Introduction
Enheduana's poem, The Exaltation of Inana (or Nin Me Šara in Sumerian), unfolds with a stark portrayal of Inana, detailing her destructive capacities and unyielding wrath against her opponents. Midway, the narrative pivots as Enheduana, the previously anonymous narrator, introduces herself, revealing her dilemma. Previously a faithful high priestess to the moon god Nanna, she's been ousted by the insurgent leader, Lugal-Ane. The temple sacred to Inana and An has also been desecrated in the process. In the ensuing celestial metaphorical legal battle, with the deities as adjudicators and Enheduana and Lugal-Ane as human contenders, Enheduana is stuck in limbo—exiled but alive, her case is apparently pending. Her own predicament, tangled in divine bureaucracy, compels her to beseech Inana, having found no aid in her prayers to Nanna. Enheduana must navigate a threefold conundrum: to sway Inana to judge in her favor, encourage her to assume a judicial role at all, and to kindle acknowledgment of Inana’s authority among gods and mortals. A crucial aspect of the poem is its self-reflective nature. Enheduana, experiencing a poetic impasse at a crucial juncture, laments: “My honey-mouth is full of froth, my soothing words are turned to dust” (ll. 72–73). The Exaltation pivots to explore its own poetic genesis and efficacy. It scrutinizes whether Enheduana will elevate Inana, retrieve her lost eloquence, and consequently rescue herself. The poem culminates with a nocturnal ritual where Enheduana invites Inana and composes the text being read, suggesting she successfully recaptures her poetic prowess. In the concluding epilogue, Inana accepts her prayer, and her power is endorsed by the gods and Nanna, indicating that the hymn served its purpose. The final epilogue subtly shifts to the third person, symbolizing Enheduana’s transformation from a participant ("I") to an observer or creator ("her").