> her physical features and the way she carries herself are therefore most desirable, and the reference to her hips appears to be particularly erotic and suggestive of her sexuality and sexual intercourse. it is specifically her body which is sexually attractive and appealing, and which can therefore be intrinsically linked to her domain of sexual love. despite already being physically enticing, she enhances her features with various lotions, clothing and jewellery to make herself even more alluring before seeing dumuzi. these preparations are quite extensively recounted in dumuzi-inana t, > she finds the buttocks-beads, puts them on her buttocks, > inanna finds the head-beads, puts them on her head, > she finds the greenish lapis lazuli blocks, puts them on her nape, > she finds the jewel of gold (in the form of) nakedness, puts it on the hair of her head, > she finds the narrow gold earring, puts them on her ears, > she finds the bronze burnished (eardrops), puts them on her ear-lobes, > she finds the jewel which drips with honey, puts it on her eyes, > she finds the jewel the outer shrine, puts it on her nose, > she finds the, puts it on her mouth,  > she finds the beautiful dove(-like) ring, puts it on her navel, > she finds the flask of honey and sweet water, puts i (on) her hips > she finds the bright alabaster, puts it on her thighs, > she finds the willow(-like jewel), with its black lofty foliage, puts it on her nakedness, > she finds the adorned shoes, puts them on her big toes. > (lines 1124) (sefati 1998:249250) > in line 23 sefati (1998:248250) has translated gal-la as nakedness, but, as rubio (2001:271) states, the actual translation should be vulva, and sefatis translation therefore loses some of the eroticism of the original sumerian text in dumuzi-inana t the references to inana decorating and anointing her buttocks, hips, thighs and genitals in particular reference her sexuality
Brazil