This remarkable composition is extraordinarily vivid and has an almost narrative style. It is addressed to the goddess Inana (the Mistress [of heaven]; Ninegala; the planet Venus, Ninsiana) on behalf of Iddin-Dagan, king of the city of Isin. It appears to relate to the cult of the goddess at Isin.
The hymn is composed in the form sir-namursaga (lit. ‘a song of warrior quality’) and consists of 10 kirugus of varying lengths (respectively 16, 14, 9, 14, 9, 18, 22, 15, 33, and 68 lines). The first kirugu is followed by a one-line gisgigal, the eighth by a four-line gisgigal and a one-line sagbatuku, and the tenth by a two-line gisgigal. As the climax approaches, the sections become longer.
The first section praises the goddess as the planet Venus, prominent in the skies. Kirugus 2—6 describe a procession of the votaries of Inana occurring monthly at the new moon. To the accompaniment of drums and algar instruments, male prostitutes, wise women, drummers (some bearing weapons), priestesses, and kurgara priests with their swords spilling blood (probably their own) process as the goddess, in her form as evening star, looks on with pleasure. The procession theme continues in the background in kirugus 6 to 10. In the seventh, people and animals honour the goddess. In the eighth, she judges good and evil, as her votaries bring their suits before her. In the ninth, people sacrifice to Inana/Ninegala everywhere, making offerings of sacrificed animals, dairy products, fruits, cakes, and beers. They also sing to her.
The last and longest section describes a sacred marriage ritual. When the people have assembled, a dais is erected for the goddess. As described here, the king stays with her at the New Year on the day of this ritual. A bed is prepared for her, and she bathes and perfumes herself. She and the king lie down together and make love. The king makes offerings to Inana in her temple Egal-mah in the city of Isin. She embraces him and sits besides him on the throne dais. A banquet with music follows. The king is referred to as Ama-usumgal-ana, a name of Dumuzid, Inana’s divine beloved. The people celebrate and sing songs praising Inana.
It is difficult to know what to make of this vivid description. It seems impossible to tell whether it describes a ritual performance in which the king’s wife or a priestess was thought to be transfigured into the goddess during the ritual. Or is it a transcendental description of a ritual which in reality involved only the king, temporarily elevated to the role of Inana’s husband?
World History
