tural one and of
popular origin, but the problem with which Gilgamesh wrestles in the
twelfth tablet,--the secret of the life after death,--while suggested by
the other, belongs rather to the domain of theological and mystic
speculation. This aspect of the twelfth tablet is borne out also by the
fact that the problem is not solved. The epic ends as unsatisfactorily
as the Book of Job or Ecclesiastes. There is a tone of despair in the
final speech of Eabani, which savors of the schools of advanced thought
in Babylonia. For the problem of immortality, a definite solution at
least is offered. Man can reach old age; he may be snatched for a time
from the grasp of death, as Gilgamesh was through the efforts of
Parnapishtim, but he only deludes himself by indulging in hopes of
immortal life. 'Man must die' is the refrain that rings in our ears. The
plant of 'eternal youth' slips out of one's hand at the very moment that
one believes to have secured it.

The Gilgamesh epic, as we have it, thus turns out to be a composite
production. Gilgamesh, a popular hero of antiquity, becomes a medium for
the perpetuation of various popular traditions and myths. The adventures
of his career are combined with the early history of man. Of actual
deeds performed by Gilgamesh, and which belong to Gilgamesh's career as
a hero, warrior, and ruler, we have only four,--the conquest of Erech,
his victory over Khumbaba, the killing of the divine bull, and the
strangling of the lion.[1001] The story of Eabani, Ukhat, and Sadu is
independent of Gilgamesh's career, and so also is the story of his
wanderings to Mashu and his encounter with Parnapishtim. Gilgamesh is
brought into association with Eabani by what may be called, a natural
process of assimilation. The life of the hero is placed back at the
beginning of things, and in this way Gilgamesh is brought into direct
contact with legends of man's early fortunes, with ancient historical
reminiscences, as well as with nature-myths that symbolize the change of
seasons and the annual inundations.

Popular philosophy also enters into the life of the hero. Regarded as a
god and yet of human origin, Gilgamesh becomes an appropriate
illustration for determining the line that marks off man's career from
the indefinite extension of activity that is a trait of the gods.
Gilgamesh revolts against the universal law of decay and is punished. He
is relieved from suffering, but cannot escape the doom of death. The