The Mesopotamian epic Gilgamesh, translated by David Ferry, tells the story of loss that has been so significant until today. This concept of loss was particularly nourished in the Mesopotamian era due to the almost regular wars and battles for power. In the end, they all cried and applauded the lives lost. Loss is primarily scripted as the death experienced by many throughout history. It was described as a series of events that impacted the characters with twists and turns in the narrative. However, lessons are taught and learned in the relationships between the different characters. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay The Epic has the first revelation of the loss caused by the death of the evils that were defeated by Gilgamesh. These mortalities of evil caused no sorrow but instead intensified the king's mane and changed what would happen later. “Then the two of them together seized the demon and tore out all his entrails through his tongue… Gilgamesh the king returned to the city after the victory over the demon Huwawa…” (Ferry 29). The data implies that the loss of Huwawa affected Gilgamesh's future by securing fame and honor on behalf of his family and himself. “…and they killed the bull…Then Ishtar was angry…and uttered his curse: “Woe to Gilgamesh for having insulted Ishtar…and killed the bull from heaven…”” (Ferry 34). We can deduce that the death of the Bull was celebrated but that it constituted a loss for the goddess Ishtar, who had sent the Bull. Regardless, interpreted fairly, Loss managed to manipulate events that played a large role in thickening the relationships between the characters. In this case the two characters being Gilgamesh and Ishtar. Certainly, there were many other tiny details that support loss as a major factor in transforming the path this epic took, but it was primarily these examples that housed the enlarged perspective. This path required sacrifices to be able to continue. Yet mortals have not only suffered the consequences and victories of their confrontation with death. But in fact, even immortals shed tears over the toll their lives had taken. “…let the sea swallow up and submerge, my children of fish.” The Annunaki would sit and cry with her, the cowering gods would cry, covering their mouths…” (Ferry 71). As has been clearly stated, the execution of the mortal was mourned by all the gods who took no part in the organization of the flood, which had caused these numerous mortalities. Thus, Loss gained a strong position even in the hearts of powerful immortal gods. “Nothing at all…and all human beings had become killers. 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 ended. But instead, the loss due to the intervention increased again. Simultaneously, the theme strongly repressed the impact of its effect on the main hero as well, which undoubtedly clarified and refined 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 harbored hatred towards each other to become an inseparable love of two companions. “Gilgamesh, weeping, cried for Enkidu… 'Enkidu is dead. Should I die too? Does Gilgamesh have to be like this?' » (Ferry 44). Gilgamesh's segmented emotion..