Sex in The Epic of Gilgamesh and The Decameron Alex Koceja

CMPL 120

1487 words

The Epic of Gilgamesh and The Decameron were written in decidedly

disparate times, locations, and cultures. As such, most comparisons between the
two are largely inconsequential. It is when considering the role of such a universally
understood and necessary entity as sex that wide evaluations can be made. Though
both books treat sex as a normal, natural part of life, ancient Mesopotamias
lessened societal constructs of what is considered off-limits and need to serve the
gods gives a more open idea of sexuality, while Christianity and a more complex
concept of love leads The Decameron to keep sexual things, though ever-present, at
a distance through wordplay.
In The Epic of Gilgamesh, sexuality is seen as commonplace in the Sumerian
city of Uruk, if only for their ruler. Gilgamesh, the king of Uruk, is hailed as powerful
and tallbeloved by his soldiers protector of the peopletwo-thirds divinehuge,
handsome, radiant, perfect, (Gilgamesh, 71-72). Despite all of this high praise from
the narrator and the people of Uruk, he is subsequently described as an arrogant
tyrant, trampling [Uruks] citizens like a wild bull. It is widely known that the king
does whatever the king fancies, whether it be killing young men or using young
women, and no one raises a hand to stop him. The author dwells on Gilgameshs
sexual torment of the warriors daughter, the young mans bride three times as
long as he mentions the act of killing the men of Uruk. This seems to show a large
amount of weight placed on sexual fortitude in this city at the time.
It is the sex, actually, that seems to lead to the peoples outrage. The citizens
cry out to the god of the heavens, Anu, in a sort of repeated chorus (which is seen
countless times throughout the book). They recall the words of the narrator (and his
apparent concern for sexual fortitude) and pray for another hero to bring peace to
Uruk. Anu agrees, and sends Enkidu, who is a man of the forest and one with the

Sex in The Epic of Gilgamesh and The Decameron Alex Koceja

CMPL 120

1487 words

animals. This will not do for his purposes, so it is decided that Enkidu must be

domesticated. With sex. The people send Shamhat, a priestess for the goddess
Ishtar, to stir up [Enkidus] lust and seduce him, leaving his animal friends behind
(Gilgamesh, 78). Here, it seems, Uruks problem of Gilgameshs sexual advances is
solved with another sexual advance. Sex can be seen as the cruel act of a tyrannical
ruler, or as a domesticating force used by a holy woman, depending on the
circumstances.
It is apparent when reading The Epic of Gilgamesh that this Mesopotamian
culture didnt share the same vulgar and taboo feelings about sex that we have
today. Though the people of Uruk are upset over Gilgameshs bullying, they
recognize that sex is what continues the passage of life and keeps the city strong.
Sex is, in fact, divine! The priestess Shamhat who seduces Enkidu is only doing her
priestess duties, as it is said she is one of the priestesses who give their bodies to
any man, in honor of the goddess. She is serving Ishtar by opening herself and
domesticating Enkidu. Sex serves as a connection between the mortal world and the
world above, the life-force that Gilgamesh is so full of that he needs no sleep, or
so Shamhat tells Enkidu (Gilgamesh, 82)
This sexual connection to the love goddess, Ishtar is made even more
prominent later in the epic when the goddess herself solicits Gilgamesh to marry
her, give her his luscious fruits and be her sweet man(Gilgamesh, 130-131).
Gilgamesh refuses, recounting the numerous lovers Ishtar had stricken down in
various ways in the past. These stories seem to suggest that to tangle with Ishtar is
to be condemned to a horrid life in the underworld or as a frog. After she is rejected,
however, her true power becomes known as she convinces Anu to release the bull
of heaven, which kills hundreds of men almost instantly. As Gilgamesh refuses a

Sex in The Epic of Gilgamesh and The Decameron Alex Koceja

CMPL 120

1487 words

sexual connection with Ishtar, then, he is refusing the safety of himself and the

people of Uruk. The moral is thus learned: Unless you have a two-thirds immortal
king and his equally strong side-kick at the ready, do not shun the love goddess
Ishtar, but serve her by connecting to her spiritually and physically through sex.

More than 2000 years later, in Italy, Giovanni Boccaccio penned The
Decameron. One might suppose, considering humankinds great advancements in
that period of time, that the people of Florence would show a bit more restraint in
terms of sex than their Mesopotamian predecessors. One would be, for the most
part, incorrect. In his collection of stories, Boccaccio presents sex as an everpresent, unavoidable outcome of even the most whole-hearted love. His characters
perform admittedly licentious acts, but it is considered permissible, as they are
performing them in the name of love.
The rise of Christianity, though, along with a general increase in popular view
of sexual intimacy as unmentionable, led Boccaccio to playfully hide the actual act
of sex behind clever pseudonyms or puns. For instance, in the tenth story of the
third day, Alibech and Rustico are putting the devil back in Hell, as a way to
serve God (Decameron, 276). The fourth story of the fifth day involves Riccardo
and Caterina caging nightingales by the score, day and night, to [their] hearts
content, not to mention how Caterina had seized hold of the nightingale, much to
her parents surprise (Decameron, 397, 399). In this way, Boccaccio is free to tell of
these sexual adventures without the worry of debasing any of his readers.
In the stories of The Decameron, sex is the major driving factor in each plot;
it could be the goal, the means to a goal, or a major impediment. In most
narratives, the main character is overcome (or causes others to be overcome) by an

Sex in The Epic of Gilgamesh and The Decameron Alex Koceja

CMPL 120

1487 words

irresistible force of love for a certain member of the opposite sex. This is

accompanied by urges which drive the characters to act, often in violent or

obsessive ways, usually leading to one or multiple sexual encounters. Madonna
Filippa, the leading lady in the seventh story of the sixth day who is charged with
adultery, says it best: What am I to do with the surplus [of my love]? Throw it to
the dogs? (Decameron, 464). She is saved from being burned at the stake by
simply mentioning her lascivious acts were done in the name of love. Sex is viewed
as a primal urge, one which drives most if not all of our actions, and one that, if
followed for love, cannot be punishable by any means.
This is not to say that sex is always a completely forgivable act. The first
story of the eighth day tells of Gulfardo, a German soldier who falls in love with a
married woman. Again, all fault is cleared from Gulfardo, for he is in love. He asks
the woman to have an affair with him, and she considers the offer carefully. She
submits, but only after demanding a sum of money in exchange. Gulfardos
affections immediately turn to a feeling more akin to hatred, and he devises a
plan to enjoy the favors of his rapacious lady free of charge, (Decameron, 553,
554). Adultery is presented as not only acceptable, but the only way to squelch the
burning love felt by Gulfardo, but as soon as money is brought into the equation the
woman is seen as rapacious and covetous. Sex in return for payment, therefore, is a
sin deserving of the highest punishment.
It is also worth noting that both Gilgamesh and The Decameron contain
moments where holy women engage in sex, but with different outcomes. In
Gilgamesh, Shamhat gives her body to men on a regular basis to serve the love
goddess, and seduces Enkidu in order to domesticate him and prepare him for life in
Uruk. The stories in The Decameron which mention nuns and abbesses sleeping

Sex in The Epic of Gilgamesh and The Decameron Alex Koceja

CMPL 120

1487 words

with priests and gardeners always portray the sexuality as forbidden, as would be
expected of a convent. This only serves to force the nuns to satisfy their desires

behind closed doors, with varying amounts of success. Here the prohibited acts of
sex are still justified with love, however, and no nun is ever seriously reprimanded
for her actions.
The two books both tell stories which are often incited by sex, resolved by
sex, or brought about by sex, but treat them in distinct ways. Gilgamesh writes off
sexual incidents as service to the gods and a way to bring wild men to domestic life.
The Decameron views sex as the inevitable result of perfectly righteous love. In
both books, sometimes people are scolded for their abuse of the opposite sex or
their greed for too much of it, but ultimately the ends justify the means, and the
story can end once balance has been restored.