Do Not Go Gentle Into That Good Night Analysis

Rosemary Browne

May 10, 2018

CMP 2800

Final Paper The Final Chapter

“Do not go gentle into that good night” –Dylan Thomas Mortality has scared man since the dawn of time. It’s an invisible foe that is always lurking, haunting the masses endlessly and unyieldingly. Settled quietly in the dark corner of your mind it sings its song, loud enough to rattle you when focused on, low enough you can tune it out most of the time. Writers, poets, philosophers, and scientist have spent lifetimes trying to explain death and the afterlife, hoping to relieve some of the mystery surrounding one of the greatest unknowns. The Epic of Gilgamesh, Lanval and, Hamlet are works of literature that give us a take on death as an existential crisis for their protagonist,

Gilgamesh is known to be stronger than any other man until the god Aruru creates Enkidu, a man made from clay. They become close and journey together as Gilgamesh seeks to make a name for himself.

“…People’s days are numbered, whatever they attempt is a puff of air. Here you are, even you, afraid of death, what has become of your bravery’s might? I will go before you, you can call out to me, “go on, be not afraid!” if I fall on the way, I’ll establish my name: “Gilgamesh, who joined battle with fierce Humbaba” they’ll say… I must set my hand to cutting a cedar tree, I must establish eternal fame” (The Epic of Gilgamesh, 111).

Here, Gilgamesh is trying to alleviate Enkidu's fear prior to their battle with Humbaba, the monster who guards the Cedar Forest. Gilgamesh boasts that regardless of how the battle goes, his fame will be guaranteed. This passage demonstrates Gilgamesh's view at the time. He is blinded by his hubris and to him, a legacy and fame are the most important aspects of life. Ultimately though, Gilgamesh’s pride leads to Enkidu’s death, as retribution for his egocentric ways. Enkidu’s death is prominent because it prompts Gilgamesh to face the fact that death doesn’t discriminate and comes for everyone. The grief he feels over Enkidu’s death exceeds the conceit he previously has shown and in turn, he becomes obsessed with overcoming his

“By my faith,” he said, “that is my love. Now I don’t care if I am killed, if only she forgives me. For I am restored, now that I see her.” (Lanval, 309). Lanval fetishizes death as the only option to bring him the peace he so greatly needs, as he sees the world as intolerable after losing his love. Ultimately Lanval and his mysterious lady disappear together to the magical realm of Avalon, never to be seen again. Thus ending his worldly commitments, relinquishing the life and person he was before in a metaphoric