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-722db8b e-con-full e-flex e-con e-child\" data-id=\"722db8b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9000838 elementor-widget elementor-widget-heading\" data-id=\"9000838\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Mitos importantes<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1285d50 elementor-widget elementor-widget-text-editor\" data-id=\"1285d50\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>A obra principal \u00e9 o \u00c9pico de Gilgamesh na versi\u00f3n est\u00e1ndar de doce t\u00e1boas. As t\u00e1boas I e II describen o mozo e ambicioso Gilgamesh e a creaci\u00f3n de Enkidu pola deusa Aruru. O encontro de ambos os heroes, o seu combate e a s\u00faa posterior amizade son excepcionais desde o punto de vista da historia das relixi\u00f3ns, xa que transforman o conflito cl\u00e1sico entre a cidade e a estepa nun v\u00ednculo de amizade.<\/p>\n<p>As t\u00e1boas III a V narran a viaxe ao bosque de cedros e o combate contra Humbaba, o gardi\u00e1n do bosque. Este episodio \u00e9 notable desde o punto de vista da historia das relixi\u00f3ns porque combina a xeograf\u00eda c\u00f3smica co comercio concreto da madeira. A extracci\u00f3n de madeira de cedro no L\u00edbano era unha actividade econ\u00f3mica real dos reis mesopot\u00e1micos, e o \u00e9pico lexit\u00edmaa mitol\u00f3xicamente.<\/p>\n<p>As t\u00e1boas VI a VIII conte\u00f1en o episodio con Ischtar, a morte do Touro do Ceo e a morte de Enkidu. Aqu\u00ed \u00e9 onde os temas relixioso-hist\u00f3ricos son m\u00e1is densos.<\/p><p>A negativa de Gilgamesh a tomar a Ischtar como esposa e a s\u00faa enumeraci\u00f3n dos amantes anteriores da deusa constit\u00faen unha rara pol\u00e9mica contra unha poderosa <span class=\"iwg-fachbegriff\" data-tooltip=\"Un ser venerado como divino dentro dunha relixi\u00f3n.\" tabindex=\"0\">divindade<\/span>. A reacci\u00f3n dos deuses, que fan morrer a Enkidu, d\u00e1lle ao relato unha profundidade teol\u00f3xica.<\/p>\n<p>As t\u00e1boas IX a XI est\u00e1n dedicadas ao cami\u00f1o de desesperaci\u00f3n de Gilgamesh. Viaxa polos t\u00faneles do deus solar, atravesa as augas da morte, chega a Utnapishtim e escoita o relato do diluvio.<\/p><p>A t\u00e1boa XI, co seu extenso relato do diluvio, \u00e9 historicamente moi importante porque foi lida como paralelo \u00e1 historia b\u00edblica do diluvio universal e no s\u00e9culo XIX influ\u00edu profundamente no debate sobre a prehistoria literaria do Pentateuco.<\/p>\n<p>A t\u00e1boa XII, engadida posteriormente, narra o pranto de Gilgamesh por Enkidu e o retorno do esp\u00edrito de Enkidu desde o inframundo. Esta parte \u00e9 en realidade unha traduci\u00f3n do poema sumerio \u00abGilgamesh, Enkidu e o inframundo\u00bb e non se axusta ao esquema narrativo da versi\u00f3n est\u00e1ndar, polo que a investigaci\u00f3n a considera un anexo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8302448 e-con-full e-flex e-con e-child\" data-id=\"8302448\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-aae4bfc elementor-widget elementor-widget-heading\" data-id=\"aae4bfc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Relaci\u00f3ns no pante\u00f3n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8cbbfd6 elementor-widget elementor-widget-text-editor\" data-id=\"8cbbfd6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Gilgamesh, como figura hist\u00f3rica, non forma parte do pante\u00f3n en sentido estrito, pero de forma p\u00f3stuma foi venerado como semideus e xu\u00edz do inframundo. A s\u00faa nai Ninsun, deusa da sabedor\u00eda e da cr\u00eda de gando, pertence ao <span class=\"iwg-fachbegriff\" data-tooltip=\"O conxunto de deuses dunha relixi\u00f3n ou cultura.\" tabindex=\"0\">pante\u00f3n<\/span> de Uruk. O seu pai Lugalbanda foi un predecesor deificado no trono de Uruk.<\/p>\n<p>O seu compa\u00f1eiro Enkidu non se concibe como <span class=\"iwg-fachbegriff\" data-tooltip=\"Un ser venerado como divino dentro dunha relixi\u00f3n.\" tabindex=\"0\">divindade<\/span>, sen\u00f3n como figura salvaxe creada, que tras a s\u00faa morte entra no reino de Ereshkigal. Con Inanna (Ischtar), a deusa titular de Uruk, Gilgamesh mant\u00e9n unha relaci\u00f3n conflitiva. Con Shamash, o deus do sol e da xustiza, en cambio, ten unha relaci\u00f3n protectora, xa que Shamash o axuda nas s\u00faas probas de combate.<\/p>\n<p>Con Utnapishtim e a s\u00faa esposa comparte o encontro no conf\u00edn do mundo, e con Siduri, a hostaleira xunto \u00e1s augas da morte, unha ensinanza filos\u00f3fica sobre a existencia humana. Estes encontros van tecendo unha rica paisaxe teol\u00f3xica na que Gilgamesh se converte progresivamente en mestre para o lector.<\/p>\n<p>A relaci\u00f3n de Gilgamesh coa s\u00faa nai Ninsun \u00e9 de importancia central. Ninsun, cuxo nome significa \u00abse\u00f1ora das vacas salvaxes\u00bb, \u00e9 unha deusa da cidade de Uruk e aparece representada como consellera e int\u00e9rprete dos so\u00f1os do heroe.<\/p><p>Na t\u00e1boa I interpreta os so\u00f1os de Gilgamesh, nos que Enkidu aparece como futuro amigo. Esta funci\u00f3n da nai divina \u00e9 un elemento arcaico que tam\u00e9n aparece noutros \u00e9picos heroicos mesopot\u00e1micos, como os de Lugalbanda e Etana.<\/p>\n<p>O seu pai Lugalbanda \u00e9 el mesmo unha figura heroica, ao que se dedican dous relatos sumerios propios. A li\u00f1a teog\u00f3nica Gilgamesh-Lugalbanda-Ninsun vincula a cidade de Uruk cunha xenealox\u00eda divino-real que abarca tres xeraci\u00f3ns. Esta xenealox\u00eda quedou fixada na Lista Real Sumeria e outorgou \u00e1 cidade de Uruk unha dignidade teol\u00f3xica que \u00eda m\u00e1is al\u00e1 da simple historia urbana.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-32f1d5c e-con-full e-flex e-con e-child\" data-id=\"32f1d5c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c880a2c elementor-widget elementor-widget-heading\" data-id=\"c880a2c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Recepci\u00f3n e influencia<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1467b6f elementor-widget elementor-widget-text-editor\" data-id=\"1467b6f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>O \u00c9pico de Gilgamesh foi descifrado en 1872 por George Smith no British Museum, o que provocou a sensaci\u00f3n cient\u00edfica da t\u00e1boa do diluvio. Desde ent\u00f3n foi traducido a decenas de idiomas e publicado en numerosas edici\u00f3ns.<\/p><p>Rainer Maria Rilke chamouno \u00abunha das maiores obras da literatura humana\u00bb, e Carl Gustav Jung interpretouno en sentido arquet\u00edpico como a viaxe do eu consciente \u00e1s profundidades da alma.<\/p>\n<p>Na literatura moderna, o <span class=\"iwg-fachbegriff\" data-tooltip=\"Un elemento de contido recorrente na arte ou na narraci\u00f3n.\" tabindex=\"0\">motivo<\/span> de Gilgamesh foi retomado en numerosas ocasi\u00f3ns, por exemplo por Hans Henny Jahnn, Stephan Grundy, Robert Silverberg e Joan London.<\/p><p><span data-nosnippet>O compositor Bohuslav Martinu escribiu \u00abThe Epic of Gilgamesh\u00bb, unha cantata para solistas, coro e orquestra, estreada en 1958 en Basilea. En c\u00f3mics, filmes e videoxogos o heroe aparece en numerosas adaptaci\u00f3ns, con frecuencia con grandes liberdades respecto ao material antigo.<\/span><\/p>\n<p>Na historia das relixi\u00f3ns, o \u00e9pico xoga un papel central no estudo comparado do heroe, a morte e o diluvio. As paralelismos coa X\u00e9nese b\u00edblica son, desde o seu descubrimento, tema est\u00e1ndar en manuais teol\u00f3xicos e cient\u00edficos. A cuesti\u00f3n dunha dependencia hist\u00f3rica ou dunha orixe com\u00fan s\u00e9guese debatendo hoxe en d\u00eda.<\/p>\n<p><span data-nosnippet>Na historia das relixi\u00f3ns moderna, o \u00c9pico de Gilgamesh transformou profundamente o debate sobre a orixe do diluvio b\u00edblico. Hermann Gunkel formulou en \u00abGenesis\u00bb (1901) a tese de que a tradici\u00f3n mesopot\u00e1mica influ\u00edu na narraci\u00f3n b\u00edblica tanto ling\u00fcisticamente como en canto aos motivos.<\/span><\/p><p>Esta tese foi asumida por Claus Westermann no seu gran comentario ao X\u00e9nese e hoxe \u00e9 consenso xeral. A forma exacta da transmisi\u00f3n, xa sexa directamente a trav\u00e9s do cautiverio babil\u00f3nico ou mediante tradici\u00f3ns orais no Pr\u00f3ximo Oriente, s\u00e9guese debatendo.<\/p>\n<p>Na literatura moderna, Gilgamesh converteuse en cifra da busca de sentido tras a perda dun amigo.<\/p><p><span data-nosnippet>\u00abDas Buch von Gilgamesch\u00bb (1972) de Stefan Heym, \u00abGilgamesh\u00bb (2001) de Joan London e a novela \u00abGilgamesh the King\u00bb (1984) de Robert Silverberg son as adaptaci\u00f3ns literarias m\u00e1is destacadas. No cine, \u00abStalker\u00bb (1979) de Andrei Tarkovski est\u00e1 marcado por motivos de Gilgamesh, algo que o propio director mencionou expresamente nos seus escritos.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-3751e1a e-con-full e-flex e-con e-child\" data-id=\"3751e1a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ede18c9 elementor-widget elementor-widget-heading\" data-id=\"ede18c9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Interpretaci\u00f3n desde a ciencia da relixi\u00f3n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a1cbef3 elementor-widget elementor-widget-text-editor\" data-id=\"a1cbef3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Andrew George reconstru\u00edu na s\u00faa edici\u00f3n \u00abThe Babylonian Gilgamesh Epic\u00bb a tradici\u00f3n manuscrita e analizou o epopeya no seu contexto do Pr\u00f3ximo Oriente antigo. O seu traballo consid\u00e9rase unha obra de referencia e marcou de forma decisiva a comprensi\u00f3n cient\u00edfica do material. Stefan Maul analizou en varios estudos os aspectos m\u00e1xico-rituais do epopeya.<\/p>\n<p>Thorkild Jacobsen ve no material de Gilgamesh unha forma altomesopot\u00e1mica de reflexi\u00f3n sobre a morte e o morrer. Desde o seu punto de vista, o epopeya non \u00e9 primariamente unha novela heroica, sen\u00f3n unha reflexi\u00f3n teol\u00f3xica sobre a finitude. Jean Bott\u00e9ro subli\u00f1a a funci\u00f3n social do texto, que se copiaba nas escolas de escribas aprendices e se converteu as\u00ed no fundamento educativo da elite altomesopot\u00e1mica.<\/p>\n<p>Stephanie Dalley e Wilfred Lambert presentaron traduci\u00f3ns e comentarios que fixeron a obra accesible a un p\u00fablico m\u00e1is amplo. Walther Sallaberger reconstru\u00edu os precursores altosumerios. A investigaci\u00f3n considera hoxe o epopeya de Gilgamesh un dos testemu\u00f1os m\u00e1is importantes da alta cultura altomesopot\u00e1mica e un texto clave para a cuesti\u00f3n de como unha alta cultura temper\u00e1 reflexionaba sobre a mortalidade, a amizade e a fama.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d4d2adc e-con-full e-flex e-con e-child\" data-id=\"d4d2adc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9d1926c elementor-widget elementor-widget-heading\" data-id=\"9d1926c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Versi\u00f3n est\u00e1ndar e Sin-leqi-unninni<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cf00aa0 elementor-widget elementor-widget-text-editor\" data-id=\"cf00aa0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>A forma m\u00e1is co\u00f1ecida literariamente do epopeya de Gilgamesh \u00e9 a chamada versi\u00f3n est\u00e1ndar, unha composici\u00f3n acadia de doce t\u00e1boas que foi compilada a mediados do II milenio a. C. baixo o nome \u00abSha naqba imuru\u00bb, \u00abO que todo o viu\u00bb.<\/p><p>A tradici\u00f3n <span class=\"iwg-fachbegriff\" data-tooltip=\"\u00c9poca da cultura grega e romana, desde aproximadamente o 800 a. C. at\u00e9 o 600 d. C.\" tabindex=\"0\">antiga<\/span> atrib\u00fae a redacci\u00f3n a un sabio babil\u00f3nico chamado Sin-leqi-unninni, un feiticeiro e escriba que probablemente actuou no per\u00edodo babil\u00f3nico medio (s\u00e9culo XII a. C.).<\/p><p><span data-nosnippet>O seu nome aparece nos rexistros de escribas de Niniveh como \u00abo que compilou as t\u00e1boas\u00bb. Andrew George reconstru\u00edu minuciosamente a historia textual na s\u00faa monumental edici\u00f3n \u00abThe Babylonian Gilgamesh Epic\u00bb (Oxford, 2003) e coteixou as fontes de Niniveh, Sultantepe, Babilonia, Uruk e Mesopotamia.<\/span><\/p>\n<p>A versi\u00f3n est\u00e1ndar div\u00eddese en doce t\u00e1boas. As t\u00e1boas I e II tratan a creaci\u00f3n de Enkidu e o seu encontro con Gilgamesh. As t\u00e1boas III a V describen a viaxe ao bosque de cedros e o combate contra Humbaba. A t\u00e1boa VI relata o encontro con Ishtar e a morte do Touro Celeste.<\/p><p>A t\u00e1boa VII cont\u00e9n a morte de Enkidu e o pranto de Gilgamesh. As t\u00e1boas VIII a XI relatan a busca de Gilgamesh pola inmortalidade, co encontro con Utnapishtim, o No\u00e9 mesopot\u00e1mico, e o relato do diluvio. A t\u00e1boa XII \u00e9 un engadido sumerio que reproduce, a modo de ap\u00e9ndice, un fragmento de \u00abGilgamesh, Enkidu e o inframundo\u00bb.<\/p>\n<p>O relato do diluvio na t\u00e1boa XI \u00e9 un dos episodios m\u00e1is c\u00e9lebres da literatura universal. Utnapishtim conta a Gilgamesh como Enki o avisou da gran inundaci\u00f3n que o deus Enlil decretou contra a humanidade. Utnapishtim constru\u00edu unha arca na que salvou a s\u00faa familia, todos os seres vivos e o co\u00f1ecemento.<\/p><p><span data-nosnippet>Despois de sete d\u00edas de diluvio, a arca varou no monte Nisir, e os deuses concederon a Utnapishtim a inmortalidade. O relato foi publicado por primeira vez en 1872 por George Smith no Museo Brit\u00e1nico e provocou unha sensaci\u00f3n cient\u00edfica e teol\u00f3xica, xa que apuntaba a un posible modelo mesopot\u00e1mico do relato b\u00edblico do diluvio.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6bf92d0 e-con-full e-flex e-con e-child\" data-id=\"6bf92d0\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a0f5377 elementor-widget elementor-widget-heading\" data-id=\"a0f5377\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Versi\u00f3ns paleobabil\u00f3nicas e textos de Bilgames<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a698770 elementor-widget elementor-widget-text-editor\" data-id=\"a698770\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Antes da versi\u00f3n est\u00e1ndar existiron varias versi\u00f3ns paleobabil\u00f3nicas do s\u00e9culo XVIII a. C., entre elas a T\u00e1boa de Pensilvania e a T\u00e1boa de Yale, ambas copiadas por estudantes de academia como exercicio de escritura.<\/p><p>Estas versi\u00f3ns paleobabil\u00f3nicas son en parte m\u00e1is laconicas e liturxicamente m\u00e1is flexibles que a versi\u00f3n est\u00e1ndar, e conte\u00f1en variantes que suxiren un final favorable para a relaci\u00f3n entre Gilgamesh e Enkidu. A T\u00e1boa de Pensilvania comeza coa predici\u00f3n on\u00edrica de Enkidu por parte de Ninsun, a nai de Gilgamesh, unha escena que na versi\u00f3n est\u00e1ndar aparece resumida.<\/p>\n<p>Antes das versi\u00f3ns paleobabil\u00f3nicas existe unha tradici\u00f3n sumeria na que Gilgamesh aparece baixo o nome de Bilgames en cinco relatos independentes.<\/p><p>Estes textos de Bilgames son: \u00abBilgames e Aga\u00bb, que describe un asedio de Uruk polo veci\u00f1o real Aga; \u00abBilgames e Huwawa\u00bb, precursor do episodio de Humbaba; \u00abBilgames e o Touro Celeste\u00bb; \u00abBilgames, Enkidu e o inframundo\u00bb; e \u00abA morte de Bilgames\u00bb.<\/p><p><span data-nosnippet>Estes cinco textos sumerios son m\u00e1is antigos que a tradici\u00f3n acadia e rem\u00f3ntanse \u00e1 \u00e9poca da terceira dinast\u00eda de Ur (s\u00e9culo XXI a. C.). Andrew George presentou unha edici\u00f3n completa con traduci\u00f3n inglesa en \u00abThe Epic of Gilgamesh\u00bb (Penguin Classics, 1999).<\/span><\/p>\n<p>Unha fonte especialmente relevante \u00e9 \u00abA morte de Bilgames\u00bb, un texto que describe a morte do heroe e o seu enterro. Gilgamesh \u00e9 institu\u00eddo no inframundo como xu\u00edz, unha funci\u00f3n que m\u00e1is tarde tam\u00e9n aparece nos textos de conxuro.<\/p><p>Esta dobre condici\u00f3n de heroe do pasado e xu\u00edz dos mortos \u00e9 unha construci\u00f3n t\u00edpica das figuras heroicas mesopot\u00e1micas. Aage Westenholz e Antoine Cavigneaux analizaron en varios artigos o significado deste texto para a escatolox\u00eda mesopot\u00e1mica.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-7f6f9cf e-con-full e-flex e-con e-child\" data-id=\"7f6f9cf\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-93f2f72 elementor-widget elementor-widget-heading\" data-id=\"93f2f72\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Historia da investigaci\u00f3n e li\u00f1as de influencia<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-83b2656 elementor-widget elementor-widget-text-editor\" data-id=\"83b2656\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>O descubrimento da Epopea de Guilgamex comezou en 1853 coas escavaci\u00f3ns de Hormuzd Rassam na biblioteca de Asurban\u00edpal en N\u00ednive. As t\u00e1boas de arxila foron levadas ao Museo Brit\u00e1nico, onde George Smith as descifrou.<\/p><p><span data-nosnippet>A s\u00faa conferencia \u00abThe Chaldean Account of the Deluge\u00bb ante a Society of Biblical Archaeology, o 3 de decembro de 1872, foi financiada en parte polo Daily Telegraph e consid\u00e9rase o inicio da asiriolog\u00eda moderna.<\/span><\/p><p><span data-nosnippet>Smith viaxou despois a N\u00ednive e en 1873 atopou novos fragmentos que completaron a obra. A s\u00faa edici\u00f3n \u00abThe Chaldean Account of Genesis\u00bb (1876) achegou a epopea ao gran p\u00fablico.<\/span><\/p>\n<p><span data-nosnippet>As edici\u00f3ns modernas seguen en gran medida a Andrew George 2003, con achados complementarios de Sultantepe (publicados por Jeffrey Tigay en 1982), de Ugarit (publicados por Daniel Arnaud en 2007) e de Hattusa (Bogazk\u00f6y, en traduci\u00f3ns hitita e hurrita).<\/span><\/p><p>Estes achados de distintas rexi\u00f3ns demostran que a epopea circulou no II milenio en varias linguas e en numerosas culturas do Pr\u00f3ximo Oriente, desde o Levante at\u00e9 Anatolia.<\/p>\n<p>A s\u00faa historia de recepci\u00f3n \u00e9 ampla. Na investigaci\u00f3n b\u00edblica, o debate sobre os paralelismos entre Guilgamex e a Biblia hebrea \u00e9 un tema recorrente desde George Smith. Frank Moore Cross, John Day e Othmar Keel identificaron trazas do relato de Guilgamex no relato do diluvio, en Xob e nos Salmos.<\/p><p><span data-nosnippet>Na literatura moderna, Rainer Maria Rilke (nas s\u00faas cartas), Jorge Luis Borges (en relatos) e Philip Roth (en \u00abThe Counterlife\u00bb) recolleron a epopea. A traduci\u00f3n alem\u00e1 de Albert Schott e Wolfram von Soden (Reclam 1958) consolidou a obra no \u00e1mbito de fala alem\u00e1.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-64ddfd6 e-con-full e-flex e-con e-child\" data-id=\"64ddfd6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-2d322b1 elementor-widget elementor-widget-heading\" data-id=\"2d322b1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Fontes e bibliograf\u00eda complementaria<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2699353 elementor-widget elementor-widget-text-editor\" data-id=\"2699353\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<footer class=\"iwg-literatur\"><p>Fontes da <span class=\"iwg-fachbegriff\" data-tooltip=\"\u00c9poca da cultura grega e romana, aproximadamente entre 800 a. C. e 600 d. C.\" tabindex=\"0\">Antig\u00fcidade<\/span>: Canci\u00f3ns sumerias de Guilgamex (\u00abGuilgamex e Huwawa\u00bb, \u00abGuilgamex e o Touro Celeste\u00bb, \u00abA morte de Guilgamex\u00bb), fragmentos paleobabil\u00f3nicos, a versi\u00f3n est\u00e1ndar da Epopea de Guilgamex en 12 t\u00e1boas, a traduci\u00f3n hitita de Hattusa, as t\u00e1boas de N\u00ednive procedentes da biblioteca de Asurban\u00edpal.<\/p>\n<ul><li><span data-nosnippet>Bibliograf\u00eda de referencia: Andrew George, \u00abThe Babylonian Gilgamesh Epic\u00bb, Oxford 2003.<\/span><\/li><li><span data-nosnippet>Thorkild Jacobsen, \u00abThe Treasures of Darkness\u00bb, New Haven 1976.<\/span><\/li><li><span data-nosnippet>Jean Bott\u00e9ro, \u00abMesopotamia: Writing, Reasoning, and the Gods\u00bb, Chicago 1992.<\/span><\/li><\/ul>\n<p class=\"iwg-bib-more\"><span data-nosnippet>M\u00e1is obras de referencia na <a href=\"https:\/\/iwell-guard.com\/gl\/literatura\/\">bibliograf\u00eda<\/a>.<\/span><\/p><\/footer>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":3250,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_yoast_wpseo_focuskw":"Gilgamesh","_yoast_wpseo_title":"Gilgamesh \u2013 Rei de Uruk e heroe de epopea | iWell Guard","_yoast_wpseo_metadesc":"Gilgamesh \u00e9 o heroe mesopot\u00e1mico e rei de Uruk. 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