Inanna Goddess

In the ancient world of Mesopotamia, we see that both religion and myth were used as devices with which people could explain the world around them and their unanswered questions. Because mythological stories and religion were so intertwined, many gods appeared not only as deities but fictional characters in their stories, and this essay will argue that was very much the case with the goddess Inanna. Also known later as Ishtar, Inanna could be considered a goddess of many aspects in the same sense that characters in modern storytelling are multifaceted in a reflection of human complexity. This essay will explore firstly her apparent aspect of power and violence that could make her appear to be a goddess of war and how that aspect intertwines
Kramer writes about Inanna’s role in the Gilgamesh epic, the final parts of the Sumerian story about the Bull of Heaven are absent, but in the Akkadian version the Bull of Heaven is defeated by Gilgamesh making it one of the few existing stories in which Inanna is disgraced and defeated . One could look at this humiliation as a simple interpretation from the author or authors of the epic, as Inanna was worshipped over thousands of years and was probable to experience a changing perspective with new generations of worshippers. The defeat may also be a mechanism to make Gilgamesh appear even mightier and heroic in that he can overcome the wrath of such a powerful goddess. However, he does still receive punishment in the form of the death of his best friend Enkidu, and as he dies he states “the great goddess cursed me and I must die in shame” thus proving that the act of defeating Inanna cannot come without consequence. Again, the life and death of lesser beings is being used as a tool with which Inanna can be further promoted into divine status. Additionally, her failure in this tale is fuelled by her emotions, making her a relatable character and therefore a more appealing object of worship as to be human is to fail and feel shame, anger and desire
She is also apparently associated with the harpe, which was initially a weapon and was adapted into a symbol of authority . Either symbolic meaning of the harpe is suitable in representing Inanna’s commanding, warlike feature. In one cylinder seal impression we see the goddess asserting her power over animals by standing raised above the other figure on top of a lion, a violent and powerful creature symbolically being conquered by the goddess as she is putting the weight of her body on the lion and thus rendering it tame . Furthermore, by standing atop of the lion she is standing higher, closer to the sky, which could certainly emphasise and symbolise her divinity and association with the otherworldly realm. She is contrasted with the lesser being of an animal by using it to elevate her closer to the sky and therefore dichotomise gods and animals. Julia Asher-Greve points out that generally Sumerian gods and goddesses are marked by a large crown, as well as size variations, the larger figure depicted being the figure with more power or divine status . She is both larger in this impression and wearing a crown on her head . In the same cylinder seal impression she is wearing full armour and carrying a weapon, further emphasising her image as a violent warrior . Inanna’s astrological aspect seems to come from the fact that