Why do you think huxley adds the comment about the death of the alpha-plus administrator in mwanza-mwanza? how do you think he intended the reader to respond to this information?

gilgamesh is a hero by birth as the epic explains it. in the epic the birth is explained in the way which tells us that gilgamesh’s creation was made perfect by the contribution of various god and that signifies the goal in his life, which was to become a hero and save mankind. an example from the text says. "the glorious sun shamash bestowed upon him glory; adad the terrible god of storms bestowed upon him courage. the great gods perfected his magnificence beyond all others, terrible like the great wild bull. two thirds god they made him; one third man they made him." a man born with superhuman qualities and partly god is destined to be a hero.

the heroic deeds carried by him later in his life also prove the heroic character of gilgamesh. for example hi battle with the ultimate beast humbaba is a proof of his bravery and characteristic heroism. gilgamesh was warned about the beast as the text says about humbaba “whose roar is a flood, whose mouth is fire, whose breath is death". but with the superhuman strength gilgamesh did the job

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran

the answer is true, hope this .