The Mesopotamian epic, Gilgamesh, translated by David Ferry tells the story of loss that has been so important that it has endured to this day. This concept of loss was cultivated especially in the Mesopotamian period due to the almost regular wars and battles fought for power. In the end everyone grieved and rejoiced over the lives lost. The loss is primarily scripted as the death experienced by many throughout the story. It was described as a series of events that affected the characters with twists in the narrative. However, lessons are taught and learned in the relationships between different characters. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The Epic contains the first revelation of loss through the death of the wicked defeated by Gilgamesh. These mortality of evils did not cause any pain, rather they intensified the king's mane and changed what would happen next. “Then the two together grabbed the demon and pulled out all his entrails with their tongues… King Gilgamesh returned to the city after his victory over the demon Huwawa…” (Ferry 29). The data implies that, however, the loss of Huwawa affected Gilgamesh's future by securing fame and honor in the name of his family and himself. "...and they killed the Bull...Then Ishtar was angry...and uttered her curse 'Woe to Gilgamesh for the insult to Ishtar...and she killed the Bull of Heaven...'" (Ferry 34 ). From this it can be deduced that the death of the Bull was celebrated but was a loss for the goddess Ishtar, who had sent the Bull. However, played fairly, Leak managed to manipulate events that played an important role in intensifying the relationships between the characters. In this case the two characters are Gilgamesh and Ishtar. Sure, there were many other tiny details that support loss as an important factor in transforming the path this epic took, but mostly these examples accommodated the zoomed-in perspective. This path required sacrifices for its continuation. Yet not only mortals suffered the consequences and victories of facing death. But in reality, even immortals shed tears for the losses they have brought into their lives. “...which like the sea swallows up and overwhelms, my fish children'. The Annunaki sat and wept with her, the huddled gods wept, covering their mouths…” (Ferry 71). As clearly stated, the mortal's execution was mourned by all the gods who took no part in organizing the flood, which had caused those numerous deaths. Therefore, the loss has acquired a strong position even in the hearts of the strong immortal gods. “Nothing at all... and all the human beings were killing. I fell to my knees and cried…” (Ferry 71). The tears shed by the once mortal Utnapishtim confirmed that they were not shed because of a victory over a life that had been cut short. But instead of accentuating the loss of the intervention, it once again played its role. At the same time the theme also heavily repressed the impact of its effects on the main hero, which undoubtedly clarified and perfected the diegesis. The most obvious depiction of loss in this novel was, of course, when Gilgamesh lost his beloved companion, Enkidu. They grew up and cultivated mutual hatred until it transformed it into the inseparable love of two companions. “Gilgamesh, weeping, mourned Enkidu... 'Enkidu is dead. Do I have to die too? Must Gilgamesh be like this?'” (Ferry 44). The segmented emotion of Gilgamesh losing his trusted companion to death is depicted effectively with the theme. Apparently for.