In the ancient Mesopotamian world, the realm of civilization was considered very illustrious. At the same time, this state of the art of great antiquity was also an attribute of divinity. The elements of civilization were intimately associated with the highly esteemed divine mediation. Despite the prominent theological culture in the Epic of Gilgamesh, divine intervention is not the only element that could transform rough heroic figures into sagacious men. Strength and power are certainly not the only assets that could advance a person in life, although they clearly distinguish heroes from ordinary men. Rather, it is more significantly about the process of internalization. No civilization emerges directly and independently: it is precisely through the concerns and actions of a man that we begin to assimilate them as he encounters and overcomes them. In this epic poem, through the actions and broader experiences of life, a very human concern for mortality, the search for knowledge and also an escape from the common fate of men: death, emerged. For Gilgamesh, the most predominant heroic figure, the desires of divinity and mortal man's destiny in this regard became the gateway to the internalization of humanity through the following intertwined aspects: the meaning of love and compassion, the meaning of loss and of aging and the meaning of mortality. Gilgamesh's first journey into humanity can be traced to a point that suggests him as someone who is far less master of his destiny than he assumes he is. He doesn't have much control over his destiny despite being the king of Uruk and seemingly able to satisfy his desires at the expense of his own subjects. Being two-thirds divine and one-third human... half paper... like the rest of mortals. The life that the gods keep in their hands is not human life, because human life actually depends on the passage of time and any possibility of death (Sandars 102). Gaining nothing but a journey filled with knowledge and spiritual insights, Gilgamesh learns to internalize the meaning of life with a sense of control as he returns to Uruk. Because it is only two-thirds divine and one-third human; he agrees with human constraints, accepts his fate, and is now ready to be King Gilgamesh, the respectable king of Uruk until the end of his mortality. Works Cited Sandars, NK The Epic of Gilgamesh: an English Version, with an Introduction. Harmondsworth: Penguin, 1972. Print."Archetypes." Attleboro School District. Network. October 16. 2011..