Enheduanna: The A , B & C of Romans 1

And changed the glory of the uncorruptible God [A] into an

image made like to corruptible man, and to birds, and fourfooted beasts, and creeping things.
They traded the truth about God for a lie. 

[B] So they worshiped and served the things God created instead of the Creator himself, who is worthy of eternal praise!

For this cause God gave them up unto vile affections: [C] for even their women did change the natural use into that which is against nature: And likewise also the men, leaving the natural use of the woman, burned in their lust one toward another; men with men working that which is unseemly.... 

Romans 1:23.25-27 [vs. 25 NIV]

"Enheduanna: High Priestess [B] of the Moon....was the daughter of the first king to build an empire, Sargon. 

He appointed his brilliant daughter, Enheduanna, to the position of high priestess at the temple of the moon god, Nanna, in the ancient city of Ur. There she presided for forty years over the prestigious temple in Ur. Holding the most important religious office in the land, she spread her theological ideas throughout the country, writing hymns to each of forty-two major temples.

The name En-hedu-anna, probably either a title or adopted, was apparently compiled from "En" (Chief Priest or Priestess), "hedu" (Ornament) and "Ana" (of Heaven). She was considered to be the Ornament of Heaven. Enheduanna was the first royal daughter known to have been given the title "En" in a line that would extend for five hundred years.

The Disc of Enheduanna

Originally recorded as "limestone". The piece measures 25.6 cm/diameter and is 7.1 cm/thick. The inscription on the back is a

column of eleven letters, and identifies Enheduanna as the wife of Nanna and as the daughter of King Sargon. Although the function of the disc is not noted, it probably served as an architectural and votive element in the temple.
The round shape of the disc is representative of the full moon, an attribute of the Moon god, [A] Innana, whom Enheduanna, as High Priestess, honors. 

The moon is considered the most constant signifier of female deities as well as a moist star, which brings rain and nourishment. (Cornfield) In the pastoral tradition, Innanna provides rains for good harvests or withholds her favor to produce droughts and destruction.

The Hymn to Inanna (also known as The Great-Hearted Mistress) is a passionate devotional work by the poet and high priestess

Enheduanna, the first author in the world known by name. The poem is significant as one of the oldest works of literature extant and for its content elevating the goddess Inanna above all others.
Inanna was the Sumerian goddess of fertility, love, sensuality, procreation, and war, later identified with Ishtar. 

[C] Her clergy were male, female, and transgender with the men and women frequently cross-dressing to embody Inanna's transformative powers.

Her relationship to the goddess Inanna was key to Enheduanna’s

own political role in the wake of the failed revolt. “By evoking myths about a forceful, victorious Inanna, Enheduanna declares that Inanna, who used to be a minor goddess, has managed to surpass the other deities,” Zgoll says. “All of them are now submitted to her authority.”

To emphasize Inanna's significance, Enheduanna reduces other gods who are usually considered her superiors – Anu and Enlil – to secondary roles who "cannot proceed against her command" and the first part of the poem (lines 1-72) focuses on her destructive power as a goddess of war. Lines 73-114 describe the goddess as more powerful than all others and lines 115-218 exalt her transformative powers which tear down, build up, expose falsehood, illuminate truth, and administer justice. The final lines (219-274) identify Enheduanna as the author and appeal to the goddess directly in praise.
---Each hymn ends with an identical two-line colophon, except for

the final hymn 42. There, instead of ending with a colophon, 

---Enheduanna signs her name, saying she herself gave birth to this composition, something never before created.

Enheduanna's hymns were quite popular, as evidenced by the number of copies made and preserved. With Nanshe, the hymn describes her paradoxical character. She is carefree playing in the waves, but also a great storm / strong dark water. The Sumerians had great respect for the whims of nature on whom they so depended.

“The Temple Hymns” are a series of hymns, composed by Enheduana that list each of the temples of Sumer, city by city. Paul Kriwaczete believes this “list” is evidence of Sargon’s intention to unite his empire through religion.

Lament to the Spirit of War

by Enheduanna
loose translation/interpretation by Michael R. Burch
You hack down everything you see, War God!

Rising on fearsome wings

you rush to destroy our land:

raging like thunderstorms,

howling like hurricanes,

screaming like tempests,

thundering, raging, ranting, drumming,

whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream on your lyre of despair.

Like a fiery Salamander you poison the land:

growling over the earth like thunder,

vegetation collapsing before you,

blood gushing down mountainsides.

Spirit of hatred, greed and vengeance!

Dominatrix of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion

with furious commands,

you impose our fates.

You triumph over all human rites and prayers.

Who can explain your tirade,

why you carry on so?"

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