Comparing Gilgamesh, Inferno, And No Exit

Death is a concept that has been considered and reconsidered countless times through literature, films, plays, even everyday conversations. This concept is fearsome to some, and accepted to others for valid reasons. The Epic of Gilgamesh, Inferno, and No Exit are three pieces of literature that have withstood the test of time, presenting intriguing ideas and perceptions about death that have supported and challenged my own perspectives and beliefs. The film, Departures, also brings forth non-Westernized propositions about the view of death through Japanese culture. This drama, along with the works of literature, revolve around characters that all start at a different point in their lives, with different viewpoints on death, but in one way or

He went through many phases regarding his vocation and what it meant for his death. At first, Daigo was aimlessly living his life after he lost his job and the dream that accompanied it. When he was called to perform ceremonies of encoffinment, he was not only terrified and disgusted, but also ashamed and embarrassed. His feelings toward the ceremonies were an obvious sign that he was uncomfortable with death. At the time, he might have even feared it; however, as he continued to pursue his newfound calling, he came to terms with the concept of death. He learned how death is not only inevitable, but it is also a part of life. Building the understanding of the ritual’s significance to the souls’ transition to the afterlife was the most influential step towards acceptance of

Gilgamesh’s vocation, involving the king’s throne and his limitless strength, was only the root of his downfall. His destiny to defeat Humbaba was the tipping point and the death of Enkidu was the push over the edge. Gilgamesh not only feared death, but also did everything in his power to avoid it. Based on The Epic of Gilgamesh, death should be feared. As the story unfolds, the audience can easily get more and more caught up on the pressure to die a “meaningful” death. This pressure can be too much for certain individuals, such as Gilgamesh. He is a prime example of why one should avoid seeking too much meaning in one’s life. There is a fine line between finding your purpose and being consumed by your purpose. Fortunately, Siduri redirected Gilgamesh’s path when she told him, “You will never find that life for which you are looking” (Sandars, 1972, p. 102). Although this seemed harsh, it was meant in a kind manner. Siduri knew that without her advice, Gilgamesh would never even begin to accept death. In the first volume of The Divine Comedy, death is presented in a completely different manner than those discussed thus far. Dante, having “wandered off from the straight path,” halfway through his life, experiences death throughout his pilgrimage through the nine circles of Hell (Musa, 1984, p. 67). Similar to the first half of the plot in The Epic of Gilgamesh, this story also puts the audience in a