Without light, we wouldn't know dark. Without cold, we couldn't know hot. These "systematic dualisms of associated polarities" (Honderich 734), or binary oppositions, are used to illustrate meaning in the story of Gilgamesh.

The story of this epic hero, Gilgamesh and his friend Enkidu, is one of conflict between wild and civilized, immortality and mortality, love and hate. These are all binary oppositions, which give the characters and the reader the meaning of the story. The meaning for the reader "occurs through difference" (Literary Criticism: An Overview 2). These oppositions are related to each other by their conflicting nature. Both refer to the same thing, such as what it is to be human, but the meanings of the words are established through their inherent differences and their relationship to each other within that confine. We notice these oppositions not just by simply reading the story and becoming aware of them, but through the simple use of words and the consistent structure of the work. The poem is divided into lines, which are often connected by parallel meaning. These parallel meanings, akin to the use of major and minor keys on a piano piece, come together to form the

(Mason: 57, 14-16). The stanzas are structured so simply, that they flow with a seamlessness that is hard to misunderstand. This structure depends more on understanding the relationship of the words and the meaning they give when used together, rather than having to understand what the words simply mean. This simplicity, however, does not take away from the fact that Gilgamesh is a story with deep emotional impact. It merely allows for a smooth flow of words, and however contradictory, they form the parallels needed to find meaning and understand the whole story.

By the end of the poem, Gilgamesh has learned a great deal about acting not just like a man but about acting like himself. He has learned what being human is, what love and compassion are. He has looked mortality in the face and has come to grips with the allusiveness of immortality. He learns from Enkidu about friendship, wisdom, and sacrifice. He learns, to put it succinctly, his sense of self. It is through his interactions with Enkidu, and through understanding inherent differences of human nature, that he comes to realize himself. Similarly, we go through this journey with him, following his transformation unto himself. We recognize these differences and the relationships between them within ourselves, which leads us to draw our conclusions of the story. In understanding the parallels and dualisms of associated human polarities that are so eloquently, yet simply illustrated in Gilgamesh, we come to understand the story. Indeed, we also come to understand ourselves.

Another human component of the dualities seen in the poem is the struggle between love and hate. At first, it is difficult to identify with Gilgamesh, who is, as previously stated, a compassionless tyrant, who is a half-god yet, a model of physical perfection: "As a king, Gilgamesh was a tyrant to his people" (Mason: 15, 11). " ...They had grown tired of his contradictions / And his callous ways..." (Mason: 16, 7-8). Gilgamesh was a godlike man alone" (16, 28). He was aware that his people saw him as an unsavory ruler, yet it didn't affect him. Gilgamesh was in fact, hateful, compassionless and idle. While in this idleness, he has a dream of a falling star, and saw in the star his equal, someone who would come to lift him out of his idleness as "a graceful man / Who will lift you out of tiredness" (Mason: 20, 3-4). He foresees his own meeting with Enkidu. We also begin to notice some awareness of his behavior at the mention of another when he says "I am alone and I have longed / For some companionship. My people have / Also grown tired of my solitude" (Mason: 20, 9-11

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Approximate Word count = 1762
Approximate Pages = 7 (250 words per page double spaced)