When looking at Etana through the Dundes method, we stand divide the story into a common function praxis in which can be related to other myths in Mesopotamian culture (Dundes 4). In Dundes method, he explains how a story is coerce by a lack, which is in turn liquidated, only to be received by an interdiction, violation, and finally a consequence. The story of Etana begins with a method that is seen in a nonher Mesopotamian story, The Epic of Creation: the forming of a city or place, designed by gods, with a sputter for federal agency (Dalley 233). Both stories institute the background of ancient Mesopotamia sequence reflecting its constant boundary changes and index number struggles with the kings and gods. Other examples of orifice power struggles are in the Mesopotamians stories Anzu (205), and The Descent of Ishtar to the Underworld (154). This standard opening establishes the foundation of common conflict in Mesopotamian stories.
Analyzing the elements of the story that drive Etana forward places the lack in the friendship between the snake in the grass and the eagle. Both want to live in the same place, kind of neither nonpareil wants to resign their position in that firmament and live somewhere else.
In addition, at firstly, they do not want to live together, because that would mean they would have to share their power of the land. This situation exposes the cultural Sumerian traditions in ancient southerly Mesopotamia. Sumerians took great pride in their city-states; therefore, many times city-states would net war against each other over boundary issues (Yoffee 283). This first lack serves as a catalyst for the story, which address the one of the most important aspects for ancient Mesopotamians: power. Similar to other Akkadian texts, Etanas initial lack is represented in the fatal relationships, and in this case between a serpent and an eagle.
In a narrative sense, lack is liquidated when the serpent and eagle form an adherence or pact...If you want to get a full essay, parade it on our website: Orderessay
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