in the struggle against the bull. Enkidu is punished with death, while Gilgamesh is smitten with disease. Since both shared equally in the guilt, the punishment should have been the same for both. The differentiation may be taken as an indication that Gilgamesh’s disease has nothing to do with the bull episode, but is merely part of the nature myth.
Gilgamesh now begins a series of wanderings in search of the restoration of his vigor, and this motif is evidently a continuation of the nature myth to symbolize the sun’s wanderings during the dark winter in the hope of renewed vigor with the coming of the spring. Professor Haupt’s view is that the disease from which Gilgamesh is supposed to be suffering is of a venereal character, affecting the organs of reproduction. This would confirm the position here taken that the myth symbolizes the loss of the sun’s vigor. The sun’s rays are no longer strong enough to fertilize the earth. In accord with this, Gilgamesh’s search for healing leads him to the dark regions[1] in which the scorpion-men dwell. The terrors of the region symbolize the gloom of the winter season. At last Gilgamesh reaches a region of light again, described as a landscape situated at the sea. The maiden in control of this region bolts the gate against Gilgamesh’s approach, but the latter forces his entrance. It is the picture of the sun-god bursting through the darkness, to emerge as the youthful reinvigorated sun-god of the spring.
Now with the tendency to attach to popular tales and nature myths lessons illustrative of current beliefs and aspirations, Gilgamesh’s search for renewal of life is viewed as man’s longing for eternal life. The sun-god’s waning power after midsummer is past suggests man’s growing weakness after the meridian of life has been left behind. Winter is death, and man longs to escape it. Gilgamesh’s wanderings are used as illustration of this longing, and accordingly the search for life becomes also the quest for immortality. Can the precious boon of eternal life be achieved? Popular fancy created the figure of a favorite of the gods who had escaped a destructive deluge in which all mankind had perished.[2] Gilgamesh hears
