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Homosexuality has always been, and might always be, a hotly debated topic in the study of history and historical figures, both real and fictional. Even now, with same-sex marriage legalized in over 20 countries and an overall far more progressive world, the debate of the true feelings expressed in the Epic of Gilgamesh and the Iliad between men rages on. This essay will look at both original texts and translations, extrapolate meaning, and draw parallels between the two epics. The Epic of Gilgamesh, first written in ca. 2100 BC, tells the tale of Gilgamesh and Enkidu and their various adventures through the early Fertile Crescent. As decreed by the gods, Enkidu is created and is tasked with calming the wild King Gilgamesh. From their first meeting, it becomes clear that they are destined soulmates. The Iliad, an oral tradition first composed in the late 8th or 7th century but gained popularity during the 5th century, is a brief glimpse into the last phase of the Trojan War. While the story is vast and covers thousands of pages, we will be specifically looking at Achilles and Patroclus and the hypothesized homoerotic bond they shared. By looking through the lens of death, their true feelings shine through. In order to fully understand and define the relationships between these four men, I will look at language, culture, art, and love itself. By using these aspects, I will try to demonstrate that a deep love is found in both stories, and that it is an essential element of each epic. Through their love for one another, Achilles and Patroclus and Gilgamesh and Enkidu become one soul split over two bodies. Despite hardship, turmoil, trauma, and death, this love is everlasting and makes these men divine.
While I will only be discussing the relationship between the main characters in this essay, there are further parallels to be made between these two works. Such parallels might indicate a deeper connection between both works. One such instance is that of Aphrodite and Ishtar. Both love goddesses, enraged by the mortals who shame them, return to their godly parents for advice. In both scenes, their fathers are portrayed as not “particularly sympathetic.”[1] Where this story differs, however, is the outcome. Aphrodite’s wrath is calmed by her mother while Ishtar “successfully requests the Bull of Heaven to slay Gilgamesh and wreak havoc on his city Uruk.”[2] Ballesteros, noting how the parents of each goddess share the same name and Aphrodite’s mother being one of multiple myths regarding her birth, cites Burkett who says, “Homer proves to be dependent on Gilgamesh even at the linguistic level, forming the name of Dione as a calque on Anta.”[3] This can further be seen in similar scenes found in the Iliad involving Hades, Artemis, and Ares, all of which prompt the question: Are these scenes a direct imitation of the earlier Gilgamesh episode, or is this a “pre-existing pattern?”[4] By looking at both the Odyssey and Cyclic epics, it would seem that the latter is more fitting. This is also seen in Near East tradition, with similar scenes appearing in the Ugaritic Aqhat, the Akkadian Nergal and Ereshkigal, and the Sumerian Lament for Ur, among many others.[5] Through these various instances, a clear parallel can be made. Another such parallel can be seen in the deaths, and subsequent resurrections of Patroclus and Enkidu. I will be talking about this subject at length later on in this essay, but I will summarize briefly here. Both men are required to die, as decreed by the gods, in order for their counterparts to become whole and take on their true destiny. Once declared dead, they are treated to lavish feasts and golden gifts. The survivors, however, refuse to accept this death, dirtying their bodies and refraining from actions required for life. Only after a week has passed are they able to reenter society and connect once again with their peers. During this time, abandoned and alone, they are both called upon by the spirits of the deceased and both recount what awaits them after death. During this conversation, both heroes reach out to embrace the other only for the dead to dissipate. As both of these episodes seem to follow each other beat for beat, it is highly likely that inspiration is being drawn. While it has been hotly debated if Homer was directly inspired by Gilgamesh, it can be argued that the cultures that created them drew from the same unknown source. There is a conversation being had here but if that was intentional remains to be seen. As the topic of parallels is an essay in its own right, I shall now move on to the bulk of this paper.
I will begin with a quick summary of both epics. This will serve as an introduction to the main themes as well as an overview of critical scenes that will be fully explored later on. Once both storylines and basic character overviews are given, I will move on to an in-depth look at laws and customs in regard to homosexuality. Through these cultural guidelines, a better understanding of the relationship between the ideas put forth in these stories and the society that consumed it can be achieved. This section will also include, where applicable, views from the general public and the popular philosophers. Following that, I’ll look at sexuality and how it is defined in both epics. While it is placed at the forefront in the Epic of Gilgamesh, it plays a far more subtle role in the Iliad. Physical artifacts will also be presented to further my point. As both serve as major themes, I will then focus on death and its transformative qualities. Not only will I be looking at the actions leading up to the deaths of Patroclus and Enkidu, but I will also unpack how these events affect Achilles, Gilgamesh, and the greater picture. Love, as defined in Plato’s Symposium, will also be highlighted here. In the final section, I will thoroughly discuss the importance of duality and how both pairs become one and the same. This duality is another major theme throughout both epics. It is used to assign “hidden” character traits that are only found through their relationships with their second halves.
[1] Ballesteros 2021, 4.
[2] Ballesteros 2021, 3.
[3] Ballesteros 2021, 4.
[4] Ballesteros 2021, 4.
[5] Ballesteros 2021, 13-4.