This relationship between the two is suggested also by the Assyrian version. In the creation of Enkidu by Aruru, the people urge the goddess to create the "counterpart" (_zikru_) of Gilgamesh, someone who will be like him (_ma-si-il_) (Tablet I, 2, 31). Enkidu not only comes from the mountain, [67] but the mountain is specifically designated as his birth-place (I, 4, 2), precisely as in the Pennsylvania tablet, while in another passage he is also described, as in our tablet, as "born in the field." [68] Still more significant is the designation of Gilgamesh as the _talimu_, "younger brother," of Enkidu. [69] In accord with this, we find Gilgamesh in his lament over Enkidu describing him as a "younger brother" (_ku-ta-ni_); [70] and again in the last tablet of the Epic, Gilgamesh is referred to as the "brother" of Enkidu. [71] This close relationship reverts to the Sumerian version, for the Constantinople fragment (Langdon, above, p. 13) begins with the designation of Gish-bil-ga-mesh as "his brother." By "his" no doubt Enkidu is meant. Likewise in the Sumerian text published by Zimmern (above, p. 13) Gilgamesh appears as the brother of Enkidu (rev. 1, 17). Turning to the numerous representations of Gilgamesh and Enkidu on Seal Cylinders, [72] we find this resemblance of the two heroes to each other strikingly confirmed. Both are represented as bearded, with the strands arranged in the same fashion. The face in both cases is broad, with curls protruding at the side of the head, though at times these curls are lacking in the case of Enkidu. What is particularly striking is to find Gilgamesh generally _a little taller_ than Enkidu, thus bearing out the statement in the Pennsylvania tablet that Enkidu is "shorter in stature." There are, to be sure, also some distinguishing marks between the two. Thus Enkidu is generally represented with animal hoofs, but not always. [73] Enkidu is commonly portrayed with the horns of a bison, but again this sign is wanting in quite a number of instances. [74] The hoofs and the horns mark the period when Enkidu lived with animals and much like an animal. Most remarkable, however, of all are cylinders on which we find the two heroes almost exactly alike as, for example, Ward No. 199 where two figures, the one a duplicate of the other (except that one is just a shade taller), are in conflict with each other. Dr. Ward was puzzled by this representation and sets it down as a "fantastic" scene in which "each Gilgamesh is stabbing the other." In the light of the Pennsylvania tablet, this scene is clearly the conflict between the two heroes described in column 6, preliminary to their forming a friendship. Even in the realm of myth the human experience holds good that there is nothing like a good fight as a basis for a subsequent alliance. The fragment describes this conflict as a furious one in which Gilgamesh is worsted, and his wounded pride assuaged by the generous victor, who comforts his