November 30th, 2007
Recursive throughout literature is the portrayal and investigation of the dichotomy that exists between nature and civilization. This division manifests itself in countless forms, but underlying every aspect of the discussion is a certain intuitive idea we have of the division between the civilized and the uncivilized, the base and the sophisticated, the feral and the tame. Why does such an innate concept warrant such literary and critical investigation? For it is apparent that this has been a persistent theme throughout literature from its beginnings. We discover this idea in the most prominent early Babylonian literature, The Gilgamesh Epic, as well as in sacred texts from early Hebrew culture, most notably the book of Genesis from the Old Testament. Both of these works focus a great deal on the struggle between nature and civilization. In contrasting them, we discover that this division between nature and civilization is not as clear-cut as it may seem. We must therefore examine the concepts of the “natural state” and of civilization independently for each text in an attempt to determine how a synthesis between the two is reached, if indeed it is. We will find that each text arguably makes a case for the superiority to civilization of the natural state it presents. The convergence of these two culturally foundational texts on this theme of nature and civilization, when their differences are also taken into account, serves to provide us with a more complete view of this multifaceted literary division placed on the human condition.
Just as the literary treatment of the nature and civilization dichotomy has been historically widespread, there is no shortage of critical discussion on the subject for either text, though the more popular discussion examines nature independently. However, the conjunctive handling of these two texts in light of this theme is considerably less frequent. Alexander Heidel is one of the few to do so, in his The Gilgamesh Epic and Old Testament Parallels. Although he does not deal with nature and civilization directly, he discusses the natural, prelapsarian state of affairs seen in Genesis at some length as a precursor to contrasting the views each work holds on death and the afterlife. He notes that in the Garden of Eden we see that mankind’s natural state is “not one of absolute immortality, or of absolute freedom from death, in which sense God and the angels are immortal, but rather one of relative or conditional immortality,” observing that even in the utopian beginnings of Genesis, man was still tainted by the opportunity and eventual succumbing to sin, which we will examine in more depth shortly. Heidel also contrasts the flood stories—looked at another way, the divine attempts to return the world to its natural state—of each work at some length and points out that in both stories mankind is at some level morally responsible for the sending of the flood.
In the realm of text-specific criticism, we see that it is generally agreed, as Mordecai Roshwald points out it in his essay “God, Man, and Nature,” that Genesis presents man to be “a dual being—a natural phenomenon and the controller and master of the universe.” (200) Stevenson and Haberman echo this idea in Ten Theories of Human Nature, asserting that “although human beings are … seen as having a special role compared to the rest of creation, we are also seen as continuous with nature.” (55) Patrick Barron discusses a different separation of the concept of nature as applies to Gilgamesh in his aptly titled “The Separation of Wild Animal Nature and Human Nature in Gilgamesh: Roots of a Contemporary Theme.”
It is with the ideas presented in Barron’s article that our discussion is best begun. Since the view of nature as it is presented in Gilgamesh is arguably the more complicated of the two works, there are conflicting views that must be reconciled in order to constructively juxtapose nature and civilization in the epic. To discuss the idea of nature in Gilgamesh is primarily to examine the story and characterization of Enkidu, who is “a match for the storm of [Gilgamesh’s] heart,” (5.97) and “the image of Gilgamesh / … born in the uplands, / the milk of the beasts is what he was suckled on.” (15.184-7) Enkidu is presented throughout the epic as a complement to Gilgamesh, but also as a foil. Barron recognizes that
Enkidu and Gilgamesh are also clearly representative of two extremes: total wild animal nature-associated man, and total civilization and domestication-associated man. Together they for an extremely volatile pair, roughly seen as split correlates of a greater social self. But the mix is never whole. Because of Enkidu’s traumatic severance from wild animal nature, the coupling is doomed to failure; its very basis is ruptured, shattered from within. (384)
It is Enkidu’s disconnection from this animalistic state that will shed the most light on the presentation of nature in Gilgamesh.
The first thing to note about Enkidu’s creation into the natural world is the pleasure he finds in a world unpolluted by civilized man. The description of Enkidu’s environment is extremely idyllic, if not utopian, and Enkidu is content in his feral ignorance. Multiple times in the text we find an overt statement of Enkidu’s delight in nature: he “grazes on grasses, / joining the throng with the game at the water-hole, / his heart delighting with the beasts in the water.” (5.110-2) It is also important to realize that the state of nature in which Enkidu resides is never referred to as “savage” in the negative sense of the word—nature here is indeed wild, but is far from brutal. Interestingly enough, the only violence mentioned in the portrayal of Enkidu’s existence in nature is that of the hunter, from whose traps and snares Enkidu protects the beasts with whom he shares his natural habitat.
Herein lies the dilemma in definitively identifying the interpretation of nature within Gilgamesh: Enkidu is in many ways kindred to the beasts of the field, but he is indubitably presented as superior to the animals. He is described as “like the god of the animals,” (5.109) and “their shepherd and their protector.” (4.89) Thus we must represent the idea of nature in Gilgamesh in its two separate forms, which we will label animal nature and primal human nature. This is not to be confused with Barron’s take on the division between animal and human nature; his definition of “human nature” is more applicable to the discussion of civilization in Gilgamesh. “Animal nature” is exemplified in the epic by the world into which Enkidu is created, the natural life that immerses him. On the other hand, Enkidu’s position in this natural state—a role somewhere among brother, protector, and intruder—can be seen as “primal” human nature in that Enkidu is representative of humanity in its purist, most original form. Of these two variations on the theme of nature, it is the latter which we will want to further examine and contrast.
Some aspects of this primal take on human nature observed in the story of Enkidu bear a striking resemblance to the manner in which nature is portrayed in Genesis, specifically in the first three chapters. As in Gilgamesh, the biblical concept of nature is not immediately obvious. Roshwald observes:
It presents a perception of man as a complex being: on the one hand, he remains a creation of God, a part of the universe swarming with other beings created by God; on the other hand, man is different from the rest in that he is endowed with a divine image, the image of the creator of the world. (200)
Just as with Gilgamesh, we see that nature is a likewise two-faced creature in the creation story of Genesis. However, here mankind can be seen to be part of the realm of animal nature only in that they exist as part of the same creation, brought about by the same Creator.
In reality, it is much easier to see man as set apart from the rest of creation in the Genesis story. The biblical natural state is one which is filled with the creation of God, which can also be called nature, but which is ruled by man, subject only to God. This is established early on in the story: “…God blessed them [man], and God said unto them, Be fruitful and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth.” (1:28) Later on, Adam is also assigned by God the task of naming the animals (2:19), another assertion of man’s authority and dominion over the animal nature. Much in the same way Enkidu lives among the animals in his natural state and yet holds power over them as their protector, man is entrusted with the care of the creation while still a created being himself.
Having established that the natural human state in Genesis consists of this divinely granted authority of man over the rest of nature, we should briefly examine the general appearance of this existence before the fall, as we have with Gilgamesh. Certainly, Adam and Eve were living in a condition of naïveté: they were naked yet unashamed (2:25), and were not distinctly aware of good and evil. (3:5) However, their condition was not one of complete ignorance: the quasi-utopian world of Eden in, despite its purity, had a divinely imposed proscription on fruit from the tree of the knowledge of good and evil. The prelapsarian natural state of Genesis still contained the possibility of sin, and thus the possibility of separation from true nature.
Returning to Gilgamesh, we see that this true nature finds its polar opposite in the character of Gilgamesh himself. The concept of civilization in the epic is much more straightforward than that of nature, if only for the reason that we can essentially take Gilgamesh as the epitome of all things civilized. Every aspect of his character is laced with the customs and trappings of civilization. First and foremost, we recognize that he is at the forefront of the most civilized institution there is—government. As the king of Uruk, Gilgamesh is arguably even a civilizer. From another standpoint, we could view civilization as a mass attempt at preservation—whether of lives or of cultures. This outlook lends itself handily to Gilgamesh as a representation of civilization: he is obsessed with achieving immortality. This is seen in most of Gilgamesh’s actions throughout the epic, but especially in his quest to find and discover the secret of immortality from Utnapishtim (Tablets IX-XI) which is appropriately sparked by the death of Enkidu, the representation of nature. Above all, Gilgamesh desires immortality, honor, and glory—all of which are very noble yet irrefragably unnatural aspirations.
Civilization as is presented in Genesis is somewhat more subtle. To best determine the biblical reversion of the natural state, we should begin the most important element of this examination, which is to determine for each text the consequences and other effects of the collision of nature and civilization. In Genesis, the departure from nature and consequent transition to civilization occurs at the Fall when Adam and Eve eat the forbidden fruit, an act with lasting consequences. For woman, this punishment entailed pain and sorrow in childbirth, as well as an hierarchal adjustment which would place woman under the authority or “rule” of her husband. (3:16) This establishment can be seen as perhaps the first human institution we would associate with civilization. Also of critical importance is the judgment of man:
And unto Adam he said, Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree…cursed is the ground for thy sake; in sorrow shalt thou eat bread, till thou return unto the ground (3:17-19)
The biblical consequence for the fall from nature for man was, in essence, the establishment of agriculture. This may not seem an earth-shattering revelation, but for God to require man to be a “tiller of the ground” (4:2) is a major sign of the entrance of civilization.
It is also important to note that in the later events of the text, civilization and nature continue to exist at odds. A cycle begins of man’s continuing development of civilization and God’s subsequent intervention to revert to the natural state. The two most prominent examples are, of course, the flood (6-9) and the Tower of Babel (11:1-9). In the former story, mankind in its civilized state has forgotten their Creator and turned to sin; God therefore wipes the slate clean and destroys every trace of civilization. Leaving only the natural and the faithful, he saves the righteous man Noah to repopulate the earth. In the latter case, mankind has reached a pinnacle of civilization symbolized by the construction of a great tower, so much so that God observes that “nothing will be restrained from them, which they have imagined to do.” (11:6) For this reason, He once again intervenes and “confounds” their languages, bringing mankind that much closer to the natural state, where language is relatively unnecessary. So, in the case of Genesis, it appears that sin against the divinely created natural state necessarily induces the establishment of civilization, but that civilization inevitably runs against the grain of nature.
The Gilgamesh epic, conversely, does not address any causation between the natural and civilized worlds as does Genesis. However, nature and civilization collide in two major ways in the epic. Initially, we see this collision in the story of Enkidu, when “through an encounter with a sacred prostitute, the wild man Enkidu loses his intimate contact with wild animals forever, is “humanized,” and finally “civilized.” (Barron 381) When one of civilization’s greatest perversions of a natural phenomenon—that is, the harlot—comes into contact with Enkidu, he immediately loses the purity that makes him suited to the natural habitat. In this way we once again see how civilization tames—or tarnishes—the natural state. The great contrast of nature and civilization in Gilgamesh, however, is in the very relationship between Enkidu and Gilgamesh. When Gilgamesh proposes the journey to combat Humbaba, Enkidu wisely and fittingly counsels him against it. (19.218-29) But, the numbing effect of civilization upon nature is exemplified when Gilgamesh is in the position to kill Humbaba and Enkidu urges him to do so, using the exact words Gilgamesh with which Gilgamesh had goaded Enkidu prior to the journey. Ultimately, nature finally runs its course, Enkidu dies of sickness and Gilgamesh never attains the immortality he seeks. We cannot help but wonder, as the epic closes, if all of humanity would not have been better off left in the primal natural state out of which Enkidu was forced. One reading would suggest that the nature seen in Enkidu does indeed appear to be the superior condition to the civilization seen in Gilgamesh.
Thus we observe a definite superiority given to the side of nature in this great literary dichotomy. Having examined closely the different renderings of nature and civilization in Genesis and Gilgamesh, we conclude that to some extent, nature is often bested by civilization throughout these historically foundational texts, but that this dominance is generally portrayed in a negative light. The conventions with which this theme is treated helps us better grasp this universal division and, by extension, apply it to other works whose themes have been influenced by the ideas presented in these two texts.
WORKS CITED
________
Barron, Patrick. “The Separation of Wild Animal Nature and Human Nature in Gilgamesh: Roots of a Contemporary Theme.” Papers on Language & Literature 38.4 (2002): 377-94.
The Epic of Gilgamesh. Trans. Andrew George. London: Penguin Press, 1999.
Heidel, Alexander. The Gilgamesh Epic and Old Testament Parallels. 2d ed. Chicago: University of Chicago Press, 1970. 137-223.
The Holy Bible: Containing the Old and New Testaments in the Authorized (King James) Version, Westminster Study Edition. Philadelphia: Westminster Press, 1989.
Roshwald, Mordecai. “God, Man, and Nature.” Modern Age 37.3 (1995): 200-205.
Stevenson, Leslie and David L. Haberman. Ten Theories of Human Nature. 4th ed. Oxford: Oxford University Press, 2004. 47-68.