Sexualization of Women in Three

Sexualization of Women in Three Epics:

Implications for Modern Gender and Sex Stereotypes

Regardless of its subject, great literature often reveals clues about the society and time period in which it is written. Details such as social constructions, religious rites, and family structures allow readers with no exposure to the cultures depicted understand the values and characteristics of that culture. Although one can learn this information by examining a number of details in classic literature, a study of the women in such literature not only allows readers to understand the culture's values regarding women, but also the social values of the culture of the whole. This is especially true in the epic sagas of ancient civilizations. An examination of women in these stories allows readers to understand how women in the culture were treated. This often leads to a better understanding of the family, social, and religious structure of the culture, not to mention its values. Indeed, assessing the role of women in such works of literature allows readers to understand how cultures are similar and different to one another. Three epic poems -- the Iliad, the Epic of Gilgamesh, and Ramayana -- each tell the story of different cultural areas. The Iliad describes the Battle of Chryse in the Trojan War, as well as the nature of the clashes between the Achaeans and the Trojans. The Epic of Gilgamesh tells the story of Mesopotamian culture and the rule of the Mesopotamian king, Gilgamesh, as well as the friend sent to him to keep him in check, Enkidu. Finally, Ramayana is an ancient Hindu and Sanskrit text that royal saga of Rama and his wife Sita. Although men are the main characters in each of these epics, women still feature prominently. In fact, the Iliad describes events that occur almost wholly because of two great men's desire for two beautiful women. In Gilgamesh's epic, women are a major source of political stress, as Gilgamesh's sleeping with his subject's wives is a stunning example of the wild and unrestrained king. Further, Gilgamesh contains some powerful female characters -- Lady Wildcow Ninsun, Gilgamesh's wise mother, and Shamhat, the prostitute who manages to civilize Enkidu. Finally, Ramayana contains a strong female character -- Sita the faithful and self-controlled wife of Ramayana, whose decision to follow Ramayana when he was banished offers a model of dharma for Hindus ("Ramayana: Summary"). Further, the evil Kaikeyi and her sexual temptation is the reason for Rama's exile in this poem. Despite their differences, all three of these epics refer to women as sexual beings, and the sexualization of women in all three stories explains the roots for today's gender and sexual discrimination.

In all three of the epics, sexuality is alluded to in at least a discussion of procreation and the production of heirs. Although the Iliad discusses sexuality in the relationship between Aeneas and Dido and Ramayana discusses the birth of children, the Epic of Gilgamesh is clearly the most sexual of the epics. That is, in Gilgamesh's epic, women are often referred to in a sexual manner and their sexual nature is celebrated. Sexuality is their primary and defining characteristic. This can be seen most prominently in the relationship between temple prostitute Shamhat and Enkidu. Created from clay thrown into the wilderness, Enkidu is the creation of Aruru, "who created mankind" (the Epic Tablet I), a strong man who is meant to serve as Gilgamesh's rival, someone who is equal to the mighty king in strength. But when Enkidu is first created, he is wild as an animal, so wile that:

A notorious trapper came face-to-face with him opposite the watering hole.

A first, a second, and a third day?

he came face-to-face with him opposite the watering hole.

On seeing him the trapper's face went stark with fear (the Epic Tablet I).

In order to civilize this newly created man, the trapper and Gilgamesh send a temple prostitute to expose herself to him and sleep with him. Indeed, both the trapper and Gilgamesh instruct Shamhat, the prostitute, to lie on a blanket with her robe undone so the uncivilized Enkidu will feel invited. The trapper even goes so far as to instruct Shamhat that she must, "spread out [her] robe so he can lie upon [her] / and perform for this primitive the task of womankind" (the Epic Tablet I). The theory behind this is that once Enkidu sleeps with Shamhat, he will no longer be like the animals because he will have the chance to release his lust. This works, and after six days and seven nights of intercourse, "the gazelles saw Enkidu and darted off / the wild animals distanced themselves from his body" (the Epic Tablet I). No longer like the animals, Enkidu's "understanding had broadened," and he allows Shamhat to take him into Uruk so that he can challenge Gilgamesh, whose strength has been described to him (the Epic Tablet I).

In order to understand the importance of the connection between women and sexuality in this poem, one must also understand the concepts of temple prostitutes in ancient Babylonian culture. In the ancient Babylonian mythology, the goddess Ishtar had temples filled with prostitutes who were her servants. The prostitutes would serve the men who came to the temple with sexual favors. In this sacred sexuality, it was believed that the women embodied the Goddess Ishtar and the men embodied the scared masculine, often referred to as the bull ("The History"). This may be the reason that Gilgamesh is consistently referred to as a bull or cow. Thus, women's sexuality is a reoccurring theme in the Epic of Gilgamesh. Although the best example is this encounter between Enkidu and Shamhat, this is certainly not the end to the depiction of women's sexuality in the poem. Gilgamesh, "the goring wild bull" is accused of showing his power through raping the wives of his soldiers and citizens. Ishtar's sexual advances on Gilgamesh ultimately result in Enkidu's death, as it is because of Gilgamesh's rejection of Ishtar that the sacred bull of heaven is sent down and killed. The bull's death results in Enkidu's, as the gods believe he must be punished for the killing.

Thus, while they are not the prominent characters in this epic, women are certainly major players. Above all of their characteristics, their sexuality is described as their greatest positive and negative attribute. In context, it can be seen that women serving as prostitutes and being described as overly sexualized was not negative in Babylonian culture, but was actually positive. Still, with the eyes of modernity, it is easy to argue that the women in Babylonian society and the Epic of Gilgamesh were being taken advantage of by the male characters. Obviously, the men in this epic were lusty for the women. Gilgamesh's advances and copulation with his subjects' wives and the power that Shamhat has to transform Enkidu certainly suggest this. Thus, it can be argued that the positive view of women's sexual openness was orchestrated by men in order to have their pleasures met. Through the over-sexualization of women in the Epic of Gilgamesh, it is easy to see the roots of modern stereotypes against women.

While it does not have the overt sexuality of the Epic of Gilgamesh, the Iliad can be rated as the second most sexual of the three epic poems. In the Iliad, however, women's sexuality is seen as more of a hindrance to the affairs of men. Because two great men are interested in them, the desire for two women set into motion a series of events that end up causing many deaths. While the women's sexuality is not described as overtly as it is in the Epic of Gilgamesh, it is still the muted underlying force behind the conflict between Agamemnon and Achilles, as well as the muted force responsible for many deaths, as Achilles sits out of battle, deprived of his lover and insulted because of it. The events that inspire Agamemnon and Achilles' feud -- the capturing of Chryseis and Briseis -- best exemplify this. Agamemnon, ruler of the Achaeans in battle, and Achilles, one of the Achaeans' greatest rulers, capture Chryseis and Briseis from one of their major defeats. Treated like salves and currency, the two women are clearly seen as the spoils of war. Their treasure is their beauty and their sexuality. When Chryseis' father begs Agamemnon to give her back, Agamemnon spits, let me not find you tarrying about our ships, nor yet coming hereafter. Your sceptre of the god and your wreath shall profit you nothing. I will not free her. She shall grow old in my house at Argos far from her own home, busying herself with her loom and visiting my couch; so go, and do not provoke me or it shall be the worse for you (Homer Book I).

This suggests that the two great men value the women for two reasons only -- their ability to work and their sexuality. This sentiment is made even more blatant when Thereon bears the news that Chryseis is at the heart of the deaths of Achaean soldiers, a plague sent by Apollo. Agamemnon claims that he loves Chryseis more than his own wife, but agrees to give her up as long as he gets another prize. When he demands Briseis from Achilles, it is clear that one sexual being can simply be traded for another in Agamemnon's eyes. Indeed, when Achilles refuses to fight because of Agamemnon's demand, it is not because Achilles deeply loves Briseis, but because he is insulted with Agamemnon's demand. The only redeeming treatment of women in the epic is the Chryses' love for his daughter, determination in getting her back again, and excitement when his request is fulfilled.

When compared to the Epic of Gilgamesh, the Iliad often seems muted in references to women's sexuality, but it can be argued that the contents of this epic poem show women in a far worse place in society than women in Gilgamesh's epic. While Gilgamesh's epic presents women as over-sexualized, perhaps simply because of men's lusty desire, they are also revered and seen as powerful because of the ability to seduce men and to conquer through their sexual advances. In the Iliad, women have the ability to cause major actions in a war, but not as a result of their own volition. Instead, they are simply traded like one might trade sports cards. The only example contrary to this is the example of the gods in the Iliad. Like the female Ishtar in Gilgamesh's epic, both Thetis and Athena become involved in the events of the Iliad, working on behalf of the Achaeans. Still, like Gilgamesh's epic, this must be understood in context. Much of Greek mythology involves the female and male gods working together and against each other, but female Greek gods are still often seen as the adversaries of their male counterparts, and even use their sexuality to trick them. Aphrodite was the goddess, not only of love, but also of fertility, procreation, sexuality, and seduction. In fact, "Aphrodite's seductions and temptations were a constant source of pleasure and danger for both gods and mortals," as the goddess often used her wiles as a bargaining chip ("Greek Mythology" para. 2). Thus, the roots of modern stereotypes against women can also be gleaned from the sexual nature of the Iliad.