Editing Sin (mythology) (section)

==Mythology==
Despite his religious importance, Sin only uncommonly appears in myths, especially when compared with his children [[Ishtar]] and [[Shamash]].{{sfn|Gomes de Almeida|Fátima Rosa|2021|p=94}}

===''Nanna-Suen's Journey to Nibru''===
The composition ''Nanna-Suen’s journey to Nibru'' describes the moon god's journey to visit [[Enlil]] in his city, [[Nippur]].{{sfn|Wasserman|2008|p=82}} It is presumed that this composition reflected a festival well attested in literary texts during which a statue of the moon god was transported by boat from [[Ur]] to Nippur.{{sfn|Krebernik|1997|p=368}} After a hymnic prologue praising Nippur, the narrative relays how Sin dispatches his servants to provide him with wood from various areas, including [[Ebla]] and [[Tummal]], so that he can have a ship constructed to that end.{{sfn|Black|2006|pp=148-149}} Once it is finished, he prepares various gifts for Enlil, including cattle, sheep, birds, fish and other animals.{{sfn|Black|2006|pp=149-150}} He then embarks on his journey.{{sfn|Black|2006|p=150}} He makes five stops along the way, in each case being welcomed by a local goddess:{{sfn|Black|2006|p=148}} [[Ningirida]] in [[Enegi]], [[Aya (goddess)|Šerida]] in [[Larsa]], [[Inanna]] in [[Uruk]], [[Ninirigal|Nin-unug]] in [[Shuruppak]] and [[Ninlil]] in Tummal, but despite their urging he does not share the cargo meant to be received by Enlil with any of them.{{sfn|Black|2006|pp=150-152}} After reaching Nippur, he is welcomed by the divine doorkeeper [[Kalkal (god)|Kalkal]], and finally meets Enlil.{{sfn|Black|2006|pp=152-153}} He requests a blessing for his city, Ur, which he receives in the closing lines of the composition.{{sfn|Black|2006|pp=153-154}}

===The Labbu myth===
Sin plays a prominent role in the [[Labbu]] myth.{{sfn|Lambert|2013|p=362}} This composition is known only from a single poorly preserved copy from the [[library of Ashurbanipal]].{{sfn|Lambert|2013|p=361}} Due to the prominence of Sin and the presence of [[Tishpak]] it is possible that it originated in the kingdom of [[Eshnunna]].{{sfn|Lambert|2013|pp=361-362}} [[Wilfred G. Lambert]] estimated that it was originally composed at some point between 1800 BCE and 800 BCE.{{sfn|Lambert|2013|p=362}} Frans Wiggermann favors dating its composition to earlier than 1755 BCE.{{sfn|Wiggermann|1989|p=123}} It deals with the conflict between gods and the eponymous monster.{{sfn|Wiggermann|1989|pp=118-119}} At the sight of Labbu Sin obscures his face with a cloak,{{sfn|Lambert|2013|p=365}} which is presumed to reflect a [[lunar eclipse]].{{sfn|Lambert|2013|p=361}} Later he advises Tishpak, who has apparently been selected to battle the monster.{{sfn|Wiggermann|1989|p=119}} He is thus responsible for coordinating the slaying of Labbu.{{sfn|Lambert|2013|p=362}}

===''Inanna's Descent''===
In ''[[Inanna]]'s Descent'' [[Ninshubur]], the [[sukkal]] (attendant deity) of the eponymous goddess, is tasked with petitioning Nanna, as well as [[Enlil]] and [[Enki]],{{sfn|Katz|2003|p=97}} in order to prevent her mistress from dying in the underworld.{{sfn|Katz|2003|p=101}} Ninshubur later enters the Ekišnugal to plead with him as instructed, but Nanna refuses to help her.{{sfn|Black|2006|pp=71-72}} It is presumed that his presence in this myth reflects his well attested role as Inanna's father.{{sfn|Gadotti|2014|p=279}}

Dina Katz argues that a direct parallel to this passage can be found in the myth ''[[Gilgamesh]], [[Enkidu]] and the Netherworld'' and on this basis suggests an intertextual relation between these two compositions.{{sfn|Katz|2003|p=388}} She assumes ''Inanna's Descent'' was older and influenced ''Gilgamesh, Enkidu and the Netherworld'', with the opposite possibility being less likely.{{sfn|Katz|2003|p=434}} However, Alhena Gadotti disagrees with Katz's proposal and argues that evidence for a connection between the two texts is lacking, and the passages are not directly parallel as ''Gilgamesh, Enkidu and the Netherworld'' notably does not feature Nanna.{{sfn|Gadotti|2014|p=279}} However, she does point out a similar sequence is present in the composition preserved on tablet XII of the ''[[Epic of Gilgamesh]]''.{{sfn|Gadotti|2014|p=84}}

===''Epic of Gilgamesh''===
In the "Standard Babylonian" edition of the ''[[Epic of Gilgamesh]]'' some of the grave goods meant to deceased Enkidu are said to be dedicated to Sin,{{sfn|George|2003|p=488}} in this passage referred to as Namraṣit.{{sfn|George|2003|p=489}} According to [[Andrew R. George]] this might reflect the belief that he accompanied the dead when not visible in the sky.{{sfn|George|2003|pp=489-490}} A poorly preserved passage in the subsequent section of the epic, which deals with Gilgamesh wandering in the wilderness and mourning Enkidu,{{sfn|George|2003|p=491}} might describe the hero killing two lions and dedicating them to Sin in a temple dedicated to him, perhaps after being reassured by the moon god in a dream.{{sfn|George|2003|p=492}}

Sin is also mentioned on Tablet XII of the standard edition of the epic,{{sfn|Gadotti|2014|p=84}} an Akkadian adaptation of ''Gilgamesh, Enkidu and the Netherworld'', which forms a separate narrative.{{sfn|George|2003|pp=47-48}} When Enkidu is imprisoned in the underworld, Gilgamesh begs Sin, Enlil and Ea to help him recover his companion, but the first two of these gods refuse.{{sfn|George|2003|p=529}}

An unusual variant of the ''Epic of Gilgamesh'' replaces the names of the eponymous protagonist and Enkidu with logograms usually used to represent Sin and Ea, <sup>d</sup>30 and <sup>d</sup>40.{{sfn|George|2007|p=60}} Additionally, [[Ur]] is referenced in place of [[Uruk]].{{sfn|George|2007|p=61}} The reasons behind this are uncertain, as it is difficult to find similarities between the characters of Sin and Ea and the heroes of the ''Epic of Gilgamesh''.{{sfn|George|2007|p=62}} The only known tablet was copied at some point between the end of the [[Old Babylonian period]] and the beginning of the [[Middle Babylonian period]], possibly in the kingdom of [[First Sealand dynasty|Sealand]].{{sfn|George|2007|p=63}}  The surviving passages correspond to the section of the epic dealing with the "civilizing of Enkidu".{{sfn|George|2007|pp=70-76}}

===Other compositions===
The ''[[Lament for Sumer and Ur]]'', which was inspired by the fall of the [[Third Dynasty of Ur]], describes the impact of a cataclysm which befalls Sin's cult center on him.{{sfn|Black|2006|p=128}} He asks [[Enlil]] to reverse the judgment of the divine assembly which resulted in it, but his request is initially denied.{{sfn|Black|2006|pp=136-137}} He therefore leaves the city alongside [[Ningal]].{{sfn|Black|2006|p=137}} He eventually approaches Enlil to request help again, this time receiving a guarantee Ur will be rebuilt.{{sfn|Black|2006|pp=139-140}} Eventually he and Ningal return to the city.{{sfn|Black|2006|p=140}}

In the ''[[Enūma Eliš]]'' the moon god, referred to with the name Nannar,{{sfn|Lambert|2013|p=99}} is appointed to his position by [[Marduk]] after the defeat of [[Tiamat]].{{sfn|Lambert|2013|p=186}} However, in a fragmentary ''uadi'' song, his status is described as bestowed upon him by [[Ninlil]].{{sfn|Peterson|2019|p=48}} In another tradition, preserved in a text from the reign of [[Gungunum]], his luminosity was bestowed upon him by the so-called "[[Enki-Ninki deities]]",{{sfn|Peterson|2020|pp=130-131}} a class of ancestral beings from various Mesopotamian theogonies.{{sfn|Lambert|2013|pp=412-417}} Another fragmentary composition, dated to the Old Babylonian period, describes the marriage of Sin and Ningal, with Enlil presiding over their wedding.{{sfn|Krebernik|1997|p=366}} The moon god also appears in a fragmentary text seemingly describing visits of the fire god [[Gibil]] in various major temples.{{sfn|Peterson|2014|pp=304-305}} Additionally, as noted by Nathan Wasserman, various literary fragments which portray Sin as a god who "enjoys river-side fishing" are known.{{sfn|Wasserman|2008|p=83}}