The cycle closes with a colophon stating that Enheduanna, daughter of Sargon of Akkad and high priestess of Nanna at Ur, compiled the hymns, a claim of individual authorship that, if accepted at face value, makes her among the very earliest named authors in the whole of world literature, predating Homer by well over a thousand years, a distinction usually cited alongside her separate authorship of hymns to the goddess Inanna.
Scholars generally take the attribution seriously rather than dismissing it as later invention, since Enheduanna is independently attested as a real historical figure through her own seal and other inscriptions naming her office, but caution remains warranted because the colophon survives only in later copies made by scribal students long after any original composition, and the practice of attributing a compiled hymn cycle to a named religious authority could itself have been a later convention applied retrospectively to lend the collection prestige rather than a straightforward record of who actually wrote it. What is not in serious dispute is the cycle's religious function: whoever assembled it, the Temple Hymns gave Mesopotamian scribal and priestly culture a single authoritative reference mapping which deity belonged to which temple across an enormous and politically fragmented religious landscape, a genuinely unifying religious document in a region that otherwise had no single centralized priesthood or canon.