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Tuesday, 26 September 2006 14:39 |
 | | Marc Mullinax |
"You will never find that life for which you are looking. When the gods created man, they allotted to him death, but life they retained in their own keeping."
ÇƒÓ "The Epic of Gilgamesh"
ï
MARS HILL ÇƒÏ This week, I preview a ballet/dance, and review the worldës absolute oldest piece of literature.
The Asheville Ballet begins its 2006-07 Season with an almost-world premiere of "Gilgamesh" at the Diana Wortham Theatre at 7:30 p.m. Friday and Saturday.
I
attended the world premiere a couple of weeks ago at UNC Asheville, and
based on the strength of that performance, encourage you to see it this
weekend. The performance of the prostitute Shamhat alone is worth the
price, but perhaps not one youëd want to see with the kids!
The story of
Gilgamesh was circulating orally 3700 years ago, in ancient Sumeria
(now modern-day Iraq). Sumeria began lots of Western and Middle-Eastern
traditions we take for granted today.
Sumeria
developed or expressed civilizationës first: schools, cases of juvenile
delinquency, bicameral congress, historian, cases of tax reduction
(libertarians, you listening?), moral ideals, animal fables, literary
debates, love song, library catalogue, and laborës first victory.
The story of
Gilgamesh inspired Homer and articulated the character of Hercules.
Christians should find it curious that from this story the Jewish
people purloined most of the Noah/Flood story, and certain key details
from the two creation stories in Genesis, one of which even takes place
in the same geographical space as Gilgameshës story. (The ancient Jews
were once Babyloniaës captives, and retrofitted their stories of origin
with Jewish theology.)
Gilgameshës
story survives so well, and is so accessible, because it is our own. He
was created by the divine realm, and imbued with a mixture of divinity
(two-thirds) and humanity (one-third). He is like us: essentially
spiritual, but not fully so. His life is predictably like ours: trying
to figure out exactly how we should relate to our divinity-connection.
Itës a question that drives us all, doesnët it?
This question of
how we are internally knitted together as a divine/human being becomes
for "Gil" becomes his life-quest. Early on, through the death of his
soul-mate/best friend Enkidu, Gil realizes that he, too, will lose his
mortal life. This can only be described as a birth process ... painful,
not assured of success, and necessary. His realization was not an
entirely peaceful process. Neither is ours.
Until he came to
peace about his divine/human mixture, Gil was an "animal" (and so are
we, right?). He would torment his fellows, and sexually assault the
women who came into his sight ... a real bastard. Before he knew who he
was, he knew no wrong, and could do no right.
Gilës story is
ours: the quest for immortality, love, sex, betrayal, friendship and
becoming wise about our deaths. These are the perennial subjects of
great literature, and Gilës story has weathered the millennia. How do
we get through this life that will require our deaths? He learns, as we
must, to bind to himself a friend in love, and live with wisdom.
Do consider the
ballet cum drama at the Diane Wortham a "hot ticket" this weekend.
Youëll see a performance of often stunning movement and color (Thanks
to Ann Dunn). Youëll witness also a modernized script (kudos to David
Brendan Hopes) that should appeal to the 18-and-older crowd. The music
by Matthew Richmond is as primal as the themes Gilgamesh parades.
Finally, youëll see yourself on stage, trying to figure out what your
life is all about.
Enjoy the show. For reservations, call the box office at 257-4530.
Stephen
Mitchellës relatively new translation of Gilgamesh is highly
recommended additional reading. It could be your next book discussion
at your church, synagogue or reading club.
ï
Dr. Marc S.
Mullinax, chairman of the philosophy and religion departments at Mars
Hill College, can be reached at mmullinax-at-mhc.edu.
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