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Gender Roles in the Epic of Gilgamesh
The Epic of Gilgamesh and the Myth of Nergal and Ereshkigal both use the concepts of gender roles in various ways. An example of this is that of the prostitute Shamat. Shamhat is the prostitute that seduces Enkidu but is important in terms of gender roles in the Epic of Gilgamesh. Shamhat represents women that are from a lower class that were often trying to do the best they could with what was around them. “The prostitute Shamhat is an intriguing woman. She and Siduri, the tavernkeeper, are working women that support themselves. Shamhat belongs to a class with low low repute in society. Siduri is associated with a place of low repute. And Ishtar, not incidentally, is associated with both, as she is in the following hymnic passage: ‘When I sit at the entrance of the tavern, I am a loving prostitute .” Women had different experiences than that of men, this changed their outlook on life and how they essentially viewed it.

Women had different experiences than that of men in regards as to how they were viewed in society. This affected them and changed their outlook on life and how they essentially viewed it. “Both prostitute and tavernkeeper belong to the extradomestic domain; both were important in the leisure activities of Mesopotamian men .” The gender roles are perceived differently by both genders varying on their professions in the Epic of Gilgamesh.

The women are trying to do their best in a male dominated society in regards to work and essentially surviving. The gender roles are reversed in the sense that they are being judged for their professions. “Gilgamesh in describing Ishtar’s affairs, is illustrating graphically the negative view toward the prostitute, as one with ‘countless husbands’. Ishtar- the prostitute par excellence in religious texts, the patroness of prostitutes- is repulsed by Gilgamesh because she has assumed an intolerable role for a female. The women are trying to do their best in a male dominated society in regards to work and essentially surviving. The gender roles are reversed in the sense that they are being judged for their professions. “Gilgamesh in describing Ishtar’s affairs, is illustrating graphically the negative view toward the prostitute, as one with ‘countless husbands’. Ishtar- the prostitute par excellence in religious texts, the patroness of prostitutes- is repulsed by Gilgamesh because she has assumed an intolerable role for a female[5]. This concept of both genders understanding how they are initially perceived in Sumerian society leads to the understanding of how both view each other.

Women and their particular gender were seen as positive figures when they choose to aid men whenever they require assistance in whatever particular situation they were in. “Women are regarded positively only when they assist Gilgamesh (and Enkidu) in those hero activities, when they nurture and advise in maternal fashion. The adventures of the hero’s preclude a primary role for women.” The stances of the men also displays that men essentially needed women not only as maternal partners but also and insurance for safety since they were their counterparts. “Ninsun the divine mother of Gilgamesh is all that a mother should be: caring, nurturing, and assisting her son in his quest, anxious though she is about it.

Ninsuns name or epithet, Rimat-Ninsun “Wild-Cow Ninsun,” incorporates the ubiquitous non-erotic metaphor used to describe tender, loving mother goddesses in Mesopotamia and elsewhere [5].” The mother of Gilgamesh is perceived to be helpful along her son’s journey in the epic myth only because she is able to aid him, this is not always the case in certain myths. Gilgamesh’s mother aides her son in order to help them, this is expected of her since she is his mother and Gilgamesh is that of a man who holds a high status in Mesopotamian society.

Myth of Nergal and Ereshkigal
There are other myths that display gender roles besides the Epic of Gilgamesh. Another myth that displays the ideas of gender roles in Mesopotamian myths is the myth of Nergal and Ereshkigal. There are two versions of this myth, both are similar yet are different in their unique ways. One version was found in El-Amarna in Egypt dating back to the fourteenth or fifteenth century while another one was found in Assyrian from Sultantepe. The myths two versions both share the same similar story but a section of the El-Amarna version has pieces missing from it. The  myth initially takes place in the Mesopotamian underworld. The two gods that are represented in the story are Nergal who is known as the “stubborn god of War and Pestilences” with his counterpart being Ereshkigal who is the “god of the Land of No Return” and both of the characters fall for eachother and display distinct gender roles within the myth.

The two gods display various qualities in regards to the concept of gender roles in various ways, especially among gods. Nergal is attracted to Ereshkigal and shows affection towards her and eventually beds her. Along with displaying emotions towards Ereshkigal, Nergal also displays qualities of aggressiveness and deceitfulness after he sneaks away from Ereshkigal after spending several days with her in the underworld. These characteristics that Nergal attempts to show Ereshkigal as representing male characters as getting into mischief and naturally seeking power because at the end of the myth, Nergal becomes ruler of the underworld with Ereshkigal by his side.

Ereshkigal is the ruler of the underworld and displays affection back to Nergal, “... the details of their sexual intimacy are few .” Ereshkigal herself is considers herself to be masculine character since she is the ruler of the underworld in Mesopotamia. Ereshkigal states that “a sexual woman represents surrender of power by the male,” and then begins to talk about how male aggressiveness is used to show status around other men in order to show dominance. In essence, Ereshkigal forfeits half of her power to Nergal since he rules beside her in the underworld.

“Ereshkigal as queen with sole power is intolerable and unacceptable. She must, because she is a woman, cede the throne to Nergal (Gender and aging).” Ereshkigal has no real say in Negal’s accession to the throne alongside her and at the same time she is not upset because Nergal has every right to rule alongside her because he is a man and has all of the characteristics of a man. Nergal is powerful, abrasive, willing to fight for what is his, and most importantly a man.

The concept of her having to share power focuses on the idea of gender role because she must give up her power because she is a woman and because a man, Nergal, is essentially equal if not more powerful than her since he is a man. Nergal essentially rules alongside his lover and this shows how much power he has as a man.

Women were essential in the myths, without them then their the hero would’ve been lost on their quest or journey since nobody would be their in order to nurture them and guide them on their path. Men were also essential in myths but they are often represented more than that of women. This can lead to controversy in terms of how gender roles are approached. The Epic of Gilgamesh and the Myth of Nergal and Ereshkigal both use the concepts of gender in unique ways in order to display how genders were viewed in Mesopotamian myths and epics.