Journeys to the Underworld: A Comparative Analysis of Gilgamesh and Aeneas

Mythology, a traditional story explaining natural or social phenomena involving supernatural beings, changes over time and across different cultures to suit storytellers. This paper examines the portrayal of the Underworld in The Epic of Gilgamesh and Virgil’s Aeneid, reflecting the cultural backgrounds of the authors and offering insights into our ancestors' beliefs and origins. The Epic of Gilgamesh recounts the ancient Mesopotamian legend of Gilgamesh, the semi-divine ruler of Uruk, who, along with his companion Enkidu, slays the Bull of Heaven sent by goddess Ishtar as an act of revenge, showcasing themes related to power and friendship.

Gilgamesh becomes obsessed with the meaning of life and death after Enkidu's demise at the hands of the gods for slaying a bull. He embarks on a quest to find Utnapishtim, who is believed to possess knowledge about eternal life. Along the way, Gilgamesh meets Siduri, Urshanabi, and eventually Utnapishtim himself. Tablet X explores Gilgamesh's search for immortality, drawing parallels to Virgil’s The Aeneid, Book VI, where Aeneas seeks guidance from his deceased father in the Underworld after the Trojan War.

Get quality help now

Writer Lyla

Verified writer

Proficient in: Free Essays

5 (876)

“ Have been using her for a while and please believe when I tell you, she never fail. Thanks Writer Lyla you are indeed awesome ”

+84 relevant experts are online

Hire writer

In both Virgil’s The Aeneid and The Epic of Gilgamesh, heroes embark on journeys to the Underworld seeking vengeance and enlightenment. Despite similarities, there are notable differences between these ancient myths. The Aeneid, composed around 29-19 BC, reflects Roman culture, while The Epic of Gilgamesh dates back to 2000 BC and is rooted in Mesopotamian traditions. In The Aeneid, Romans believed in a rewarding afterlife for virtuous individuals, whereas Mesopotamian culture depicted in The Epic of Gilgamesh seemed indifferent towards death and the afterlife.

When comparing quotes from both myths, underlying archetypes guiding their writers become evident. In both stories, challenges lie in remembering steps and finding a way to reach fresh air above the underworld.

In contrast, the apparently more experienced Sibyl tells Aeneid that it will not be easy, but makes this task sound much more feasible. She has exact instructions for him and quite simply, leaves the verdict of his eligibility to fate. Through this comparison we can begin to notice some of the culture of the respective times which permeates these myths. Gilgamesh’s tale is older and the author was writing from a decidedly more undeveloped mythological perspective; for the people of The Epic of Gilgamesh’s time, death was undefined and impalpable. However, for the people living in the time in which Virgil was writing, death, although intimidating, was something that one who did not commit sins, did not need to fear. Looking a bit more in depth, we can see that these myths give us a glimpse into the minds of the people who lived in the time in which they were written. In The Aeneid, Aeneas goes to the Underworld to seek counsel from the deceased whereas in contrast, Gilgamesh goes as part of a quest to ultimately avoid the underworld in immortality. We can see a complete lack of fear of death written through the words of Virgil when Aeneid addresses his deceased father in line 698, “…Father, give me your hand! Give it, don’t pull away as I hug and embrace you!Waves of tears washed over his cheeks as he spoke in frustration: Three attempts made to encircle his father’s neck with his outstretched arms yielded three utter failures. Through this quote, it becomes apparent to us that Aeneid feels no fear for the dead; he feels simply frustration at the fact that he can’t embrace his father. In blunt contrast, in The Epic of Gilgamesh when the Underworld and death is described, it is described as the following: “Nobody sees Death, nobody sees the face of Death, nobody hears the voice of Death, Savage Death just cuts mankind down” (pg 435). This description from the older of the two works lacks the sense of knowing and fate that is seen as a reoccurring theme in The Aeneid. It is an undefined mystery that still has not been conquered. In this ancient text, we are reintroduced to the idea of Gilgamesh fearing the after-life, verses Aeneas facing it and accepting a fate which has been predetermined. In the end, the Underworld experiences of Aeneas and Gilgamesh each bring forth experiences which are similar, yet are each one is molded in its own way to produce something that reflects their corresponding cultures.

Both plotlines recount the tale of a demigod hero with a tragic past invoked by gods, journeying to the Underworld for catharsis. Despite being separated by a thousand years and different regions, the remarkable similarities in these myths highlight the enduring power of storytelling across generations. Myths have transcended time and cultural shifts to provide us with a treasure trove of narratives that still captivate us today. While no longer part of contemporary religious beliefs, these myths offer a window into the past, preserving the history of human development and evolving interpretations of life's meaning from our early ancestors. Through classic mythology, we gain insight into ancient perceptions of life and death.