A number of compositions describe a deity’s journey to the city of his or her divine father (see for instance Ninurta s return to Nibru, Group E, and Enki s journey to Nibru, Group J). In Nanna-Suen’s journey to Nibru the purpose of Nanna’s visit is to present his father Enlil with various offerings, and in return to obtain blessings for the fertility and prosperity of Urim. As cultic processions of various deities are repeatedly mentioned in administrative documents, we have every reason to believe that there are real cultic events behind the composition and performance of divine journey poems.
This straightforward narrative divides into three parts. The first and longest describes the preparations for the journey (I—I97). It starts with Nanna’s declared wish to visit the city of ‘his mother and father’, followed by a short hymnic passage on Nibru. A long passage then relates the building and outfitting of the processional boat from timber, reeds, and pitch fetched from various locations (see also Sulgi andNinlil’s barge, Group C). About 60 lines are missing at this point, and after the gap the text enumerates meticulously the numerous gifts Nanna takes with him on the boat, manifesting
Nanna’s association with agricultural and animal fertility. The description of animal fertility has numerous close parallels in the poem A balbale to Ninurta (Group E).
In the second part (198-257) Nanna sets off from Urim and makes a stop at each of five cities with his boat. The itinerary of Nanna’s journey no doubt reflects a real upstream route from Urim to Nibru. In each of the cities Nanna is received and greeted by a local goddess.
The third part of the composition relates the events in Nibru (258-352). After his arrival Nanna recites the inventory of his gifts and offers them to Enlil. Enlil rejoices and arranges a banquet for his son. At the end of the meal Nanna makes his request for the prosperity of Urim; Enlil grants his request and blesses his son.
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