Answer:
First, we have to understand that the concept of "spiritual" is different from culture to culture and especially, time after time. Anyway, the "spiritual quest" in Gilgamesh can be sum up into three stages:
- The identity of the character - Who am I?
- The purpose of his life - What should I do?
- The meaning of life or happiness - What fulfill me?
Gilgamesh's quest involve answer these questions, and find a way to explain himself. That's why we can describe his journey as a spiritual quest. The journey he undertakes, if separated into the Stages of Soul, then we have:
- Call - Gilgamesh fells that must seek the plant of immortality
- Search - He and Enkidu undertake an adventure to find the plant
- Struggle - several monsters and obstacles, but also, Enkidu's murder by the envy gods. Gilgamesh must continue the quest without his friend.
- Breakthrough is painful, and Gilgamesh loses the plant.
- He returns home with the conviction of his mortality.
Maybe the better answer to the message of this tale is that life is precious, and you must live plenty. You see, Gilgamesh was a futile and lazy king, but also vicious and violent. He was wasting his life, so he finally realizes it's importance, but also learn that loneliness is painful. He never care about anyone but him. When Enkidu dies, he understands the value of a friend.
Explanation:
The Epic of Gilgamesh is a classic tale of return carrying a message that was obtained through terrible grief and struggle. But also, a personal point of view of the human soul.
Answer:
Ought is another way of saying should. Like you should do this or you ought to do that. If someone tells you you should do something or you ought to do something if probably can do it, but it is up to you if you are going to do it or not because they aren’t forcing you. They aren’t saying you have to. They are saying you should.
So that factors like race and gender wouldn't influence judges decisions
The Two Fridas (Las dos Fridas in Spanish) is an oil painting by Mexican artist Frida Kahlo. The painting was the first large-scale work done by Kahlo and is considered one of her most notable paintings.[1] It is a double self-portrait, depicting two versions of Kahlo seated together. One is wearing a white European-style Victorian dress while the other is wearing a traditional Tehuana dress.[1] The painting was created in 1939, the same year that Kahlo divorced Diego Rivera,[1] although they remarried a year later.
Some art historians have suggested that the two figures in the painting are a representation of Frida's dual heritage.[2] Her father, Guillermo Kahlo, was German; while her mother, Matilde Calderon, was Mestizo (a mix of Spanish and Native American).[3] Another interpretation is that the Tehuana Frida is the one who was adored by her husband Diego Rivera, while the European Frida is the one that was rejected by him.[4] In Frida's own recollection, the image is of a memory of a childhood imaginary friend.[5]
Both Fridas hold items in their lap; the Mexican Frida holds a small portrait of Diego Rivera, and the European Frida holds forceps. Blood spills onto the European Frida's white dress from a broken blood vessel that has been cut by the forceps. The blood vessel connects the two Fridas, winding its way from their hands through their hearts.[6] The work alludes to Kahlo's life of constant pain and surgical procedures and the Aztec tradition of human sacrifice.[6] Because this piece was completed by Kahlo shortly after her divorce, the European Frida is missing a piece of herself, her Diego.[4]
According to Kahlo's friend, Fernando Gamboa, the painting was inspired by two paintings that Kahlo saw earlier that year at the Louvre, Théodore Chassériau's The Two Sisters and the anonymous Gabrielle d'Estrées and One of Her Sisters.[7]
