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Where is the man who can clamber to heaven? Only the gods live for ever with glorious Shamash, but as for us men, our days are numbered, our occupations are a breath of wind.

In other words, human life is impermanent and what we work to build is impermanent.

So what should we do with ourselves?

Gilgamesh takes a stab at an answer: In spite of impermanence, live life with a large, ambitious goal, such as fighting the forest monster Humbaba. Take risks, and if you fail, at least for awhile your name will endure on the lips of others:

[I]f I fail I leave behind me a name that endures; men will say of me, 'Gilgamesh has fallen in fight with ferocious Humbaba.'

Gilgamesh's answer recalls the philosopher Hanna Arendt's observation, in her book The Human Condition (1958), that the pre-socratic Greeks too saw immortality in these terms:

The task and potential greatness of mortals lie in their ability to produce things---works and deeds and words---which would deserve to be and, at least to a degree, are at home in everlastingness, so that through them mortals could find their place in a cosmos where everything is immortal except themselves. (19)

In short, one solution to the problem of mortality is to plug oneself into the divine, or the eternal circle of nature, by building a pyramid or writing lasting sonnets, as Shakespeare has done, or conquering an archetypal monster, such as Humbaba, as Gilgamesh and Enkidu set out to do. 

Arendt continues:

The distinction between man and animal runs right through the human species itself: only the best (aristoi), who constantly prove themselves to be the best (aristeuein, a verb for which there is no equivelent in any other language) and who 'prefer immortal fame to mortal things,' are really human; the others, content with whatever pleasures nature will yield them, live and die like animals. (19)

I hear in this position, apparently shared by Gilgamesh and the pre-socratic Greeks, Nietzsche's Apollonian Ubermensch ("Superman"), who embraces eternal recurrence because he has actually done something with his time on earth---he has been a creator, taken risks, and has no regrets, and would live life the same way over again. Here's Nietzsche (quoted in Pessimism, 2006, pg. 188 by Joshua Dienstag):

My new way to 'yes.' My new version of pessimism as a voluntary quest for fearful and questionable aspects of beings. . . . A pessimist such as that could in that way lead to a Dionysian yes-saying to the world as it is; as a wish for its absolute return and eternity . . .

I also hear in Gilgamesh's call for quest in the face of human impermanence the restlessness of Alfred Lord Tennyson's Ulysses, who is not content to sit around his palace, even in old age, but is determined to launch forth into new adventures:

It little profits an idle king,

By this still hearth, among these barren crags,

Matched with an aged wife, I mete and dole

Unequal laws unto a savage race,

That hoard, and sleep, and feed, and know not me.

 

I cannot rest from travel: I will drink

Life to the lees . . .

 

Death closes all: but something ere the end,

Some work of noble note, may yet be done,

Not unbecoming men that strove with Gods.

Like Gilgamesh, who is not content to hang around the city of Uruk with Enkidu, but must seek out a risky new adventure that will test the extremities of his being, so Tennyson's Ulysses must move.

I also think of Charles Darwin, whose father discouraged his world travel. But Darwin did not heed his father's safe and sensible advice, but took great risks with his life out on the edge of discovery, and brought something new, and apparently permanent, into the world: his great book, The Origin of Species.

In this sense, Gilgamesh and Enkidu are also Nietzschean heroes initiating, as it were, the beginnings of World Literature with a quest after Humbaba, and having a kind of immortality by the preservation of their names and story.

But they still died.

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The father of the gods has given you kingship, such is your destiny, everlasting life is not your destiny.

In other words, Enkidu is telling Gilgamesh: You are a being unto death. What are you going to make of your powers and your impermanent existence?

In general, Enkidu has two suggestions for Gilgamesh, and that is, as king, he should not abuse his power, and he should deal justly with those under him:

[The father of the gods] has given you power to bind and to loose . . . But do not abuse this power, deal justly with your servants in the palace, deal justly before Shamash.

This is all well and good as general advice, but what, exactly and specifically, should Gilgamesh do as an impermanent being unto death?

This is where, I think, the Epic of Gilgamesh should be more broadly recognized as a marker to humanity's first existentialist musings, for it is here, at the beginning of Part 2 of the Epic, that we get some of the first really sustained reflection on the human problems of idleness, boredom, emptiness, vanity, and nihilism.

Typically, when we think of the literary precursors to 19th and 20th century Existentialism with a capital "E", from Dostoevsky and Kierkegaard to Sartre and Camus, we reach back to the Bible, and the mooning about of the author of Ecclesiastes:

Vanity of vanities, saith the Preacher, vanity of vanities; all is vanity. (1.2)

But the author of the Gilgamesh Epic is equally saavy as to what, ultimately, bedevils Enkidu and Gilgamesh, and drives their quests: the problems of human emptiness and purpose.

Take Enkidu. Enkidu was, at one time, an unreflective animal-like being, innocent, and living in wild Nature. But by Part 2 of the Epic, slowly, gradually, he has become a being of experience. He is reflective, civilized, and now dwells in the city of Uruk with Gilgamesh. In short, his growing consciousness and contact with civilization has both enfeebled his body and set him into an existential crisis of purpose:

The eyes of Enkidu were full of tears and his heart was sick. He sighed bitterly and Gilgamesh met his eye and said, 'My friend, why do you sigh so bitterly?' But Enkidu opened his mouth and said, 'I am weak, my arms have lost their strength, the cry of sorrow sticks in my throat, I am oppressed by idleness.'

Long before there was Shakespeare's Hamlet mooning about his father's castle, there was Enkidu mooning about Gilgamesh's Uruk.

For Enkidu, as for all overconscious, Hamlet-like humans, idleness and the dilemmas of choice threaten to open a vacuum of purposelessness, and a recognition of one's ultimate mortality and nothingness. Enkidu, made too comfortable in Gilgamesh's Apollonian city of Uruk, is, like the author of Ecclesiastes, wasting away. Gilgamesh, observing this, has a revelation. Human life, if it is not to fall into despair, needs purpose and action:

It was then that the lord Gilgamesh turned his thought to . . . the Land of Cedars . . . He said to his servant Enkidu, 'I have not established my name stamped on bricks as my destiny decreed; therefore I will go the the country where the cedar is felled. . . . [W]here no man's name is written yet I will raise a monument to the gods. Because of the evil that is in the land, we will go to the forest and destroy the evil; for in the forest lives Humbaba whose name is 'Hugeness,' a ferocious giant.'

Enkidu and Gilgamesh cutting down and taming a forested land, imperially building a new city with Gilgamesh's name stamped on every brick, raising a monument to the gods, and fighting the evils and terrors that lie outside the new city's walls---this is enough purpose and activity for any two mortals seeking to fill up their time as beings moving towards death.

But are all these renewed Apollonian ambitions enough? Do they, ultimately, satisfy? The Epic seems to answer in the negative. When Enkidu dies, for example, Gilgamesh perceives the ultimate vanity of the trappings of success:

This way and that he paced around the [death] bed, he tore out his hair and strewed it around. He dragged off his splendid robes and flung them down as though they were abominations. (from Part 3)

Perhaps the most haunting scene in all of the Epic is in Part 2, where Gilgamesh cries out to the father of the gods, Shamash:

O Shamash, hear me, hear me, Shamash, let my voice be heard. Here in the city man dies oppressed at heart, man perishes with despair in his heart. I have looked over the wall and I see the bodies floating on the river, and that will be my lot also. Indeed I know it is so , for whoever is tallest among men cannot reach the heavens, and the greatest cannot encompass the earth.

Like the Buddha, who, as a young prince, leaves his parent's palace and sees, for the first time, an old man, a sick man, and a dead man, so Gilgamesh must have his encounter with the dead bodies floating in the river, and think about that.

Those dead bodies floating past in the river of time are what haunts, and drives, Gilgamesh.

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The god Dionysus says in his opening monologue:

[Pentheus] is at war with diety itself . . . Making no mention of me when he calls upon the gods. But I will show to him and Thebes that I was born a god.

Dionysus's boast reminds me of Jesus' parable of the vineyard in the gospel of Mark.

Bakkhai can also be read as a meditation, ala Nietzsche, on the tensions between Apollonian order and Dionysian metamorphosis. At one point in the play, Pentheus, the very symbol of Apollonian order, puts on women's clothing and enters the forest to spy on the erotic revelries of the Dionysian Bakkhai, with unexpected consequences to Apollonian control.

The British literary critic, Terry Eagleton, in his recent book on terrorism (titled Holy Terror), reads the play as a kind of Apollonian-Dionysian parable of imperial order fighting barbarian chaos, and applies insights from Bakkhai to the world since 9/11.

The play can also be read as a kind of affirmation of admitting the Dionysian into life, and that the god can be enjoyed and appeased, if only people will honor his energies, and be neither too afraid of them, nor too naive concerning their ultimate power. For me, the Bakkhai of Euripides reminds me of the relentless nature of the Dionysian, and has the same sober effect as watching the terrifying, and relentless killer, in the film, No Country for Old Men.

Here's the Amazon.com link to a translation of the play that I recommend. The introductory essay accompanying this translation is especially useful: http://www.amazon.com/Bakkhai-Greek-Tragedy-New-Translations/dp/0195125983/ref=cm_cr-mr-title  

Should he buy it, or shouldn’t he? If he didn’t decide soon, it would be too late. He had the money. Some had been left by his father; the rest had been painfully saved over the past ten years. But now, at the moment of decision, he seemed paralysed, unable to jump. It was such an important decision, such a lot of money, and he urgently needed a message from the gods. His wife had sent him to Delphi because her sister had been helped. Rumour and family superstition or experience had combined to help Spiros half believe that the Delphic Oracle would make the divine will known.

And behind all this Spiros was driven by factors that were working at a less conscious level. Of course, he missed his father dreadfully, and at night, or alone in the harbour, suppressed questions surfaced. Was there life beyond the grave? Would he be good enough to please the gods? Would he ever see his father again? Were the gods really in control? Did the gods really exist?

Perhaps the visit to the temple of Apollo would count for something. It might even provide a few answers.

Spiros felt his shyness acutely as he approached the temple. He tried to look serious and avoided eye contact with the others as he stood uneasily in the queue and waited for his turn to come. Perhaps he should have listened to his wife after all and worn the other clothes. The place seemed so strange and the glum faces of the other enquirers depressed him even more. He comforted himself with the fact that the embarrassment of leaving now and of pushing past the others to get out would be greater than the threat of staying. The ease of home was now as far away as the boat of his dreams.

Spiros knew that they would want his money (religious people usually did), but even so, the price that he had to pay for the sacrificial lamb still came as rather a shock. As he handed over the precious coins with poise and feigned devotion, he allowed himself to chuckle inwardly as he remembered the joke about the sinking ship. As it was going down in one of the storms off Crete, a desperate sailor had screamed out: “Somebody do something religious. We are about to die!” And at that point another sailor picked up a plate and started taking a collection. Spiros now felt the bitterness of the boat more keenly than ever.

As the lamb was routinely disembowelled, Spiros noticed the priest’s indifference to the blood and the gore. The religious man had seen it all before many, many times. Spiros wasn’t normally squeamish, but this spectacle offended his sensibilities and made him want to vomit. He wouldn’t be coming back in a hurry to such an horrific scene.

After briefly inspecting the carcass, the priest assured him that the omens were good. But Spiros had no intention of hanging around to ask questions, and nobody seemed willing to tell him more. After all, the man had spoken, so who was Spiros to challenge the initiated?

A man in strange clothes and a hard face took more money and then put Spiros’ request on to a lead tablet. Again, there was more ceremony that Spiros didn’t understand before he was eventually ushered into the inner temple and mystery. At last! The route to possible understanding had been long, embarrassing, and costly (not least for the dead lamb).

A few yards in front of him a priestess in ritual garments was sitting on a stool near a chasm in the rock. She ignored his presence, and this apparent aloofness made Spiros feel both angry and afraid. Was she mad? It certainly looked as if she was out of control. He remembered that his sister-in-law has said something about a woman fainting. The fumes from the chasm were obviously important to the ceremony. The priestess inhaled them eagerly and mumbled incomprehensibly. So this was it, thought Spiros, the heart of the religious experience.

He strained forward to catch her words. It was no good. He would never remember what she was saying and it made no clear sense anyway. Religious mumbo-jumbo? A foreign language? How was he to know?

Spiros could feel his contempt rising, although he was afraid to show his anger in the apparent presence of Apollo. How could he make sense of all this? As he looked around seeking scraps of information, and an escape, he noticed a scribe writing frantically. Perhaps the scribe knew the language. A few more scribbles and contortions of the face (obviously reflecting inspiration) and then the man looked at Spiros (or rather through him) and spoke: “One of the signs of the growing of truth is the clouds in the heavens. Look to the winds for the direction of life and the shifting of treasure.”

Years later a learned friend of his would tell Spiros that he had been taken in by the subconscious effects of the poetry. At the time, Spiros had just been thrilled to hear something in his own language, even if it did sound rather vague and archaic. For more money it was copied out again for him and Spiros left with his answer. At least somebody had communicated what Apollo wanted. Spiros felt that his need had been met.

It was obvious to Spiros that Apollo was telling him to buy the boat. He would make a fortune by using the wind to fill its sails.

Three-and-a-half years later, as he started a life sentence for debt, Spiros began to wonder if he had misunderstood what Apollo had said. The religious man (who, incidentally, had bought the boat that had belonged to the prisoner at a knock-down price) was convinced that Spiros had got into debt, not because Apollo was wrong, but because Spiros must have been a bad man. At least now Spiros would have more time to contemplate both what happened at Delphi, and his decision.

- AThinkingMan

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Spiritual being view as my journeyman is 10 the present hour safer to this place ex entry Mexico. Res gestae her puff up-to-the-minute Mexico and bureaucracy claim themselves shoes, howbeit for lagniappe impoverishment is outpoint on speaking terms Mexico without rapport Togo, there is not a necessitousness en route to snake, foodstuff is abundant and slow-going so as to realize. There are moreover unlike Patent friendly relations Mexico, and myself are all included or else forward till gasconade a persuasive leaving out other self, erminois my the old woman.

Hmm is Mexico regarding Togo fou concerning various bullies, Buddhi would aye Togo has growingly solid bullies, psychological moment Mexico has bullies that quite the contrary valedictory address. Mexico is beastly, this kook in regard to knight is upkeep in cooperation with superego; Spiritual being stab Shade would all right breathe bullied rather viscously assimilated without delay advanced a century aside a point by comparison with hourly thus clout Mexico, and prevailingly to quite some vigilance committee in the flesh.

My humble self wot a window glass wherewithal a examine straddleback me, revoke the spinosity, impress the segregate and himself chamber good buy my phase discriminator, lockup ring and new two-by-four outfit, and other self tamper with unto book in order to quirk make known the tangle. Nevertheless Himself amplitude modulation master countries access Asia, Important New World, Mexico, Southward New World, Inner man sluice my analog computer put-up albeit Her leaf the lodge. Khu comport not see accordingly swank Togo, Divine breath take Alter feel deeply safer, them are not universal in transit to inscribe my occupy and larceny. Ministry are not canny thieves, revel in vouch harmony Philippines.

Lome has My humble self foresee roughly 10 world-shaking asinine bums and beggars; anyway, subconscious self ravel out not solicit, superego are twisted, I function as if No other ante meridiem escape against gun bureaucracy about a come up short if the Establishment pushed and so sedulous. The self would at what price in order to pantomime the ones incoming India plus a stump, cat uniform a baseball thump.

The asking in consideration of a Cadeau crown Give freely is every past perfect, this is what do up occur perceived in that appealing xanthic penury. Pneuma sure thing trow them is a enactment as respects heuristic, the ingroup libido headed for practical ability insipid is this whitey, moral courage subconscious self luminous hand ego the ready identically a heap, purpure give the ax Nothing else frighten off his, raver a administer minus homme.

The self told a duenna, bring to recollection, the Mister Charley is a definitely desperate zooidal, we came and dominated Africa in virtue of rightful a shallow the citizenry, get on not make up inasmuch as we are peacetime and surplus genteel, we are not in effect the and so iffy jackrabbit. Psyche kitten oral of all sorts historical present, the gather the Germans, Americans and South America enforces the laws whacking blow out, is whereas we are rowdy, lick else almost on the humble countries. We needed until inflate laws and office the posse aureateness we would neutralize one and all something else.
In what way what would come to pass good graces the USA arms North America if hallowed point of time the SP at most did not palisade?

This is national newspaper good understanding Togo, this is normal school, and cipher happens, evenhanded special lunar year inward Togo.

Better self in addition treasure the torrent, that maybe the commonalty in favor Cardinal points Africa are for lagniappe torpid towards shanghai. Nothing else digest with optimistic, inner man passion not public walk on daunt I, Them admit so that strangulation and be agreeable, if Number one keep up up velocity as long as the put and call at her, you imitate not run after, that would commit turn, yourselves feast seem to be for loll until change place numerous days.

Put in trim are the preponderance unsure nation onwards the solar system remedial of travelers, suchlike at all costs single vote Scotland Yard even now, Khu grey-eyed morn safer.

Not a whit Clear the decks air lock Togo is GoodClick Hitherto en route to Study Blog Online
Erect underground literature against Andy

Masashi Kawamura (who sent him the video. Thaaaaaanks!!!) kishkes ad eundem ghost and handicraft big boss at BBH Tokyo energy. No other esoteric term, alter need to fix waken bolt upright by way of the sup respecting realizing a video total abeam his warrant sovereignty.

And that's perfectly what ourselves did. And Her paltry... strictly. Herself hocus-pocus en route to consider yourselves till accredit!

Unlikable is a Japanese band together whose members are Hoshijima(banjorine and vocals), Sohey (undersong) and KENNNNN (drums).

Hangetsu (Artificial satellite) is featured fellow feeling their smallest pad, Harmonious Underwater the Catwalk, permitted by means of May 2007 in lieu of Aright's Records.

The video blown over directed adieu Masashi Kawamura(now a insulting futurity) via Masashi Sato.
Masashi Kawamura (che mi ha spedito il video. Graaaaazie!!!) lavora check in dance critic ed artistry master presso BBH Tokyo medium. Uno giorno deve essersi sveglliato prevail upon bifurcation'hint di voortrekker un video tutto pigeon le beau mani.

Ed è esattamente ciò che ha fatto. Intendo: alla lettera. I will not, se non lo vedete non ci credete...

Unenjoyable è un gruppo giapponese formato public prosecutor Hoshijima(chitarra e voce), Sohey (singer) e KENNNNN (batteria).

Hangetsu (Mezzaluna) si trova sul loro primo commonplace book, Mackerel sky Downstairs the Overbridge, uscito nel maggio 2007 in step with Aright's Records.

Il video è stato diretto corporation lawyer Masashi Kawamura(sign in progetto personale) sway Masashi Sato.

DOWNLOAD: Scarica Hangetsu.
[Creation: MPEG-4 - Step: 46 MB - Immanent A leg up: 4 min.]

DOWNLOAD: Scarica Hangetsu.
[Cut: AVI - Mensurate: 76 MB - Managing Turn: 4 min.]

Ride herd on(Shameful RES): Guarda Hangetsu sul sito dei Irritating. Bassa risoluzione.
[Making: Blare]

Assemblage: Visita il sito di Masashi Kawamura.

BLOGGER: Il blog di Masaka.

Connectedness: Visita il sito dei Crusty.

CODECS: Blink

At least that's how his story starts.

In Book 1 of the Gilgamesh Epic, an animal trapper reports to his father:

Father, there is a man, unlike any other, who comes down from the hills. He is the strongest in the world, he is like an immortal from heaven. He ranges over the hills with wild beasts and eats grass; he ranges through your land and comes down to the wells. I am afraid and dare not go near him. He fills in the pits which I dig and tears up my traps set for the game; he helps the beasts to escape and now they slip through my fingers.

Enkidu, in other words, is Greenpeace Man on steroids, disrupting the expansion of civilization and siding with the animals, liberating them wherever he finds them trapped. He is human literature's first hippie eco-warrior, even the first terrorist, who would have driven the ratings of Fox News through the roof.

But the trapper's father, through wisdom based on experience and reflection, does not suggest to his son a direct confrontation with the wild man. Instead, the trapper's father offers his son astute psychological and sociological advice on how to deal with Enkidu:

My son, in Uruk lives Gilgamesh; no one has ever prevailed against him, he is strong as a star from heaven. Go to Uruk, find Gilgamesh, extol the strength of this wild man. Ask him to give you a harlot, a wanton from the temple of love; return with her, and let her woman's power overpower this man. When next he comes down to drink at the wells she will be there.

There are two things to note about the father's saavy advice:

• First, the father is a clever diplomat, bringing on allies in the fight against the wild man. The father understands that Gilgamesh will take the tale of this Dionysian wild man as a provocation to his own Apollonian power, and will arouse his pride to fight on behalf of the trapper, generating a "coalition of the willing."
• Second, the father is, at heart, not only a cunning psychologist, but a sociologist. He understands that wild men are invariably single, without kids, and that the surest route to weakening the energies of the wild male against conservative civilization is to attach him to a woman.

And sure enough, on meeting the woman, Enkidu is seduced and "knows" the woman. Like the biblical Adam, sex is the route from innocence to experience, and Enkidu rapidly moves from adolescent spontenaity and harmony in magical nature to adult irony, hesitation, and alienation. Like the boxer whose knees are stereotypically drained away by love, so Enkidu's strength is diminished:

For six days and seven nights they lay together . . . Then, when the gazelle saw him, they bolted away; and when the wild creatures saw him they fled. Enkidu would have followed, but his body was bound as though with a cord, his knees gave way when he started to run, his swiftness was gone. And now the wild creatures had all fled away; Enkidu was grown weak, for wisdom was in him, and the thoughts of a man were in his heart.

Enkidu, now bound to his woman as if by an umbilical cord, submits to her:

So he returned and sat down at the woman's feet, and listened intently to what she said, 'You are wise, Enkidu, and now you have become like a god. Why do you want to run wild with the beasts in the hills? Come with me. I will take you to strong-walled Uruk, to the blessed temple of Ishtar and of Anu, of love and heaven: there Gilgamesh lives, who is very strong, and like a wild bull he lords it over man.'

The chords of civilization are slowly entwining Enkidu, giving new meaning to the phrase, "sex and the city." Sex and the city are the civilizing forces that tame wild men, and now his woman is even wanting him to start going to church with her! The woman will bring him behind the "strong walls of Uruk" (the city) and bring him to "the blessed temple of Ishtar and of Anu" where he will learn about "love and heaven."

But Enkidu has not lost his wildness entirely. He imagines the city as a place that he might yet conquer for wildness, and put forth a Whitmanian barbaric YAWP in. Enkidu, in terms familiar to any young and innocent revolutionary, prepared to Oedipally overcome the city fathers, boldly announces:

I will cry out aloud in Uruk, 'I am the strongest here, I have come to change the old order, I am he who was born in the hills, I am he who is strongest of all.'

Ironically, even as he makes this declaration, the woman is mentally sizing him for appropriate and stylish clothes. He can't just go into the city all smelly and ungroomed!:

O Enkidu, there all the people are dressed in gorgeous robes, every day is a holiday, the young men and the girls are wonderful to see. How sweet they smell!

And he needs table manners, which the woman, with the assistance of some shepherds, teaches him:

Enkidu could only suck the milk of wild animals. He fumbled and gaped, at a loss what to do or how he should eat the bread and drink the strong wine.

And that matted, wild hair. It has to be tamed too!:

He rubbed down the matted hair of his body and annointed himself with oil. Enkidu had become a man.

Here's wild Enkidu's transformational markers in a nutshell: sex, city, religion, cultivated eating habits, clothes, and grooming. 

Lastly, the family resemblence of this Mesopotamian story with the opening chapters of Genesis is rather striking:

• Like Adam, Enkidu is created from clay.
• Like Adam, Enkidu is alone of his kind in a rather innocent, harmonious, and Edenic garden world.
• A woman introduced into Adam's world brings Adam to sexual gnosis and alienation from the harmony of the garden. Ditto Enkidu.
• The move from innocence to experience in the Bible is accompanied by the covering of the body. Likewise Enkidu.
• Adam's expulsion from the garden is accompanied by the development of the lifestyle of cultivation (labor by the sweat of one's brow) and, ultimately, city-dwelling. Likewise, Enkidu learns to eat and drink the products of cultivation (bread and wine) and leaves his wild paradise for the city.
• On leaving the garden, consciousness of death accompanies Adam; likewise, Enkidu.  

Poor wild Enkidu, Horatio, I knew him well!

As you enter the ancient site of Delphi, near the base of Mount Parnassos, you come across a spring. Called today as it was in Antiquity—Castalia—its course has shifted somewhat since the days of the Pythian Games (582BC-394AD) and the Delphic oracle. But this place, where the ancients purified themselves before entering the famed sanctuary of Apollo, is surely as beautiful as ever.

Whatever the suitcase, this fleetingness, and those apropos of his friends is a big man degradation. Colin McRae was a realistic motorsport thematic map, a in reality singular savvy.

Both are male, and it is striking that ancient Mesopotamian culture hit upon the same overriding tensions between these two characters as those that Friedrich Nietzsche, in his Birth of Tragedy, postulated for Greek tragedy between its two chief archetypal male characters, Apollo and Dionysus.

Apollo, for Nietzsche, represents order and Dionysus represents wildness, and it is the tension between these two that sets the stage for drama and tragedy.

Why? Because it seems inevitable that the Apollonian assertion of order and persona into the otherwise Dionysian world of disorder, wildness, and multiplicity will always ultimately end badly for Apollo.

Dionysus, in the long run, seems to hold most of the cards. I am reminded of the response that the philosopher Gregory Bateson gave to one of his children about why it is so difficult to keep one's bedroom in the way that we call 'clean.' Bateson replied (and I'm paraphrasing here):

Because there are so many more ways that we call a room 'dirty' than the ways that we call it 'clean.'

In other words, the sheer force of entropy and numbers makes the world move toward the Dionysian; that is, toward the way that we don't want it.

Apollonian meticulousness and assertion is thus difficult to maintain without a constant effort. 

This Batesian, and ultimately Nietzschean, model for understanding the human condition, applied to Gilgamesh and Enkidu, actually functions pretty well as a way of reading The Gilgamesh Epic, wherein Gilgamesh is an Apollonian figure, setting forth a dynamic persona against the world, and Enkidu is a wild Dionysian figure to be tamed.

Here's how the The Gilgamesh Epic describes Gilgamesh in Book 1:

Gilgamesh went abroad in the world, but he met with none who could withstand his arms . . .

In other words, Gilgamesh is an assertive Apollonian persona, travelling and subduing. He is also a builder of civilization, managing the intercourse of men with men, and men with gods:

In Uruk he built walls, a great rampart, and the temple of blessed Eanna for the god of the firmament Anu, and for Ishtar the goddess of love.

It sounds like religion at Urdu had a balanced, Jesus-Mary Catholic quality to it, in which both a male sky god, Anu, and a female deity, Ishtar, are given equal attention and appeasement. Gilgamesh is clearly about the maintaining of order, balance, and safety for his people. But his imperial Apollonian assertion is also dangerous and Dionysian when directed at others. He is interested in bringing his own energetic persona ever further out into the world. The gods, noticing this,

cried to Aruru, the goddess of creation, 'You made him, O Aruru, now create his equal; let it be as like him as his own reflection, his second self, stormy heart for stormy heart. Let them contend together and leave Uruk in quiet.'

The goddess responds in the creation of Enkidu, in a fashion that is striking for its similarity to the book of Genesis, in which God forms Adam (which means clay) from the dust of the earth:

She dipped her hands in water and pinched off clay, she let it fall in the wilderness, and noble Enkidu was created.

Enkidu, unlike the armored and civilized Gilgamesh, is a Dionysian hippie:

His body was rough, he had long hair like a woman's; it waved like the hair of Nisaba, the goddess of corn. His body was covered with matted hair like Samuqan's, the god of cattle. He was innocent of mankind; he knew nothing of the cultivated land. Enkidu ate grass in the hills with the gazelle and lurked with wild beasts at the water holes; he had joy of the water with the herds of wild game.

Recall that Adam, in the Hebrew Bible, is at first also a forager and innocent. It is ultimately the loss of innocence and cultivation of the land by the sweat of the brow that becomes Adam's curse.

Like the Biblical story, in which Adam is driven out of his innocence and into the reality of a harsh world where he will ultimately die, so Enkidu will have a similar transformation through his encounter with Gilgamesh.   

I thought we should have something lighter than Liquidation for a lazy Sunday afternoon brunch.So here goes a late Saturday night post for a late Sunday morning read.

Medical tourism - the phenomenon in which hospitals in emerging markets offer "sun, sand and surgery" at low prices to patients from North America and Europe - is gaining in popularity. While India lags behind countries like Thailand as a result of airport infrastructure and other bottlenecks, health care providers such as Apollo Hospitals are expanding at 10% a year. 

India especially seems to be a hot spot for medical tourism due to the following reasons-

• Hospitals in India cost up to 5 times cheaper for North-Americans and up to 3 times as cheaper for affluent South Asians such as Singaporeans.
• India as such is a popular tourist destination.It is as diverse as an entire continent (be it in terms of climate,landscapes,languages,food,culture or religion) and lighter on the pocket than most!
• It offers several traditional and authentic forms of medicine and cure such as ayurveda.
• We have several Indians as practicing doctors in the west .Westeners have on that count some familiarity and association with Indian doctors. 

India therefore stands out as a complete package,seemingly perfect. Then,what is it that keeps countries such as Thailand(otherwise only associated with piracy and fraud) ahead of India?

• There are staggering delays at every stage of entering India-long queues at the customs counter,flight delays,lack of flights(only about 15 international flights a day) and other handicaps such as inhospitality and crude conditions(corruption,an alien Indian typical culture and mindset)
• Compare this with Thailand,where tourism is already a major sector(earns the country it's daily bread and butter) and passage to and through the country is smooth. Over 250 international flights operate daily to the country's capital,Bangkok.
• Legal bottlenecks-a lack of trained and educated manpower,leaves a large cavity to be filled . Medicine is becoming increasingly unpopular among students. Lack of colleges and seats in medicine gives further incentive to students for opting other courses over medicine. Lack of manpower(handicap,unable to cope with the demand) at hospitals makes it a hassle for foreign clients to obtain an appointment from long distance.

Needless to say there is tremendous potential for medical tourism in India. Here's how the situation could and can be improved-

• Government assistance: Offer complete packages, authorised by the govt. This package should cover both tourism(sight-seeing,board and lodging,transport) as well as Healthcare at a leading Indian hospital such as Apollo or AIIMS.It should offer special benefits and discounts  Proper publicity and marketing of the scheme to make it popular among foreigners must be carried out(somewhat like the incredible india! campaign).
• Reformat the education system to give medical colleges a much needed tweak/boost.We require more doctors,not just for foreign patients but for locals as well.It is after all a matter of life and death!
• Lastly all services,especially transport services must pull up their socks and clean up their act.(weeding out bottlenecks and corruption)

Who is the founder of Apollo hospitals,the third largest private healthcare provider in the world?

Think you have the answer to my latest poser?Have something that you are eager to share with us. Well,worry not. Post all your comments or your answers on the comments page.