Decades ago, archeologists discovered the work of Enheduanna, an ancient priestess who seemed to alter the story of literature. Why hasn’t her claim been affirmed?
Around forty-three hundred years ago, in a region that we now call Iraq, a sculptor chiselled into a white limestone disk the image of a woman presiding over a temple ritual. She wears a long ceremonial robe and a headdress. There are two male attendants behind her, and one in front, pouring a libation on an altar. On the back of the disk, an inscription identifies her as Enheduanna, a high priestess and the daughter of King Sargon.
Some scholars believe that the priestess was also the world’s first recorded author. A clay tablet preserves the words of a long narrative poem: “I took up my place in the sanctuary dwelling, / I was high priestess, I, Enheduanna.” In Sumer, the ancient civilization of southern Mesopotamia where writing originated, texts were anonymous. If Enheduanna wrote those words, then she marks the beginning of authorship, the beginning of rhetoric, even the beginning of autobiography. To put her precedence in perspective, she lived fifteen hundred years before Homer, seventeen hundred years before Sappho, and two thousand years before Aristotle, who is traditionally credited as the father of the rhetorical tradition.
The poem, written in the wedge-shaped impressions of cuneiform, describes a period of crisis in the priestess’s life. Enheduanna’s father, Sargon, united Mesopotamia’s city-states to create what is sometimes called history’s first empire. His domain stretched from the Persian Gulf to the Mediterranean Sea, encompassing modern-day Kuwait, Iraq, Jordan, and Syria, including more than sixty-five cities, each with its own religious traditions, administrative system, and local identity. Although Sargon ruled from Akkad, in the north, he appointed his daughter high priestess at the temple of the moon god in the southern city of Ur. The position, though outwardly religious, was in practice political, helping to unify disparate parts of the empire. After Sargon’s death, the kingdom was torn by rebellion; the throne went briefly to Enheduanna’s brothers, and then to her nephew. In the poem, a usurper named Lugalanne—a military general who possibly led an uprising in Ur—drives Enheduanna from her place at the temple.
