,sumerian ,liturgies and ,psalms ,by ,stephen ,langdon ,professor of ,assyriology at ,oxford ,university ,philadelphia ,published by ,the ,university ,museum #aiai ,,contents ,introduction4 ,lamentation of ,ishme-,dagan ,over ,nippur4 #achef 7,no4 #a7 ,liturgy of ,ishme-,dagan4 #aajje 7,no4 #b7 ,liturgical ,hymn to ,innini4 #ghdg 7,no4 #c and duplicate ,no4 #d7 ,psalm to ,enlil ,containing a ,long ,intercession by the ,mother ,goddess4 #aebjd 7,no4 #e7 ,lamentation on the ,pillage of ,lagash by the ,elamites4 #baed 7,no4 #f7 ,lamentation to ,innini on the ,sorrows of ,erech4 #achei 7,poebel ,no4 #bf7 ,liturgical ,hymn to ,sin4 #hjig 7,no4 #g7 ,lamentation on the ,destruction of ,ur4 #gjhj 7,no4 #aa7 ,liturgical ,hymns of the ,tammuz ,cult4 #cfef 7,myhrman ,no4 #e7 ,a ,liturgy to ,enlil1 ,series e-lum gud-sun 7,zimmern ,,kl4 ,no4 #aa7 ,reverse of ,tablet ,virolleaud 7,the titular litany7 ,early ,form of the ,series d4,babbar-gim--ta #aacei 7,myhrman ,no4 #h7 ,liturgy of the ,cult of ,kes 7,nippur ,fragments and ,ashmolean ,prism47 ,ashmolean ,prism1 ,col4 ,,ii ,third ,tablet of the ,series 8,the ,exalted ,one ,who ,walketh0 7e-lum didara7 7,no4 #ac7 ,babylonian ,cult ,symbols4 #fjfj 7,no4 #ab7 ,addendum ,on ,obv4 ,i #aj ,f4 ,description ,of ,tablets ,index ,of ,tablets ,index ,to ,vol4 ,x ,autographed ,texts ,footnotes ,,introduction4 ,transcriber's ,note3 ,this e-book is ,number #d of ,volume ,x of a series1 which had a single page numbering system throughout the ,volume4 ,thus1 although this e-book is pages #bcc through #cea1 it contains references to pages outside of this range in the same ,volume4 ,with the publication of the texts included in this the last part of volume ,x1 ,sumerian ,liturgical and ,epical ,texts1 the writer arrives at a definite stage in the interpretation of the religious material in the ,nippur collection4 ,having been privileged to examine the collection in ,philadelphia as well as that in ,constantinople1 ,i write with a sense of responsibility in giving to the public a brief statement concerning what the temple library of ancient ,nippur really contained4 ,omitting the branches pertaining to history1 law1 grammar and mathematics1 the following rsum is limited to those tablets which1 because of their bearing upon the history of religion1 especially upon the origins of ,hebrew religion1 have attracted the attention of the public on two continents to the collections of the ,university ,museum4 ,undoubtedly the group of texts which have the most human interest and greatest literary value is the epical group1 designated in ,sumerian by the rubric zag-sal47#a7 ,this literary term was employed by the ,sumerian scribes to designate a composition as didactic and theological4 ,religious texts of such kind are generally composed in an easy and graceful style and1 although somewhat influenced by liturgical mannerisms1 may be readily distinguished from the hymns and psalms sung in the temples to musical accompaniment4 ,the zagsal compositions7#b7 are mythological and theological treatises concerning the deeds and characters of the great gods4 ,the most important didactic hymns of the ,nippur collection and in fact the most important religious texts in early ,sumerian literature are two six column tablets1 one 7very incomplete7 on the ,creation and the ,flood published by ,,dr4 ,,poebel1 and one 7all but complete7 on ,paradise and the ,fall of ,man4 ,next in importance is a large six column tablet containing a mythological and didactic hymn on the characteristics of the virgin mother goddess47#c7 ,a long mythological hymn in four columns7#d7 on the cohabitation of the earth god ,enlil and the mother goddess ,ninlil and an equally long but more literary hymn to the virgin goddess ,innini7#e7 are good examples of this group of tablets in the ,nippur collection47#f7 ,one of the most interesting examples of didactic composition is a hymn to the deified king ,dungi of ,ur4 ,by accident both the ,philadelphia and the ,constantinople collections possess copies of this remarkable poem and the entire text has been reconstructed by the writer in a previous publication47#g7 #a have already signaled the unique importance of this extraordinary hymn to the god-man ,dungi in which he is described as the divinely born king who was sent by the gods to restore the lost paradise47#h7 ,the poem mentions the flood which1 according to the ,epic of ,paradise1 terminated by divine punishment the ,utopian age4 ,the same mythological belief underlies the hymn to ,dungi4 ,paradise had been lost and this god-man was sent to restore the golden age4 ,there is a direct connection between this messianic hymn to ,dungi and the remarkable ,epic of ,paradise4 ,all other known hymns to deified kings are liturgical compositions and have the rubrics which characterize them as songs sung in public services4 ,but the didactic hymn to ,dungi has the rubric d,dungi zag-sal1 8,o praise ,dungi40 ,it would be difficult to claim more conclusive evidence than this for the correctness of our interpretation of the group of zagsal literature and of the entire mythological and theological exegesis propounded in the edition of the ,epic of ,paradise1 edited in part one of this volume47#i7 ,when our studies shall have reached the stage which renders appropriate the collection of these texts into a special corpus they will receive their due valuation in the history of religion4 ,that they are of prime importance is universally accepted4 ,from the point of view of the history of religion ,i would assign the liturgical texts to the second group in order of importance4 ,surprisingly few fragments from the long canonical daily prayer services have been found4 ,in fact1 about all of the perfected liturgies such as we know the ,sumerian temples to have possessed belong to the cults of deified kings4 ,in the entire religious literature of ,nippur1 not one approximately complete canonical prayer service has survived4 ,only fragments bear witness to their existence in the public song services of the great temples in ,nippur4 ,a small tablet7#aj7 published in part two of this volume carries a few lines of the titular or theological litany of a canonical or musically completed prayer book as they finally emerged from the liturgical schools throughout ,sumer4 ,long liturgical services were evolved in the temples at ,nippur as we know from a few fragments of large five column tablets47#aa7 ,the completed composite liturgies or canonical breviaries as they finally received form throughout ,sumer in the ,isin period were made by selecting old songs of lament and praise and re-editing them so as to develop theological ideas4 ,characteristic of these final song services is the titular litany as the penultimate song and a final song as an intercession4 ,a considerable number of such perfected services exist in the ,berlin collection4 ,these were obtained apparently from ,sippar47#ab7 ,the writer has made special efforts to reconstruct the ,sumerian canonical series as they existed in the age of ,isin and the first ,babylonian dynasty4 ,on the basis of tablets not excavated at ,nippur but belonging partly to the ,university ,museum and partly to the ,berlin collection the writer restored the greater part of an ,enlil liturgy in part #b1 pp4 #aee-afg47ac7 ,in the present and final part of this volume another ,enlil liturgy has been largely reconstructed on pages #bij-cjf47ad7 ,from these two partially reconstructed song services the reader will obtain an approximate idea of the elaborate liturgical worship of the late ,sumerian period4 ,these were adopted by the ,babylonians and ,assyrians as canonical and were employed in interlinear editions by these ,semitic peoples4 ,naturally the liturgical remains of the ,babylonian and ,assyrian breviaries are much more numerous and on the basis of these the writer was able in previous volumes to identify and reconstruct a large number of the ,sumerian canonical musical services4 ,but a large measure of success has not yet attended his efforts to reconstruct the original unilingual liturgies commonly written on one huge tablet of ten columns4 ,obviously the priestly schools of the great religious center at ,nippur possessed these perfected prayer books but their great size was fatal to their preservation4 ,it must be admitted that the ,nippur collection has contributed almost nothing from the great canonical ,sumerian liturgies which surely existed there4 ,much better is the state of preservation of the precanonical liturgies1 or long song services constructed by simply joining a series of kiubs or songs of prostration4 ,these kiub liturgies are the basis of the more intricate canonical liturgies and in this aspect the ,nippur collection surpasses in value all others4 ,canonical and perfected breviaries may be termed liturgical compositions and the precanonical breviaries may be described as liturgical compilations1 if we employ 8composition0 and 8compilation0 in their exact ,latin sense4 ,since ,sumerian song services of the earlier type1 that is liturgical compilations1 are more extensively represented in the ,nippur temple library than in any other1 this is an appropriate place to give an exact description of this form of prayer service which preceded and prepared the way to the greatest system of musical ritual in any ancient religion4 ,if we may judge from the literary remains of ,nippur now in the ,university ,museum1 the priestly schools of temple music in that famous city were extremely conservative about abandoning the ancient liturgical compilations4 ,these daily song services1 all of sorrowful sentiment and invariably emphasizing humility and human suffering1 are constructed by simply compiling into one breviary a number of ancient songs1 selected in such manner that all are addressed to one deity4 ,in this manner arose intricate choral compilations of length suitable to a daily prayer1 each addressed to a great god4 ,hence we have in the temple libraries throughout ,sumer and ,babylonia liturgies to each of the great gods4 ,even in the less elaborate kiub compilations there is in many cases revealed a tendency to recast and arrange the collection of songs upon deeper principles4 ,a tendency to include in all services a song to the wrathful word of the gods and a song to the sorrowful earth mother is seen even in the ,nippurian breviaries of the precanonical type4 ,i need not dilate here upon the great influence which these principles exercised upon the beliefs and formal worship of ,assyria and ,babylonia1 upon the late ,jewish ,church and upon ,christianity4 ,the personified word of god and the worship of the great mater dolorosa1 or the virgin goddess1 are ancient ,sumerian creations whose influence has been effective in all lands4 ,as examples of the liturgical compilation texts the reader is referred especially to the following tablets4 ,on pages #bij-bib the writer has described the important compiled liturgy found by ,,charles ,,virolleaud47#ae7 ,it is an excellent example of a ,nippurian musical prayer service4 ,it contained eleven kiubs1 or prayers1 and they are recast in such manner that the whole set forth one idea which progresses to the end4 ,the liturgy has in fact almost reached the stage of a composition4 ,and in these same pages the reader will see how this service finally resulted in a canonical liturgy1 for the completed product has been recovered4 ,on pages #cji-caj will be found a fragment1 part of an ancient liturgy to ,enlil of the compiled type4 ,here again we are able to produce at least half of the great liturgy into which the old service issued4 ,in the preceding part of this volume1 pages #ahd-ahg1 is given the first song of a similar liturgy addressed to the mother goddess4 ,undoubtedly the most important liturgical tablet which pertains to the ordinary cults in the ,nippur collection is discussed on pages #bgi-bhe4 ,the breviary1 which probably belongs to the cult of the moon-god1 derives importance from its great length1 its theological ideas1 especially the mention of the messengers which attend the ,logos or ,word of ,enlil1 and its musical principles4 ,here each song has an antiphon which is unusual in precanonical prayer books of the ordinary cults47#af7 ,students of the history of liturgies will be also particularly interested in the unique breviary compiled from eight songs of prostration1 a lamentation for the ancient city of ,ke with theological references4 ,this song service was popular at ,nippur1 for remains of at least two copies have been found in the collection4 ,a translation is given on pages #caa-cbc4 ,the oldest public prayer services consisted of only one psalm or song4 ,a good number of these ancient psalms are known from other collections1 especially from those of the ,british ,museum4 ,in view of the conservative attitude of the liturgists at ,nippur it is indeed surprising that so few of the old temple songs have survived as they were originally employed2 ancient single song liturgies in this collection are rare4 ,the following list contains all the notable psalms of this kind4 ,,radau1 ,miscellaneous ,sumerian ,texts ,no4 #c7ag7 is a lamentation of the mother goddess and her appeal to ,enlil on behalf of various cities which had been visited by wars and other afflictions4 ,,radau1 ibid41 ,no4 #af has the rubric ki-u7#ah7 sr-gal d,enlil1 8,a prayer of prostration1 a great song unto ,enlil40 ,a psalm of the weeping mother goddess similar in construction to ,,radau ,no4 #c is edited on pages #bfj-bfd of this volume47#ai7 ,no4 #g of this part1 edited on pages #bgf-bgi1 is an excellent illustration of the methods employed in developing the old single song psalms into compiled liturgies4 ,here we have a short song service to the moon god constructed by putting together two ancient psalms4 ,the rubrics designate them as sagar melodies17#bj7 or choral songs1 and adds that it is sung to the lyre47#ba7 ,an especially fine psalm of a liturgical character was translated on pages #aae-aag4 ,it is likewise a lament to the sorrowful mother goddess4 ,the student of ,sumero-,babylonian religion will not fail to comment upon one remarkable lacuna in the religious literature of every ,sumerian city which has been excavated4 ,prayers of the private cults are almost entirely nonexistent4 ,later ,babylonian religion is rich in penitential psalms written in ,sumerian for use in private devotions4 ,these are known by the rubric eragunga1 or prayers to appease the heart4 ,only one has been found in the ,nippur collection17#bb7 and none at all have been recovered elsewhere4 ,seals of ,sumerians showing them in the act of saying their private prayers abound from the earliest period4 ,most of these seals represent the worshipper saluting a deity with a kiss thrown with the hand4 ,the attitude was described as u-illa1 or 8,lifting of the ,hand40 ,semitic prayers of the lifting of the hand abound in the religion of ,babylonia and ,assyria4 ,here they are prayers employed in the incantation ritual4 ,we know from the great catalogue of ,sumerian liturgical literature compiled by the ,assyrians that the ,sumerians had a large number of prayers of the lifting of the hand47#bc7 ,in ,sumerian religion these were apparently purely private prayers unconnected with the rituals of atonement4 ,at any rate the ,nippur collections in ,constantinople and ,philadelphia contain a large number of incantation services for the atonement of sinners and the afflicted4 ,these resemble and are the originals of the ,assyrian incantation texts of the type utukku limnuti1 and contain no prayers either by priest 7kiub in later terminology is the rubric of priest's prayers in incantations7 or by penitent 7u-il-la's74 ,the absence of prayers of private devotion in the temple library of ,nippur is absolutely inexplicable4 ,does it mean that the ,sumerians were so deficient in providing for the religious cure of the individual8 ,their emphasis of the social solidarity of religion is truly in remarkable contrast to the religious individualism of the ,semite4 ,but the ,sumerian historical inscriptions often contain remarkable prayers of individuals4 ,the seals emphasize the act of private devotion4 ,the catalogue of their prayers states that they possessed a good literature for private devotions4 ,when one considers the evidence which induces to assume that they possessed such a literature1 its total absence in every ,sumerian collection is an enigma which the writer fails to explain4 ,in the introduction to part two of this volume7#bd7 the writer has emphasized the peculiarly rich collection of tablets in this collection pertaining to the cults of deified kings4 ,in the present part is published a most important tablet of that class4 ,this liturgy of the compiled type in six kiubs sung in the cult of the god-man ,ishme-,dagan1 fourth king of the ,isin dynasty1 is unique in the published literature of ,sumer4 ,its musical intricacy and theological importance have been duly defined on pages #bde-bdg4 ,with the publication of these texts the important song services of the cults of deified kings are exhausted4 ,in addition to the texts of this class translated or noted in part two1 ,i call attention to the very long text concerning ,dungi1 king of ,ur1 published by ,,barton1 ,miscellaneous ,babylonian ,inscriptions ,no4 #c4 ,in that extremely long poem in six columns of about #cfj lines7#be7 there are no rubrics1 which shows at once that it is not a cult song service4 ,moreover1 ,dungi had not been deified when the poem was written4 ,it is really an historical poem to this king whose deification had at any rate not yet been recognized at ,nippur4 ,it belongs in reality to the same class of literature as the historical poem on his father ,ur-,engur1 translated on pages #abf-acf4 ,the only ,sumerian cult songs to deified kings not in the ,nippur collection have now been translated by the writer and made accessible for wider study4 ,one hymn to ,ur-,engur which proves that he had been canonized at his capitol in ,ur will be found in the ,proceedings of the ,society of ,biblical ,literature1 #aiah1 #de-ej4 ,the twelfth song of a liturgy to ,ishme-,dagan published by ,,zimmern from the ,berlin collection is translated on pages #eb-ef of the same article4 ,finally a long liturgy to ,libit-,ishtar1 son of ,ishme-,dagan1 likewise in ,berlin1 has been translated there on pages #fi-gi47bf7 ,since the ,berlin texts probably came from ,sippar their existence in that cult is important4 ,for they prove not only the practice of cult worship of deified kings in that city1 but the domination of ,isin over this north ,semitic city is thus documented for a period as late as ,libit-,ishtar4 ,nearly all the existing prayer services in the cults of the deified kings of ,ur and ,isin are now published and translated4 ,the student will observe that they are all of the compiled type but that there is in most cases much musical arrangement and striving for combined effect4 ,a few1 and especially the ,ishme-,dagan liturgy published as ,no4 #a of this part1 reveal theological speculation and an effort to give the institution of god-man worship its proper place in their religion4 ,the hymns of these cults comparatively so richly represented in this volume will be among the most interesting groups of religious texts supplied by the excavations at ,nippur47#bg7 ,,oxford1 ,july #i1 #aiai4 ,,lamentation ,,of ,,ishme-,,dagan ,,over ,,nippur4 #achef 7,,no4 #a7 ,the liturgical character of this tablet is unique among all the numerous choral compositions of the ,isin period4 ,it is a large two column tablet containing six long kiub melodies4 ,liturgies of such kind1 compiled by joining a series of kiubs1 or melodies1 attended by prostrations1 represent an advanced stage in the evolution of these compositions in that the sections are not mechanically joined together by selecting older melodies without much regard for their connection1 but as a whole they are apparently original compositions so arranged that they develop a motif from the beginning to the end of the liturgy4 ,choral services composed of kiubs in the cults of deified kings have been found7#bh7 wherein the deeds and personality of the king are sung1 his divine claims are emphasized and his ,messianic promises rehearsed4 ,but the liturgy here published resembles in literary style the classical lamentations which always formed the chief temple services of ,sumer and ,babylonia4 ,it more especially resembles the weeping mother liturgies1 but here ,ishme-,dagan appears in the lines of the service in a rle similar to that of the sorrowful mother goddess of the ordinary liturgies1 as he weeps for ,nippur4 8,her population like cattle of the fields within her have perished4 ,helas my land ,i sigh40 ,so reads a line from the second melody4 ,lines of similar character occur repeatedly in the laments of the mother goddess as she weeps for her people in the standard liturgies4 ,in other words1 the cult of the deified kings issues here into its logical result4 ,the god man created to live and die for his people usurps the sphere of the earth mother herself4 ,and like her he is intimately associated with the fortunes of mankind1 of nature and all living creatures4 ,the great gods and the hosts of their attendants rule over man and the various phases of the universe from afar4 ,but the mother goddess is the incarnation of fruitful nature1 the mother of man whose joys and sorrows she feels4 ,so also in this remarkable liturgy the deified son of the great gods lives among men1 becomes their patron and divine companion4 ,the tablet contained originally about fifty lines in each column1 or #bjj in all4 ,about one-third of the first column is gone4 ,the first melody contained at least fifty lines and ended somewhere shortly after the first line of ,col4 ,,ii of the obverse4 ,it began by relating how ,enlil had ordered the glory of ,nippur1 and then had become angered against his city1 sending upon it desolation at the hands of an invader4 ,when we take up the first lines of ,obv4 ,,ii we are well into the second melody which represents ,ishme-,dagan mourning for fathers and mothers who had been separated from their children2 for brothers who had been scattered afar2 for the cruel reign of the savage conqueror who now rules where the dark-headed people had formerly dwelled in peace4 ,at about the middle of ,obv4 ,,ii begins the third melody which consists of #ch lines extending to ,rev4 ,i #ai4 ,in this section the psalmist ponders upon the injustice of his city's fate1 and looks for the time when her woes will cease1 and ,enlil will be reconciled4 ,the fourth section begins at line #bd of ,rev4 ,i and ended near the bottom of this column which is now broken away4 ,here ,ishme-,dagan joins with the psalmists weeping for ,nippur4 ,section #e began near the end of ,rev4 ,i1 and ends at line #af of ,rev4 ,,ii4 ,here begins the phase of intercession to ,enlil to repent and revenge ,nippur upon the foe4 ,section #f1 beginning at ,rev4 ,,ii #ag1 probably continued to the end of the column and the tablet4 ,here the liturgy promises the end of ,nippur's sorrow4 ,enlil has ordered the restoration of his city and has sent ,ishme-,dagan1 his beloved shepherd1 to bring joy unto the people4 ,after sections #b and #c follows the antiphon of one or two lines4 ,the ends of sections #a and #d are lost but we may suppose that antiphons stood here also4 ,section #e does not have an antiphon4 ,since section #f ended the liturgy it is not likely that an antiphon stood there4 ,transcriber's ,note3 ,in the original book1 throughout the book1 all of the transcriptions and translations were done in two columns4 ,the left column showed the transcription1 and the right the ,english translation2 each line had the line number4 ,in this e-book1 the transcription and translation of each line will be shown in succeeding lines4 ,,obverse4 ,,col4 ,i 7,about eighteen lines broken away47 #a4 444 tg ba-ra-pad-da #a4 #b4 d4,a-nun-na-ge-ne na-ba-an-ri-gi-e-m #b4 ,the ,anunnaki he caused to take their seats47#bi7 #c4 ub-u-ukkin-na7#cj7 ki di-gal tar-ru #c4 ,in the ,assembly ,hall1 place where the great judgments are decided1 #d4 e-bar-e si-di ba-ra-an-zu-u7#ca7-m #d4 ,decisions to arrange he caused them to know4 #e4 dingir-bi-ne ki-dr ba-ab- gar-ra7#cb7 #e4 ,these gods he caused to take up there their abode4 #f4 ug-l-bi im-ub-ba aga-bi im-ri-a #f4 ,their clean sacrificial food he gave1 their crowns he clothed upon them4 #g4 ki-lugal du-azag7#cc7 in-sg7#cd7 un7#ce7-;gal-ba #g4 ,in the king's place1 the throne room1 the insig of the vast abode1 #h4 tin7#cf7 ll bal-bal-e mu- be-ib-tar-ra #h4 ,the libation of wine and honey yearly he decreed4 #i4 ,nibru-7ki7 uru gi-gig-dagal-la-bi- #i4 ,for ,nippur the city whose shadow extends afar #aj4 uku-sag-gig-ga n-im-i-ib-te-en-na #aj4 ,the people1 the dark headed1 he caused to have reverence4 #aa4 ki-dr-ba g-ni a-gim7#cg7 ba-ra-an-ub #aa4 ,but its habitations he cursed 444 #ab4 ab sg-gan-dg-ga-gim e-ne sg-gan-ba-ra-an-dg #ab4 ,like scattered cows he scattered them4 #ac4 uru ag-bi er-gg sg- bi #ac4 ,the city's interior is filled with weeping1 #ad4 en-na7#ch7 dam7#ci7 dingir ga-a-an-bi li-bi nu-tar-ri7#dj7 #ad4 ,while the consort1 its divine queen1 is not solicitous for her4 #ae4 -gu-la za-pa-ag ib-zu-a-bi #ae4 ,the great house which knew the cry of multitudes1 #af4 -ri-a-sd-gim galu nu-un-tur-tur #af4 ,like a vast building in ruins men enter not4 #ag4 ,nibru-7ki7 uru ki ligir-ligir-gal-gal-e-ne u-im-ma-an-,a7#da7-;e-m #ag4 ,in ,nippur1 the city where great princes were prosperous1 #ah4 a-na- -gu i-ni-in-de-e7#db7 #ah4 ,why have they fled8 #ai4 uku sag-gig g-sa-i-a7#dc7 udu-gim be-ib-87#dd7-;a #ai4 ,the people1 the dark headed1 all of them like sheep4444 #bj4 e787-en- ,,kak-,,ru7#de7 er a-nir ag ,,pa-,i-,,bad-a #bj4 ,how long shall loud crying7871 weeping and wailing distress 787 the heart8 #ba4 en- bar7#df7 be-b- 444 l #ba4 ,how long shall the soul be terrified8 #bb4 ag nu-ub-i-tg-e #bb4 ,and the heart repose not8 #bc4 sub su-l mu-un-tuk-a-ri7#dg7 #bc4 ,to the drum and cymbals ,i sing4 #bd4 444 gg-ga a-a na4444 #bd4 444 sorrowfully7874444 #be4 444 sg 444 ne ba-dr-ru-ne-e #be4 444 brick 444 they dwell4 #bf4 444 gar-ra-bi er- ba-ab-bi-ne #bf4 444 in tears they speak4 #bg4 444 ub-ba tr-ru-ba-ne #bg4 444 are made small4 #bh4 444 sr-ri-e ba-ab-bi-ne #bh4 444 in misery they speak4 #bi4 444 ki-dr-bi ar-ra #bi4 444 whose habitations are desolated4 #cj4 444 im-i-sr-sr-e-ne-e7#dh7 #cj4 ,unto 444 they have hastened4 #ca4 444 ne-ne-tg #ca4 4448 #cb4 444 ga787nu-zu-gim #cb4 444 like one that knows not4 #cc4 444 s7#di7 #cc4 444 is in confusion4 7,,end ,,of ,,col4 ,i47 ,,col4 ,,ii 7,about fifteen lines broken away477#ej7 #a4 444 gl #a4 4444 #b4 444 -e ba-ab-dg-m7#ea7 #b4 4444 #c4 444 ma-lal im-m #c4 4444 #d4 444 ul-nu-zu-ne nig-dug be-ib-tar-ru-u-m #d4 444 evil they know not1 good they have decreed4 #e4 i-lu-gg im-me #e4 ,bitter lament ,i7#eb7 utter4 #f4 nam-l-gl-bi m-anu-gim ag-ba mi-ni-ib-tl-la-a #f4 ,her population like cattle of the fields within her have perished4 #g4 a ka-na-m-mu im-me #g4 ,helas6 my ,land6 ,i sigh4 #h4 ki-el kalag tul-tul-l-bi-ne sr7#ec7-ri- -e mi-ni-ib- sal-la- #h4 ,maid and young man and their children cruelly have been scattered far and wide4 #i4 i-a-bi im-me #i4 ,tearfully ,i sigh4 #aj4 e-bi imi-dugud g-g-gim di-e-be-ib-sud-m7#ed7 #aj4 ,their brothers like a rain storm have fled afar4 #aa4 er- nu- gul-7#ee7 e #aa4 ,i cease not to weep4 #ab4 -e b amar-bi kud-du gim n-bi- r-gg-ga7#ef7 im-gub #ab4 ,the household like a cow1 whose calf has been separated from her1 stand by themselves with sorrowful souls4 #ac4 sg-sg7#eg7 ni- mal- mal #ac4 ,they have lapsed into the misery of silence4 #ad4 balag-di7#eh7 l-ad-dug-ga-ge7#ei7-ne um-me-da--a-di-gim #ad4 ,oh sing to the lyre6 ,the wailers like a child nursing mother who cries in woe #ae4 mu-bi er-ra mi-ni-ib-bal-bal-e-ne #ae4 because of them devised lamentation4 #af4 uru -mu-un-bi sag-ib-ta-an-dm-ma #af4 ,the city whose lord had been magnified1 #ag4 igi-ni s kr-ra ib-ta-an-gar-ra ad-e-e ba-an-ara- #ag4 ,in whose presence a hostile rule has been established1 with sighing they have caused to walk4 #ah4 -zid kur-kur-ra igi- ba-an-gn-na #ah4 ,as for the faithful temple1 which in the lands excelled all1 #ai4 uku sag-gig-gi u-zi7#fj7 be-b-tb-ba #ai4 7,where7 the people1 the dark headed1 reposed in security2 #bj4 a-na ib-ag a-na im-a-lam-ma-bi7#fa7 #bj4 ,what has done it1 what has destroyed it8 #ba4 -mu-un-bi ib-ta-k sag-ki-a mu-un-du #ba4 ,its lord is a fugitive1 he hastens in flight4 #bb4 ki-ub7#fb7- g- #b kam #bb4 ,a melody with prostrations4 ,second section4 #bc4 me-gal ag-bi7#fc7 ba-ra-an--a- g-gg-ga nu-mal7#fd7-;a #bc4 ,the meaning of the great decrees they have glorified4 ,sorrowful words they restrain not4 #bd4 gi-g-gl-bi-im7#fe7 #bd4 ,this is its antiphon4 #be4 uru -mu-un-bi ag ba-da-an-dib-ba #be4 ,the city whose lord is distressed17#ff7 #bf4 en- la-ba-i-gur-ru su7#fg7-m-bi nu- um- im me #bf4 ,until when shall it not return 7to its rest78 ,until when shall its 8,how long0 not be spoken8 #bg4 sg-bi a-na- gr-ib-ta-an-gar #bg4 ,why are its brick walls trodden underfoot8 #bh4 tu7u7 za-pa-g m-m-bi ab-ta ib-ta- an-dal #bh4 ,the doves screaming flew from their nests4 #bi4 8 zu sg nar-balag g-z-ba7#fh7 #bi4 ,the temple 444 the sweet voiced flute1 #cj4 444 be-in-g #cj4 #ca4 ,entirely destroyed4 #ca4 #cb4 d- na7#fi7 #cb4 ,the temple violently4444 #cc4 n-nu-tuk-gim si-ga4444 #cc4 ,the temple like one without reverence4444 #cd4 g-me-bi nu-azag-azag-ga #cd4 ,its regulations unholy ones4444 #ce4 u-lu-bi kur-kur-ra nu-ub-da-su7#gj7-;a-gim #ce4 ,its cult of ablutions like those which had not been chosen above those of all lands #cf4 u-be-in-al tu-ni ib-ta-an-zig #cf4 ,he has demolished1 its wealth he seized away4 #cg4 g-gg-r-ra a a-e-ra mu-un-di #cg4 ,in misery of soul how long shall ,i utter lament8 #ch4 ta-e7#ga7 egir na-m-ga-lim7#gb7 d-a la-ba-an-kalag #ch4 ,why after the destruction has been done is it not respected8 #ci4 g-el-d-a-gim ur-ri7#gc7 zag-be-in-bi #ci4 ,as one who accomplishes pure things this one has uttered a curse3-- #dj4 sg-bi p-e a-na-a ib-ta-an- #dj4 8,why rise her brick-walls in effulgent glory80 ,,reverse1 ,,col4 ,i #a4 gig-an-bil7#gd7-;ba ag-ba er be-in-z-em #a4 ,night and day within her wailing is made4 #b4 -e kr g-gg be-ib-aga-a #b4 ,now the stranger has wrought insult4 #c4 -mu-un-bi im-ul-m u-bi be-in-g-m7#ge7 #c4 ,its lord like a storm wind their hands have removed787 #d4 uru-bi -bi in-gul-gul-m #d4 ,their city1 their temple1 he has destroyed4 #e4 r-bi in-sir-ra-m itim7#gf7-;e-ne in-ra-m #e4 ,its foundation he laid waste1 the skilled workmen he transported4 #f4 dam dumu-bi ag-ba mi-ni-in-dg-ga-m #f4 ,wife and children within her he slew4 #g4 uru-bi uru-ub-ba im-ma-ni-in-tu-ra-m #g4 ,their city a subjected city he caused to become47#gg7 #h4 mu-un-ga-bi n-e be-in-ne-ra-m7#gh7 #h4 ,its property he himself took as plunder4 #i4 uru-gl-la-bi nu-gl-la mi-ni-in-tu-ra-m7#gi7 #i4 ,their city which was he has caused to become a city which is not4 #aj4 dim-ma-bi gr ib-ta-an-kr-ra-m #aj4 ,its works of art he placed a hostile foot upon4 #aa4 tg-bi in-s7#hj7-m lil-e be-in-sg-m #aa4 ,its garments7#ha7 he seized away1 the winds tore them in shreds4 #ab4 -ka-a-bi ib-ta-an-kar-ra-m #ab4 ,its food and drink he pilfered4 #ac4 ga-zu-bi 444 mi-ni-ib-tl-la-m #ac4 ,their infants787 444 he caused to perish4 #ad4 -e kr g-rig7#hb7 444 be-ib-aga-a #ad4 ,the temple a stranger plundered4 #ae4 a-e-ir-gg im-me er be-ib-lu-lu #ae4 ,bitter sighing ,i utter1 tears ,i pour out4 #af4 balag-di galu i-lu ba-ab-bi-m #af4 ,oh sing to the lyre1 he that speaks the songs of wailing4 #ag4 ag nu-z-ba-bi mu-un-na-ni-ib-g-g #ag4 ,their hearts which are not glad it will pacify4 #ah4 -mu-un-bi me-bi ba-ra-an--a-7#hc7 #ah4 ,the decrees of their lord they have glorified4 #ai4 -bi nu-mu-un-tag-ga-m li-bi nu-tar-ra-m #ai4 ,he7#hd7 concerns himself not with their oracles2 he cares not for their future4 #bj4 444 ki-ub-g #c-kam-ma-m #bj4 ,a melody with prostrations4 ,third section4 #ba4 me-gal-gal-la-ni a-gim ba-ra-an- #ba4 ,his great decrees thus he has ordered4 #bb4 -bi la-ba-an-tag-ga-m li-bi nu-tar-ra-m #bb4 ,he has concerned himself not with their oracles2 he cared not for their future4 #bc4 444 gi-g-gl-bi-im #bc4 ,this is its antiphon4 #bd4 mu-lu sr-ra7#he7 na-m-tar-gg-ga-mu-u7#hf7 #bd4 ,he of melodious song the sorrowful fate weeps for4 #be4 me ib-i-en7#hg7-ne-en er im-i-e--en #be4 ,sound of mourning he causes to arise2 lamentation he utters4 #bf4 -e balag-di sr-zu- ne #bf4 ,now oh sing to the lyre6 ,they that know the melodies #bg4 ,,ar-dr-ra-mu ma-ar ba-bi-ne-m #bg4 ,my 444 shall speak for me4 #bh4 -d- ku-a im-ma-sg7#hh7-;ga-mu #bh4 ,now ,i am filled with sighing4 #bi4 galu7#hi7-;bi er-ra ma-an-m-m-ne-m #bi4 ,her population offer prayers to me4 #cj4 -e ag-zu7#ij7-mu n-tb-tb-ba-mu #cj4 ,now my intercession1 my pleading7871 #ca4 -e dr-ra-bi ma-ar galu mu-da-an-zu-m #ca4 ,now mightily the population unite with me in making known4 #cb4 a-r gig-ga ag-sir-ra-mu #cb4 ,upon ways of pain my mercy7#ia7 #cc4 -a tr-ra-mu er-ra ma-an-tuk-m #cc4 ,oh woe6 my children weep for4 #cd4 -d-a ki-dr-a-ne-ne #cd4 ,in the house1 the well builded temple1 in their dwelling1 #ce4 nar-e-e ba-ab-gar-ra n-tuk ba-ab-tur-ra-m #ce4 ,sound like one chanting is raised and praise is diminished4 #cf4 galu erm-eka na-m-mu ib-tl-la #cf4 ,the foe has caused my land to perish4 #cg4 er-ra ma-pad7#ib7787ma-an-m-m-ne-m #cg4 ,they beseech4444 #ch4 ag g-gg-ga ib-sg-mu ad-bi- ,,pi-g7#ic7-;bi d-ib-ed-d-ne-m #ch4 ,my heart which is filled with misery by their wailing 444 may they calm4 #ci4 er-bi ug7#id7-m mu-un-m-m-dam #ci4 ,their weeping is made unto me4 #dj4 ,e,,sal7#ie7 ag-izi-du ma-ar ma-an-tuk-tuk-e-ne-m7#if7 #dj4 ,in the mother goddess' sanctuary prayer to me they offer4 #da4 d4,mu-ul-lil4444 #da4 ,enlil4444 7,about twelve lines broken away477#ig7 ,,reverse ,,ii #a4 4444 #a4 4444 #b4 4444 #b4 4444 #c4 4444 #c4 4444 #d4 444 mu-ra-ab-dg mu- na-ab #d4 4444 #e4 444 g-ga-gim #e4 4444 #f4 444 mu-ra-ab-dg mu-na-ab7#ih7 #f4 #g4 444 aga- 444 a- 444 mu #g4 #h4 444 mu- 444 na- 444 ab #h4 #i4 444ma-ar 444 zal-la #i4 #aj4 444 b-d-e ,,ka-mu-na- ab #aj4 #aa4 444 ar-ra-ge-e 444 ag-izi-du #aa4 #ab4 444 arru7#ii7 ma-ra-tuk-tuk7#ajj7 #ab4 ,have mercy upon me4 #ac4 ag-zu ag-sg ib-ta-ba-e ag-la ma-ra-an-gar-ra-me 7sic677#aja7 #ac4 ,thy heart whose portion has been affliction become for me a glad heart4 #ad4 sag-zuzi-zi-i7#ajb7;gi-ub-ba-za ul-7#ajc7 ma-ra-an-m-m #ad4 ,thy head which is held aloof turn unto me to glorify thy portion4 #ae4 g-kr-ri za-ar7#ajd7 i-ri-ib-aga-e u-bi d-ib-g-g7#aje7 #ae4 ,the hostile deeds which he did unto thee be returned unto his hand4 #af4 uru-ki-a u-bar-ri nu-zu-a mur-ri7#ajf7 d-ib-sg-gi #af4 ,in the city which knew not forgiveness let there be given the cry of multitudes4 #ag4 444 ki-ub g #e-kam-ma-m #ag4 ,a melody of prostrations4 ,fifth section4 #ah4 -e -mu-un-zu g-ub-ba kr me-e-i-in-ra-m #ah4 ,now thy lord anger upon the foe will direct4 #ai4 arru7#ajg7 ma-ra-an-tuk-m na-m-zu in-tar-ra-m #ai4 ,he will have mercy and will decree thy fate4 #bj4 sg-zu a-e-ir ib-ta-an--a ib-si be-in-dg-ga-m #bj4 ,unto thy brick walls where lamentation arose he will command 8it is enough40 #ba4 ar-g-gi-zu-ra7#ajh7 ma-ra-ni-in-tu-ra-m #ba4 ,thy happy soul he will cause to return for me4 #bb4 d4,nin-ura makim kalag-ga sag-zu be-in-tuk-m7#aji7 #bb4 ,ninurash the valiant guardsman will sustain thy head4 #bc4 dun--a-ni 444 gi-ib-i-in-gub-ba-m7#aaj7 #bc4 ,his pastor7#aaa7 he will establish over 7the city74 #bd4 -kur alag-alag d-d--dam -mu-un7#aab7 ba-an-ag-m #bd4 ,ekur like 7a temple7 which has been tenderly built he will make4444 #be4 g-d-bi ki-bi be-in-g-m #be4 ,its beauty he will restore to its place4 #bf1 #bg4 gi-gn-na-bi7#aac7 ki-g-g-bi ud-gim kar-kar-bi7#aad7 #bf1 #bg4 ,that its great dark chamber be restored to its place1 that it shine like day #bh4 su7#aae7-;ba-la-tm-tm-mu in-na-an-dg-ga-m #bh4 ,unceasingly he commands4 #bi4 garza kr-ri ib- s7#aaf7- m #bi4 ,the ordinances the stranger has placed in confusion4 #cj4 me7#aag7 ib-bir-a-bi ki-bi- in-gar-ra-m #cj4 ,the ritual utensils which have been scattered he will restore to their place4 #ca4 u-lu erm7#aah7-;e u-be-in-l-a-ba #ca4 ,the rituals of hand-washing which the wicked caused to lapse into disuse17#aai7 #cb4 azag-gi 444 el-e- 444 bi #cb4 ,to cause to be holy and pure #cc4 uru-azag nam-ub-da-ni in-na-an-dg-ga-m #cc4 ,in the holy city which has been consecrated he commands4 #cd4 d4 ,i-me-d,da-gan sib kenag-g-ni-ir7#abj7 #cd4 ,for ,ishme-,dagan his beloved shepherd #ce4 444 bi787 g ul-r-r-ri-da #ce4 444 to cause rejoicing #cf4 in-na-an-dg-ga-m #cf4 444 he commands4 #cg4 444 azag nam-tar-ri-da-ni #cg4 ,the holy 444 whose fate has been decreed1 #ch4 444 -ra-m #ch4 444 #ci4 444 ,,du-ra-m #ci4 444 7,about twelve lines broken away1 in case this section continued to the end of the tablet47 ,,liturgy ,,of ,,ishme-,,dagan4 #aajje 7,,no4 #b7 ,,col4 ,,ii4 444 444 #c4 d4,en-lil lugal dingir-ri-e-ne-ge #c4 ,enlil king of the gods #d4 sig igi-nim-ma nam-en-bi a-ma-an-sg #d4 ,in the ,south and ,north7#aba7 may give lordship over them unto me4 #e4 dg-dg-ga d4,nu-nam-nir-ra-ta #e4 ,by the commands of ,nunamnir1 #f4 ka-ta--a d4,en-lil-l-ta #f4 ,by the utterance of ,enlil1 #g4 ,an-ni enim-zid-dm-a-ar a-ma-an-de #g4 ,may ,anu speak for me an order of confidence4 #h4 ibir-ibir u-mu e-ma-sg #h4 ,scepters may he give unto my hand4 #i4 d4,uraa-e d-azag-ga7#abb7-ni-a sal-zid a-ma-ni-dg #i4 ,may ,uraa bestow upon me faithful care in his holy throne room4 #aj4 d4,nin-lil-li ag lg-lg-ga-ni7#abc7 #aj4 ,ninlil whose heart is pure1 #aa4 bara-ma ud-sud-du g-,,ku-,,mal7#abd7 #aa4 ,she that in the far-famed chapel assures length of days1 #ab4 gi-ub-ba-m bal-bi g-gi-da #ab4 ,she that renders good my portion exceedingly1 #ac4 ku7#abe7-;d4,en-lil-l ka-dug-gi-m #ac4 ,she who unto ,enlil spoke assuringly for me good words1 #ad4 -kur-ri ud-u-u sag-u-m #ad4 ,she who daily protects ,ekur for me17#abf7 #ae4 ki-r ki-gal-e7#abg7 nam u-a-ma-ni-tar #ae4 ,may render me my fate in ,kenur the vast place4 #af4 d4,en-ki en-gal erida-7ki7-ga-ge #af4 ,may ,enki the great lord of ,eridu #ag4 ganun zid-ma sag-m a-ma-ni-in-u787 #ag4 ,sustain787 my head in the ritual chamber1 the faithful1 the far-famed4 ,,reverse ,i #e4 ki-r gal-la li-bi tar-ri-ge #e4 ,of the great ,kenur its care4444 #f4 d4,en-lil-li -bi u-mu-da-na-g #f4 ,of ,enlil his oracle be proclaimed4 #g4 dg-dg-ga a-a d4,en-lil-l- #g4 ,unto the words of father ,enlil-- #h4 d4,i-me- d4,da-gan me-en g-mu e-in-i-ri #h4 ,ishme-,dagan am ,i--verily my neck ,i will turn4 #i4 ka-ta--a lugal-m- gi-tg-ni7#abh7 e-im-i-ag #i4 ,to the utterance of my king may ,i lend my7#abi7 ears4 #aj4 ki-en-gi-ra nig-si-s e-ni-in-gar #aj4 ,in ,sumer justice may ,i institute4 #aa4 ,nibru-7ki7 an-gim g e-im-mi-u #aa4 ,nippur may ,i exalt like heaven4 #ab4 -kur-ra me-bi u-mu-un-r-r #ab4 ,of ,ekur its decrees ,i will deliver4 #ac4 gi787-ar787 -a-ba li-be-in-tar #ac4 ,of the plans787 unto their care may ,i give heed4 #ad4 garza7#acj7 ki-ta ub-ba-bi ki-bi e-mu-un-g #ad4 ,the sacred relics which have fallen from their places may ,i restore to their places4 #ae4 d4,en-lil-l me al-alag-ni #ae4 ,of ,enlil his precious decrees-- #af4 d4,i-me-d4,da-gan me-en4444 #af4 ,i am ,ishme-,dagan--,i will4444 #ag4 d4,nin-lil-l4444 #ag4 ,of ,ninlil her 444 ,i will4444 ,,liturgical ,,hymn ,,to ,,innini4 #ghdg 7,,no4 #c ,,and ,,duplicate ,,no4 #d7 ,,col4 ,i #a4 nin me-dug-ga7#aca7 babbar dalla--a #a4 ,oh lady of the good decrees1 that risest splendidly like the sun4 #b4 sai-zid me-lam gr-ru kenag d4,uraa-a #b4 ,faithful woman1 bearing a sheen of terrible splendor1 beloved of ,urash1 #c4 nu-gig an-na nin787 sr-gal-gal-la #c4 ,heavenly virgin1 queen7877#acb7 of the great songs1 #d4 aga-zi-d 444 nam-en-na tum-ma #d4 ,who puttest on a faithful crown1 who hast been created fit for rulership1 #e4 me-imin-bi u-s-dg-ga #e4 ,whose hand attaineth the seven decrees1 #f4 nin-mu me-gal-gal-la sag-sr-bi za-e me-en #f4 ,my queen1 of the great decrees their directress7#acc7 art thou4 #g4 me-mu7#acd7-;ila me u-zu- mu-e-lal #g4 ,the decrees thou bearest2 the decrees thou holdest in thy hand4 #h4 me-mu7#ace7-;in me gab-zu be-tab #h4 ,the decrees thou directest2 the decrees thou claspest to thy breast787 #i4 uumgal-gim kur-ra sub ba-e-sg #i4 ,like a champion thou subduest the foreign lands4 #aj4 d,immer-gim ki t-g-a7#acf7 d4,anan la-ba-i-gl #aj4 ,like the storm-god in the place of the 444 curse the grain-goddess thou leavest not4 #aa4 a-ma-ru kur-bi-ta -de #aa4 ,a whirlwind upon their lands thou sendest4 #ab4 sag-kal-an-ki-a dingir-ri-bi7#acg7 me-en #ab4 ,oh leader of heaven and earth their divinity thou art4 #ac4 ne-ne-ne-ra kalam-ma a-an-mal #ac4 ,for them thou didst create the ,land 7of ,sumer74 #ad4 dingiri-ir7#ach7 me-sg-g7#aci7 nin-ur-ra--a7#adj7 #ad4 ,that givest orders unto the gods7871 queen that guidest the universe4 #ae4 enim-azag-an-na-ta enim dg-dg #ae4 ,that utterest command by the holy order of ,anu4 #af4 garza-gal-gal-la gar zu a-ba mu- 444 un- 444 zu #af4 ,the great decisions who 7but thee7 knoweth to teach8 #ag4 kur-gul-gul ud-de-da ba-e-sg #ag4 ,thou that shatterest the mountains1 by a spirit of wrath thou art filled4 #ah4 kenag d4,en-lil-l kalam-ma im-mi-ni-ri #ah4 ,beloved of ,enlil1 thou hast founded the ,land4 #ai4 -aga d4,nin-lil ba-gub-bi me-en #ai4 ,thou art she that hast effected the mandate of ,ninlil4 #bj4 nin-mu za-pa-g-zu- kur ni-gam-gam-e #bj4 ,my lady1 at thy cry the lands quake4 #ba4 n-me-lam-ra7#ada7-zu-da nam-l-gl-lu #ba4 ,at the fear of thy splendor let mankind #bb4 nig-me-gar gr-bi -mu-ri-gub #bb4 ,with shouting await thee4 #bc4 me-te me-u7#adb7-;bi u-ba-e-ri-ti #bc4 ,fittingly they have received their terrible decrees from thee4 #bd4 i-lu er-ra-zu gl-la-ra-ab-787 #bd4 ,thy lamentations and mournings let them wail for thee4 #be4 -a nir-gal-gal-la sil-ba mu-ri-du #be4 ,unto the temple the chief singers shall walk the streets for thee78874 #bf4 igi-m-ta gar ma-ra-ta-si-ig7#adc7 #bf4 ,from before the face of battle they hasten unto thee4 #bg4 nin-mu -n-za enim-enim-ni-dg-e #bg4 ,my lady1 of thy fury they speak4 #bh4 ud-ul-ul-gim ni-d-d-ne #bh4 ,the spirit7#add7 like an onrushing storm rushed over them4 #bi4 ud ka-ra-ta uku im-da-ab-ra-ra #bi4 ,the spirit with a loud cry annihilated the people4 #cj4 d4,immer-da t-mu-da-an-g-g-in #cj4 ,by the storm god they were 444 accursed4 #ca4 im-ul-im-ul-da im-da-ku--ne #ca4 ,by the storm winds they were brought to woe4 #cb4 gr-za sil ku- i-ni- si #cb4 ,thy foot hastens restless in the street4 #cc4 balag a-nir-da i-lu mu-un-da-ab-bi #cc4 ,upon the lyre of weeping they utter lamentation4 #cd4 nin-mu d4,a-nun-na dingir-gal-gal-e-ne #cd4 ,oh my lady1 the ,anunnaki1 the great gods1 #ce4 su-din-7u7-dal-a-gim7#ade7 dul-d mu-e-i-ba-ra-a #ce4 ,like a flying sudin-bird from the crannies hasten unto thee4 #cf4 igi-gr-a-za-la7#adf7-;ba-lag-gi-e-a7#adg 7 #cf4 ,when before thy feet they run1 #cg4 sag-ki gr-a-za sag-nu-mu-un-ne-g-g7#adh7 #cg4 ,unto the presence of thy feet they attain not4 #ch4 ag-b-ba-za ba-a ni-te-en-te-en #ch4 ,thine angry heart who shall pacify8 #ci4 ag-ul-la-za te-en-te-en-na-m #ci4 ,thine evilly disposed heart let become calm4 #dj4 nin ar-ni g nin444 -ni- 444 #dj4 ,oh lady1 whose soul is magnanimous2 oh lady whose 444 is 444 #da4 ib-ba nu-te-en-te-en4444 #da4 ,whose wrath is unpacified4444 #db4 nin-kur-ra-dirig-ga4444 #db4 ,lady that stormeth over the mountains4444 #dc4 ar7#adi7-sag ki-za ba4444 #dc4 ,the mountains 787 thy place 7874444 #dd4 k-gal-a #dd4 ,the great gate4444 ,,col4 ,,ii #a4 alba7#aej7-;ba nu4444 #a4 ,its frost4444 #b4 ki kulu-b4444 #b4 #c4 ka-sr-la7877#aea74444 #c4 #d4 nir-da-ni-bi7#aeb74444 #d4 ,their afflictions4444 #e4 uru tu dinig-di-bi mer-i-in-si-si #e4 ,their city1 an arid habitation1 the whirlwinds have filled4 #f4 al-ag-gan-bi 444 - ma-ra-ab-m-m #f4 ,their 444 workmen in 444 supplicate thee4 #g4 uru-zagin-ra li-be-in-dg-ga7#aec7 #g4 ,for the brilliant city they mourn in song4 #h4 a-a uku-za li-be-in-e-a-a #h4 ,the father thy creator sends forth cries of distress for it47#aed7 #i4 ka-azag-zu d-in-dg-dg gr-za e-ib-g #i4 ,may thy holy mouth speak the command and thy feet return4 #aj4 -ab-bi-ta u e-ib-ta-an-z-ni #aj4 ,from her midst mayest thou cast the cruel one4 #aa4 sal-bi dam-a-ni-ta g-ga-na- an7#aee7-;da- ab- bi #aa4 ,let a woman with her husband speak kindly4 #ab4 gg--na-la7#aef7 na-an-ba-ni-ib-g-g #ab4 ,during the nights forever let her return unto him4 #ac4 nig-azag ag-ga-na nam-mu-da-an-bur-ri #ac4 ,that which is pure in her heart may she disclose4 #ad4 -gul-zi-zi-i dumu-gal d4,zu-en-na- #ad4 ,fervid intercession unto the great son1 ,sin1 #ae4 nin dingir-ra dirig-ga7#aeg7 a-ba ki-za ba-an-tum #ae4 ,oh lady surpassing the gods who beside thee brings8 #af4 me-zi-de nin-gal nin-e-ne #af4 ,establisher of decrees1 oh great lady1 their lady1 #ag4 uru-azag-ta -a ama-uku-ni-ir dirig-ga7#aeh7 #ag4 ,thou that risest from the holy city1 thou that surpassest his7#aei7 child-bearing mother1 #ah4 gal-zu igi-gl nin kur-kur-ra #ah4 ,intelligent and wise1 oh queen of the lands1 #ai4 zi-gl kalama-zu-a sr-azag-zu ga-a-an-dg #ai4 ,oh breath of life of thy ,land1 ,i will recite thy holy songs4 #bj4 dingir zi-me-a tum-ma ki-bi dg- -ga-bi4444 #bj4 ,divinity who has been made agreeable unto the fury of battle1 whose words unto their place4444 #ba4 ag-sud-du sal-zid lg-lg-ga me-zu ga-mu-ra-ab-dg787 #ba4 ,thou of the unsearchable heart1 who purgest faithfully1 ,i will relate thy decrees4 #bb4 mi-ib-azag-g u-mu-e-i-in-tu-ri #bb4 ,the holy mi-ib weapon verily thou causest to enter upon 7the foe74 #bc4 en me-en en- 444 -ul-an-na me-en #bc4 8,a ruler am ,i1 a ruler 444 of heaven am ,i47#afj70 #bd4 gi-ma-s-ab ni-gr-ru keda-bi-dg #bd4 ,the reed censer ,i bear and ,i arrange the ritual7874 #be4 ki-sg-ga be-in-gar m-e nu-mu-un-ne -ti-li #be4 ,at the parentalia ,i place it2 and these things ,i cease not to do4 #bf4 ud-de ba-nim ud-e da787-bl #bf4 ,by day ,i 444 and daily renew #bg4 gi-gig ud-de ba-nim8 -da im-mi-d #bg4 ,by night and day ,i 444 and in 444 am clothed7877#afa7 #bh4 ,,ka-ll-mu u-8 a-ba-ab-tum #bh4 ,my 444 of honey 444 ,i bring4 #bi4 ninda-mur-g-g-mu da-ta ba-e-de-g #bi4 ,by my pious offerings of baked cakes thou wilt be pacified4 #cj4 nam-mu d4,en-lil lugal an-ki #cj4 ,something ,enlil lord of heaven and earth #ca4 an-ra enim-mu-na-ab an-e a-ba-du-e #ca4 ,to ,anu spoke as a command and verily ,heaven is opened4 #cb4 a-da-lam an-ra enim-mu-na-ab an-e mu-e-tb #cb4 ,now unto ,anu he has spoken the command and thou causest ,heaven to shudder4 #cc4 nam-lugal-an-ni sal-e ba-ab-kr-ri-en #cc4 ,the royal power of ,anu thou a woman hast seized4 4444 4444 ,,psalm ,,to ,,enlil ,,containing ,a ,,long ,,intercession ,,by ,,the ,,mother ,,goddess4 #aebjd 7,,no4 #e7 ,this liturgical psalm in one melody adds one more document of this kind to the classical ,sumerian corpus of old short musical services on which the later complex liturgies were based47#afb7 ,the title1 rabu-7u7 rabu-7u7 mzu krra munmllau ze almnna1 arranged in seven dactyls1 does not appear in the catalogue of old songs given in the ,assyrian list1 ,,iv ,raw4 #ec ,col4 ,,iii4 ,since the greater part of the psalm consists in an address of the mother goddess to ,enlil on behalf of ,nippur1 the composition is defined as an adoration of 8my mother107#afc7 an epithet applied to ,innini by the singers in most liturgies4 ,the psalm begins with twelve lines sung by the choir and addressed to ,enlil4 ,they then in lines #ac-ae introduce ,innini whom they represent in discourse before ,enlil in lines #af-dg4 ,this part of the song service contains refrains characteristic of public worship4 ,theologically the text illustrates one of the most profound principles of ,sumerian religion1 the sympathy and concern of the virgin mother for mankind47#afd7 ,the great daily services of the standard prayer books represent her as a mater dolorosa and she with ,tammuz shares the vicissitudes of mortal life4 ,our text is unique and noteworthy for one salient fact4 ,it illustrates the scenes so common on ,babylonian seals1 where the mother goddess stands in intercession before the god1 with one or both hands raised in supplication and the left foot advanced as though about to set it on the paved approach to the throne of the deity4 #a4 ar-bu-7u7 ar-bu-7u7 mu-zu kur-ra mu-un-ma-al-la- #a4 ,oh bird arabu1 arabu17#afe7 thou art he whose name is proclaimed in the world4 #b4 za-e al-me-en-na #c4 d4,mu-ul-lil ar-bu-7u7 mu-zu kur-ra mu-un-ma-al-al-la- #c4 ,oh ,enlil1 arabu-bird1 thou art he whose name is proclaimed in the world4 #d4 za-e al-me-en-na #e4 d4,mu-ul-lil ag-sud-du e-ne-em zid- da #e4 ,enlil of unsearchable heart1 of faithful word4 #f4 g ki-ma-al7#aff7 e-ne-em di- di7#afg7 #f4 ,he that bends the neck1 that speaks the word4 #g4 mu-zu kur-ra mu-un-ma-al-la- za-e al-me-en- na #g4 ,thou art he whose name is proclaimed in the world4 #h4 mu-zu kur-ra mu-un-ma-al-la- #h4 ,at thy name which is proclaimed in the world1 #i4 dg-ga-zu kur-ra m-da-ma-al-la- #i4 ,at thy discourse which is proclaimed in the world1 #aj4 ta-a-zu kur-ra m-da-ma-al-la- #aj4 ,at thy aid which is wrought in the world1 #aa4 uru-me-a7#afh7 an n-bi nam-db ki n-bi nam- sg #aa4 ,in my city heaven trembles of itself1 earth quakes of itself47#afi7 #ab4 nibru-7ki7-a an n-bi nam-db ki n-bi nam- sg #ab4 ,in ,nippur the heaven trembles of itself1 earth quakes of itself4 #ac4 ama mu-gg-gi ama nu-bar-ra ama-mu ni-mi-ni-in-g-g #ac4 ,the mother virgin1 the mother courtesan1 my mother began discourse4 #ad4 d4444-e ga-a-an ur-bar-ra-ra7#agj7 #ad4 ,she the divine 4441 queen of the villages1 #ae4 444 ni-mi-ni-in-g- 444 g #ae4 444 discoursed4 #af4 444 ku-a-zu- 444 d #af4 ,when in 444 thou dwellest1 #ag4 444 -la ku-gar-ra7#aga7-zu-d #ag4 ,when in 444 thou makest thy abode1 #ah4 d4,nin-lil-da87#agb7 ga-a-an ke-7ki7-a-ge #ah4 ,with ,ninlil 787 queen of ,ke #ai4 444 en mu-e-da-ab-tar-ri #ai4 444 thou decreest4 4447#agc7 #bj4 444 ge me-ri-mu-7#agd7 nu-,g-e #bj4 ,as ,i was 444 my foot ,i lifted not47#age7 #ba4 a-a-mu lu-lu-mu-r7#agf7 su-din-u ab-ba-ge #ba4 ,to my father1 my benefactor1 as a sudin-bird of the sea17#agg7 #bb4 me-ri-mu- nu-,,ga-e #bb4 ,my foot ,i lifted not4 #bc4 d4,mu-ul-lil--e ag-sud-da #bc4 ,to ,enlil of unsearchable heart1 #bd4 -mu-un e-ne-em zi-da #bd4 ,lord of faithful word1 #be4 g ki-ma-al e-ne-em di-di #be4 ,that bends the neck1 that speaks the word1 #bf4 444 ge me-ri-mu- nu-,,ga-e #bf4 ,as ,i was 444 my foot ,i lifted not4 #bg4 d4,mu-ul-lil 8-e me-ri-mu- 7#agh7-;,,ga-e #bg4 ,but unto ,enlil ,i would lift my foot4 #bh4 444 -ra ga-m-i-r #bh4 ,unto 444 verily ,i will go2 #bi4 me-ri-mu- ga-mu-ni-ib-,,ga #bi4 ,my foot ,i will lift4 #cj4 a-a-mulu-lu-mu-r ga-m-i-r #cj4 ,to my father1 my benefactor1 verily ,i will go2 #ca4 me-ri-mu- ga-mu-ni-ib-,,ga #ca4 ,my foot ,i will lift4 #cb4 d4,mu-ul-lil-ra u-mu- ga-mu-ni-ib-,,ga #cb4 ,unto ,enlil my hand ,i will raise2 #cc4 me-ri-mu- ga-mu-ni-ib-,,ga #cc4 my foot ,i will lift4 #cd4 me-e d4,mu-ul-lil-ra um-ma d-til #ce4 444 u7#agi7-mu-na-da- ab- dg #cd4 ,i unto ,enlil will say1 8,may the mother live40 #cf4 a-a-mu lu-lu-mu-r ab-ba d-til #cg4 444 u-mu-na-da-ab- dg #cf4 ,unto my father1 my benefactor1 ,i will say1 8,may the father live40 #ch4 g-g g-si-di u-mu-na-m-mar #ch4 ,words which set aright all things ,i will say4 #ci4 ur-me-a ama dumu d-im-me #dj4 444 dumu ama d-im-me #ci4 ,in my city may the mother hail her son1 may the son hail his mother47#ahj7 #da4 nibru-7ki7-a ama dumu-d-im-me #da4 ,in ,nippur may the mother hail her son1 #db4 444 dumu ama d-im-me #db4 may the son hail his mother4 #dc4 z7#aha7-;e sl-bi e-im-i-ib-e-gi-en #dc4 ,to ewe and her lamb may he be propitious4 #dd4 e-ne-em d4,mu-ul-lil-l ,,uz-d7#ahb7 m-bi #de4 444 e-en-i-ib-e-gi-en #dd4 ,may the word of ,enlil be propitious to the she-goat and her kid4 #df4 d4,mu-ul-lil-ra uru-ni e-ib nibru-7ki7 #df4 ,for ,enlil1 his city1 brick-walled #dg4 ki-bi ga-mu-na-ab-g #dg4 ,nippur1 unto its place ,i will restore40 #dh4 n-na-teg n-na-teg ama-mu n-na teg #dh4 ,she offers devotion1 she offers devotion1 my mother offers devotion4 ,,lamentation ,,on ,,the ,,pillage ,,of ,,lagash ,,by ,,the ,,elamites4 #baed 7,,no4 #f7 ,this neatly written but seriously damaged single column tablet carried when complete about fifty-five lines4 ,in style the liturgical lamentation has a striking resemblance to the lamentation on the invasion of ,sumer by the people of ,gutium1 published in the author's ,sumerian ,liturgical ,texts1 #abj-abd4 ,the same refrain1 8,how long8 oh my destroyed city and my destroyed temple1 sadly ,i wail10 distinguishes both compositions47#ahc7 ,other lines are common to both threnodies4 ,the contents are similar to the lamentation on ,lagash published in ,cuneiform ,texts of the ,british ,museum1 ,vol4 ,,xv #bb1 of which ,,zimmern has published a variant ,,vat4 #fag ,rev4 ,,ii #aj-db1 in his ,sumerische ,kultleider4 ,a translation of the ,british ,museum text will be found in the author's ,sumerian and ,babylonian ,psalms1 p4 #bhd1 an edition which can now be improved4 #a4 a-a444 #a4 ,father #b4 8 dingir444 #b4 444 #c4 a uru-gul-la -gul-la-mu gg-ga-bi im-mi #c4 ,how long8 oh my destroyed city1 my destroyed temple1 sadly ,i wail47#ahd7 #d4 ud-ba enim ud-dam bi-444 #d4 ,at that time the word like a storm 444 #e4 enim d4,en-lil-l 444 #e4 ,the word of ,enlil 444 #f4 d4,en-lil galu nam-tar 444 #f4 ,enlil who the fate of 444 determined4 #g4 d4,en-lil-li nim-444 #g4 ,enlil 444 #h4 d4,m-m7#ahe7 dumugu 444 #h4 ,mama the princely son 444 #i4 d4,nin-mar-7ki7-ra-ge g444 #i4 ,ninmar 444 #aj4 azag dg-zagin gim-gal-gal-la bal-444 #aj4 ,the holy one who lapis lazuli in great ships 444 #aa4 nin nig-ga- igi-444-ti-la a azag pi-el 444 #aa4 ,the queen 444 humiliates 444 #ab4 nin-e ,,ka48 gim ,,ne-a im-da-ra8 #ab4 ,the queen 444 #ac4 ki laga-7ki7 nim-ki u-ni-a im-ma-i-in-g #ac4 ,the land of ,lagash he abandoned unto the hand of ,elam4 #ad4 ud-bi-a nin-e 444 ud-da-ni s-nam-ga7#ahf7-mu-ni-ib-dg #ad4 ,at that time his wrathful word verily attained the queen4 #ae4 d4,ba- galu-sukal-lu-gim ud-da-ni s- nam-ga-mu-ni-ib-dg #ae4 ,his wrathful word attained unto the divine ,bau even as a messenger4 #af4 me-li-e-a ud-d u-ni-a im-ma-i-in-g #af4 ,woe is me1 the spirit of wrath into her hand he entrusted4 #ag4 ud uru gul-gul-e u-ni-a im-ma-i-in-g #ag4 ,the spirit of wrath that destroys the city into her hand he entrusted4 #ah4 ud gul-gul-e u-ni-a im-ma-i-in-g #ah4 ,the spirit of wrath that destroys the temple into her hand he entrusted4 #ai4 uru8 d4,dumu-zi-abzu-ge-ta ki nir-a-ki-ba-ge im7#ahg7-ma ba-an-teg7#ahh7 #ai4 ,in the city787 of ,tammuz of the sea1 the place of wailing 444 terror it caused4 #bj4 444 nir-ag-7ki7 uru nam-ibir-ka ni-ar-ar-ge izi-ba-ab-dg #bj4 ,the city 444 nirsag1 city of 444 with fire it consumed4 #ba4 444 uru787-ni ,nin-7ki7-a kur-ri ba-ab-gar7#ahi7 #ba4 444 of her city ,nin it seized away to the mountains4 #bb4 ,sirar7#aij7-7ki7 ki-dr kenag-g-ni ul-gl-e ba-ab-ub #bb4 ,sirar her beloved habitation an evil one has overthrown4 #bc4 a uru-gul-la -gul-la-mu gg-ga-bi7#aia7 im-me #bc4 ,how long8 my destroyed city1 my destroyed temple1 sadly ,i wail4 #bd4 g-pr7#aib7 azag nam-en-na-ba u-ba-e-l-lal #bd4 ,of the holy 8,dark ,chamber0 the priestly rites are suspended4 #be4 en-bi g-pr-ta ba-da-an-ar ki-erim-e ba-ab-,,ka7du77#aic7 #be4 ,its high priest from the 8,dark ,chamber0 has been taken and unto the land of the foe has gone4 #bf4 444 ,,ku-si-na d4,nannar-ka da-dugud ba-i-in-du #bf4 #bg4 444 gan kaskal-gid d4,nannar-ka tr-dugud 444 #bg4 #bh4 444 ar-ra-gim b-ri ba-ra- 444 #bh4 #bi4 444 gim b-ri ba-an-de i-im-gul-gul-lu-ne7#aid7 #bi4 444 they destroyed4 #cj4 444 azag-ga-bi im-z-ir-z-ri7#aie7-;e-ne 444 -e-ne #cj4 ,of the 444 its holy 444 they shattered and 444 #ca4 a uru-gul-la -gul-la-mu gg-ga-bi im-me #ca4 ,how long8 oh my destroyed city and my destroyed temple1 sadly ,i wail4 #cb4 g-pr azag nam-en-na-ba u-ba-e-l-lal #cb4 ,of the holy 8,dark ,chamber0 the priestly rites are suspended4 #cc4 en-bi g-pr-ta ba-da-an-ar ki-erim-e ba- ab- du #cc4 ,its high priest from the 8,dark ,chamber0 has been taken and unto the land of the foe has gone4 #cd4 444 gid-da-bi444a-nir ba-an-da-di #cd4 #ce4 444 -bi nu gud-du sag me-te-a- li-be-b-gl #ce4 #cf4 444 ,,ka b-bi ba-ra-an-kd7#aif7 #cf4 #cg4 444 a 444 a-ri-a-e ba-da-ab-lal #cg4 444 has bound with him787 #ch4 444 ka l-erm-e ba-an-8 #ch4 ,the 444 of the 444 the foe has 444 #ci4 444 -da787-ab-ag #ci4 #dj4 444 -sug-ga ba-an-d #dj4 #da4 ki 444 ,,lu a-ri tr-dugud-gim ba-gul #da4 444 like a ruined cattle stall has been destroyed4 #db4 dingir ,nin 444 m 444 gr kr ba-ra-an-ku #db4 ,as for the goddess ,nin 444 her 444 the foe has set his foot47#aig7 #dc4 d4,nin-l-ga-ge im 444 na er-ni-- #dc4 ,ninliga 444 weeps bitterly4 #dd4 a uru-gul-la -gul-la-mu gg-ga-bi im-me #dd4 ,how long8 oh my destroyed city and my destroyed temple1 sadly ,i wail4 #de4 g-pr-azag nam-en-na-ba7#aih7 u-ba-e-l-lal #de4 ,of the holy 8,dark ,chamber0 the priestly rites are suspended4 #df4 en-bi g-pr-ta ba-da-an-ar ki-erim-e ba-ab-,,ka7du7 #df4 ,its high priest from the 8,dark ,chamber0 has been taken and unto the land of the foe has gone4 #dg4 d4,nin-a-zu-ge 444 #dg4 ,ninazu7#aii7 444 #dh4 d4,nin-ar-sag 444 #dh4 ,ninharsag 444 #di4 tu-7u7-gim 444 #di4 ,like a dove 444 #ej4 a uru-gul-la -gul-la-mu gg-ga-bi im-me #ej4 ,how long8 oh my destroyed city and my destroyed temple1 sadly ,i wail4 444 4447#bjj7 ,,lamentation ,,to ,,innini ,,on ,,the ,,sorrows ,,of ,,erech4 #achei 7,,poebel ,,no4 #bf7 ,this well preserved single column tablet is published by ,,poebel in ,,pbs4 ,v #bf4 ,the composition reflects the standard theological ideas found in the canonical psalms and liturgies4 ,the mother goddess ,innini is represented as a divine mother wailing for the misery of her city and her people4 ,the calamity consists in the pillage of the city and its holy places by a foreign invader1 who is repeatedly compared to an ox4 ,like the ordinary psalms of public service the singers abruptly introduce the goddess speaking in the first person as in lines #af2 #ah-bj2 #cc-d4 ,but the lamentation does not have refrains and at the end the style approaches nearly that of a prayer4 ,the tablet also bears no liturgical note at the end4 ,for these reasons and because of the general impression which the lines leave with the present interpreter1 he classifies this text as the product of a scholastic liturgist of the ,ur or ,isin period whose work was not incorporated into the corpus of the official breviary4 ,,obverse #a4 zabar aga-zu8 im-gr-gr-ri #a4 ,oh pure one thy787 crown overawes4 #b4 til-igi-da7#bja7-zu 444 im-bi-bi-ri #b4 ,thy proceeding arrow scatters the4444 #c4 zd7#bjb7-;gu-ig suur-s-lal 7a7-da 444 -kr4444 #c4 ,meal of the 444 bean to the beared skate-fish thou givest to eat4 #d4 eg a sg eg-eg a s-lum-ma-gim im-bul-444-- #d4 ,she that gives fish to the stream1 in the streams fish 7as numerous7 as dates she causes to dart about4 #e4 gud-dam ra e-sir unug-7ki7-ga-ge r-m mu-na-ab787- 444 u #e4 ,rushing like an ox in the street of ,erech like a multitude787 he followed7#bjc7 #f4 r-ra gi-,,ku-,a7#bjd7 mu-na-an-dr-ru-ne-e #f4 ,multitudinously in the habitations they dwelled4 #g4 attam-a-ni lugal gab-gl7#bje7 ki-gub-bu-ne ba-ra- #g4 ,her precentor17#bjf7 the defender king1 whither they go1 went up4 #h4 ugnim-e igi-im- ma- an- sg #h4 ,the hosts of peoples she beholds4 #i4 nar-e li-du-a u-i-ni-in-g b7#bjg7 u-na be-in-ub #i4 ,the singer refuses to chant and from his hand has thrown the drum4 #aj4 ni7#bjh7-nag-a-zu ni-nag-a-zu #aj4 ,thou drinkest not2 thou drinkest not4 #aa4 a7#bji7 nu-e-nag ama-zu um-mi-ni-nag #aa4 ,water thou drinkest not1 but thy sheepfolds drink4 #ab4 ni-nag-a-zu ni-nag-a-zu #ab4 ,thou drinkest not2 thou drinkest not4 #ac4 ka nu-e-nag 7#baj7-zu um-mu-ni-nag #ac4 ,beer thou drinkest not1 but thy protgs drink4 #ad4 gud-dam e7#baa7 e-sir unug-7ki7-ga-ge r-m ma-ra-mi--u #ad4 ,like an ox going forth in the streets of ,erech like a multitude787 he pursues thee4 #ae4 ar-ra-m gi-,,ku-,a ma-ra-dr-ru-ne-e #ae4 ,in multitudes they have taken up their abodes in the habitations4 #af4 mn7#bab7 a-na-ag-en sal-e m-a ma-an-dg-ga sal-un-ne7#bac7 mn-ne-en #af4 ,as for me what shall ,i do8 ,i who have bestowed care4 ,a sacred devotee ,i am4 #ag4 gud-dam e ib-tag-ra be-in-ra ni-zu7#bad7 e-ne-ib-u #ag4 ,coming forth like an ox1 hastening in destructive fury he came2 even thee thyself he pursued4 #ah4 ar-r nam-ur-sag-g-mu u-nu-um-ma-ti #ah4 ,the ar-ur weapon1 arm of my heroic power ,i have taken not in my hand4 #ai4 allab-m a-gil-zu7#bae7-;bi dal-la mi-ni-g7#baf7 #ai4 ,of my temple in ,hallab its treasures he has hidden far away4 #bj4 gi-dal -an-na pa-ba mi-ni-in-kud #bj4 ,of the tallu7#bag7 of ,eanna its ,,pa he broke off4 #ba4 gud-dam sil- im-ma-na-ra- #ba4 ,like an ox he came up against thee on the highways4 #bb4 gud-dam e e-sir unu-7ki7-ga-ge r-ra mu-ni-in-gaz #bb4 ,like an ox going forth in the streets of ,erech he slaughtered multitudes7874 #bc4 r-ra gi-,,ku-,a-a-na mu-ni-in-dg #bc4 ,multitudes in their habitations he caused to die4 #bd4 gi-ig k-gal-la im-ma-an-gr-gr #bd4 ,the doors of the city gate he shattered4 #be4 a-tu7#bah7-na-ka 444 im-ma-an- #be4 ,her defender he caused to go forth1 #bf4 u-,,pe7#bai7 dumu u-,,pe d4,innini-ge #bf4 ,the fisherman1 the son fisherman of ,innini4 #bg4 en-urudu mu-na-an-bar-ri-ia-dg7#bbj7 #bg4 ,the copper vessels he scattered4 #bh4 gud-dam ra 444 im-ma-an-ra-a #bh4 ,hastening like an ox he has wrought demolition4 #bi4 gud-dam e er-im-ma-an-ub7#bba7 sg-sg-ni-m-mal7#bbb7 #bi4 ,coming forth like an ox tears he has caused to fall and misery he caused to be4 #cj4 d4,innini zig7#bbc7-mu sum-ma-ab #cj4 ,oh ,innini1 grant me favor4 #ca4 gud kur-ra ga-mu-ra-ab-sum tr-zu ga-mu-ra-ah-lu7#bbd7 #ca4 ,oxen of the mountains ,i will give thee2 thy stables ,i will enrich for thee4 #cb4 udu 444 kur-ra 444 ga-mu-ra-ab-sum ama-zu ga-mu-ra-ab-lu #cb4 ,sheep of the mountains ,i will give thee2 thy sheepfolds ,i will enrich for thee4 #cc4 azag d4,innini-ge mu-na-ni-b-g-g7#bbe7 #cc4 ,holy ,innini replied3-- #cd4 a-ag allab-7ki7-a dr-gar be-e-gar-ra e-ku7#bbf7 ni-nad-ba #cd4 8,in the plains of ,hallab thou shalt make thy abode where the people repose40 #ce4 ama-ba7#bbg7 444 gr787 444 a-ra-ab-tg-e balag-al7#bbh7 u-mu-ra-ab-bi #ce4 ,may their hosts attend787 thee and proclaim to thee on lyre and harp787 #cf4 d4,innini nam-ur-sag-zu7#bbi7 ga-m-dg #cf4 ,oh ,innini1 ,i will rehearse thy valor4 #cg4 zag-sal-zu 444 dug-ga-m #cg4 ,it is good to sing thy praise4 ,,liturgical ,,hymn ,,to ,,sin4 #hjig 7,,no4 #g7 ,this liturgical composition consists of two melodies each designated by the rubric sagarram1 8,it is a sagar40 ,the entire service is sung to the tig1 a kind of flute4 ,in the first melody of fifteen lines the choir chant the glory of the moon god and his city ,ur4 ,the second melody of twenty-four lines is apparently an address of the earth god ,enlil to his son the moon god4 ,this melody must remain obscure as long as the recurring liturgical phrase b-mu-ba-i-in-dib is unexplained4 4444 4444 #e4 444-ni uri-ki mu- ba-an-s #e4 ,his city787 the abode of ,ur as a name he named4 #f4 en ud-sud-du-ge uru-ni-ta #f4 ,as lord unto eternal days in his city1 #g4 d4,zu-en-e kidur7#bcj7 ba-ni-in-gar #g4 ,the god ,sin he7#bca7 caused to abide4 #h4 uri-ki uru ag-gi-pad-da-na #h4 ,in ,ur the city which his heart has chosen #i4 gud-gim ub-im-me #i4 ,the temple like a strong bull calls unto the regions7877#bcb7 #aj4 lugal-mu 444 s-rin-na-ni7#bcc7 #aj4 ,of my king1 may his net787 #aa4 ki-ma ki-kal-kal e-en-na-nam-ma-m #aa4 ,be upon tomb and ruins4 #ab4 d4,zu-en-e uru kenag-g-ni #ab4 ,of ,sin1 may his beloved city1 #ac4 e uri-7ki7 me-azag-azag-ga4444 #ac4 ,the dwelling-place ,ur1 with holy decrees a city4444 #ad4 lugal-mu bara4444 #ad4 ,of my king may his chapel4444 #ae4 444-e nin 444 gar-ra4444 #ae4 4444 #af4 sa- gar- ra- m7#bcd7 #af4 ,it is a sagar melody4 #ag4 e7#bce7 d4,nannar b - zu me-a mu-'u-lu en d4-m-r #ag4 ,hail6 ,nannar1 of the flocks787 thou art ruler1 lord ,aimur4 #ai4 uru igi-ila ag -gl ul- ti7#bcf7-;a-ni-m #ai4 ,in my city of the lifting of the eyes1 the home of his own abode1 which is his fulness of luxury1 #bj4 uruppak-gim nam-ar--gud-e7#bcg7 gl-la-bi #bj4 ,whose design is like uruppak1 #ba4 444-e4444 b-mu-ba-i-in-dib #ba4 4444,i have caused him to be a shepherd787 #bb4 e dumu e4,en-lil-l kalama me-a mu-'u-lu en d4-m-r #bb4 ,hail6 son of ,enlil1 in the ,land he is ruler1 lord ,aimur4 #bd4 uru igi- ila -ag-gl ul-ti-a-ni-m #bd4 ,into my city of the lifting of the eyes1 the home of his own abode1 which is his fulness of luxury1 #be4 uruppak-gim nam-ar-gud-e gl-la-bi #be4 ,whose design is like uruppak1 ,,reverse #a4 444 b-mu-ba- i-in-dib #a4 444 ,i have caused him to be a shepherd787 #b4 dumu-sag d4,en-lil-l kalama me-a mu-'u-lu en d4-m-r #b4 ,first son of ,enlil1 in the ,land he is ruler1 lord ,aimur1 #d4 ud--dug-ga ki-gar-ra mu- ga-s-a #d4 8,he that institutes battle0 as a name ,i name4 #e4 d4-m-r ag-gi-pad-da-mu #e4 ,aimur the 444 whom my heart has chosen1 #f4 -mud-kur-ra-mu7#bch7 b-mu-ba-i-in-dib #f4 ,in ,emudkurramu ,i caused to be a shepherd7874 #g4 dumu-sag d4,en-lil-l kalama me-a mu-'u-lu #g4 ,first son of ,enlil1 in the ,land he is ruler4 #h4 ud-dug-ga7#bci7-ki-gar-ra mu- ga-s-a #h4 8,he that institutes battle0 as a name ,i name4 #i4 d4-m-r me-en ki ag-gi-pad-da-mu #i4 ,aimur thou art2 where my heart has chosen1 #aj4 -mud-kur-ra-mu b-mu-ba-i-in- dib #aj4 ,in ,emudkurramu ,i have caused thee to be a shepherd7874 #aa-ab4 lugal tr-azag-ga b-zu me-a mu-'u-lu ul-pa munsub-nun-na #aa-ab4 ,lord of the clean sheepfolds1 ruler of the flocks is he1 the glorious787 hero1 far famed shepherd4 #ac4 ag-tm-ma bara a mu-un-d e-e uri-7ki7-mu- #ac4 ,in the meadow a sanctuary ,i have built2 in the abode of my city ,ur1 #ad4 -g-nam-sar kur ,dilmun-na nam #ad4 ,in the temple agnamsar7#bdj7 which is in the mount of ,dilmun1 #ae4 -gi-azag-bi-a b mu-ba-i-in-dib #ae4 ,in the temple of the holy stylus a shepherd ,i caused him to be787 #af4 dumu-sag d4,en-lil-l kalama me-a mu-'u-lu ul-pa munsub nun-na #af4 ,first son of ,enlil1 in the ,land he is ruler1 glorious787 hero1 far famed shepherd4 #ah4 ag-tm-ma bara a-mu-un-d -e uri-ki-mu- #ah4 ,in the meadow a sanctuary ,i built2 in the abode of my city ,ur1 #ai4 --nam-sar kur ,dilmun-na nam #ai4 ,in the temple agnamsar which is in the mount of ,dilmun1 #bj4 -gi-azag-bi-a b-mu-ba-i-in-dib #bj4 ,in the temple of the holy stylus a shepherd ,i have caused him to be787 #ba4 sa-gar- ra- m #ba4 ,it is a sagar melody4 #bb4 nar-balag7#bda7 d4,zu-en-na #bb4 ,song on the flute to ,sin4 ,,lamentation ,,on ,,the ,,destruction ,,of ,,ur4 #gjhj 7,,no4 #aa7 ,the fragment ,ni4 #gjhj carries the right half of one of the largest literary tablets in the ,museum4 ,broken evenly at the center from top to bottom the right half of this tablet preserves part of ,col4 ,,iii and all of ,cols4 ,,iv1 ,v of the obverse4 ,the reverse correspondingly contains ,cols4 ,i1 ,,ii and half of ,col4 ,,iii4 ,like so many similar liturgical compositions of the period of ,ur this lamentation is divided into a series of kiubs or songs1 here of unusually great length4 ,the third song ends at ,obv4 ,,iii #ch2 its first line stood in ,obv4 ,,ii1 which has been lost4 ,the fourth song began at ,obv4 ,,iii #db and ends at ,obv4 ,,iv #bc1 containing thirty-four lines4 ,the fifth song begins at ,obv4 ,,iv #bg and ends at ,obv4 ,v #g1 containing forty-seven lines4 ,in the following pages will be found a translation of twenty-three lines of the end of the fourth song which describes the wrathful word of the gods ,anu and ,enlil4 ,the fifth song1 a remarkable ode to the wrathful word of ,enlil1 has been translated so far as the text permits4 ,the sixth song begins at ,obv4 ,v #aa1 and probably terminated in the broken passage at the top of ,rev4 ,i4 ,its length was also unusual1 having at least forty-five lines4 ,this song was edited on a small tablet ,ni4 #dehd on which the beginning and the end of the section are preserved4 ,it has been published as ,no4 #aj in ,sumerian ,liturgical ,texts1 ,vol4 ,x of the ,publications of the ,babylonian ,section4 ,only a few lines at the commencement of this song have been translated here4 ,from this point onward the language of the liturgy presents such difficulty that the writer has been unable to offer a translation4 ,section seven probably ended at the top of ,rev4 ,,ii and refers throughout to the mother goddess who weeps over the ruins of ,ur4 ,the eighth song probably began at the top of ,rev4 ,,ii and ended perhaps at the top of ,rev4 ,,iii4 ,it is another doleful ode to the weeping mother and many of its lines are clear and translatable4 ,the entire song is marked by sorrowful refrains3 me-li-e-a uru-mu nu-me-a1 ,oh woe is me1 my city is no more47#bdb7 a-uru-mu im-me1 ,how long8 oh my city ,i cry47#bdc7 me-li-e-a uru-ta -a-mn1 ,oh woe is me1 from the city ,i depart47#bdd7 dingir ga-a-an-gal-mn -ta -a-mn1 ,great divine queen am ,i1 from the temple ,i depart47#bde7 er-gig ni--1 ,she weeps bitterly47#bdf7 ,only the ends of lines of a large part of the ninth song are preserved in ,rev4 ,,iii4 ,the tenth song probably occupied most of the space in ,rev4 ,,iv4 ,speculation concerning the number of songs in the entire liturgy is limited to the number of about #aa-ac4 ,the liturgy was1 therefore1 extremely long1 attaining to a content of about #ejj lines4 ,we know from the single tablet variant of the sixth song that another edition of this series existed in which small tablets carried each a single kiub4 ,a similar condition of editorial redaction is revealed by ,,zimmern1 ,,kl4 #bjj1 a small tablet which contains the twelfth song of a liturgy to the deified king of ,isin1 ,ime-,dagan4 ,the historical event referred to in this liturgy is undoubtedly the destruction of ,ur in the time of ,ibi-,sin1 last of the kings of the ,ur dynasty4 ,this calamity left many traces in the temple songs of ,sumer1 and the ,sumerian prayer books of ,nippur contain other lamentations on the fall of ,ur1 written perhaps during the ,isin period4 ,the writer has already published a single column tablet which rehearses the same catastrophe1 mentioning ,ibi-,sin himself and naming the ,elamites as his captors47#bdg7 ,,obverse ,,iv #a4 an-ni e-ne-em-bi ba-ra-mu-un-gur #a4 ,anu may prevent his word4 #b4 d4,mu-ul-lil-e ni7#bdh7-;g e-m-bi #b4 ,enlil may order kindness4 #c4 444 ag-mu ba-ra-be-in-ed-di #c4 ,and may my heart be at peace from sorrow4 #d4 444-su-ud arad-na sag ki-ba-da-ab-gl-la #d4 #e4 -nae-ne-em-sr-ragur-da-bi #e4 the angry word be prevented4 #f4 ba-da-an-dr-ru-ne-e-a #f4 #g4 r-e-im-ma-gid-gid-da e-im-ma-lal-l #g4 ,the foundations it has annihilated1 and reduced to the misery of silence4 #h4 an-ra a-i-ne-m me-e e-im-ma-na-dg #h4 ,unto ,anu ,i will cry my 8how long80 #i4 d4,mu-ul-lil-ra n-mu ag-ne-du e-im-ma-ag #i4 ,unto ,enlil ,i myself will pray4 #aj4 uru-mu nam-ma-gul-lu e-im-me-ne-dg #aj4 8,my city has been destroyed0 will ,i tell them4 #aa4 ,uri-7ki7 nam-ma-gul-lu e-im-me-ne-dg #aa4 8,ur has been destroyed0 will ,i tell them4 #ab4 uku-bi nam-ma-bir787-e e-im-me-ne-dg7#bdi7 #ab4 8,its people have been scattered0 will ,i tell them4 #ac4 an-ni e-ne-em-bi ba-ra-mu-un-gur #ac4 ,may ,anu prevent his word4 #ad4 d4,mu-ul-lil-e ni-g e-m- bi #ad4 ,may ,enlil order kindness4 #ae4 ag-mu ba-ra-be-in-ed-di #ae4 ,and may my heart be at peace from sorrow4 #af4 uru-mu gul-gul-lu-ba-da-bi e-im-ma-an-8-e #af4 ,my city which has been destroyed may they 444 #ag4 ,uri-7ki7 gul-gul-lu-ba-da-bi e-im-ma-an-8-e #ag4 ,ur which has been destroyed may they 444 #ah4 uku-bi dg gi-bil-u g-bi a-ba-an-ar-ri-e #ah4 ,of its slain people may they decree a new dispensation47#bej7 #ai4 me-e nig-dg-mu mu-ne-sum-ma-gim7#bea7 #ai4 ,i will offer my meditations unto them4 #bj4 me-e uru-mu-da e-en-bi mu-un-da-lal-e #bj4 ,i 7will say to them73 8,in my city they have despised the splendor40 #ba4 ,uri-7ki7 mu-durun-da e-en-bi mu-7un7-da-lal-e-e #ba4 8,in ,ur the city of homes they have despised the splendor40 #bb4 an-ni dg-ga-ni ur nu-kr-ru-dam #bb4 ,anu whose words in this manner change not4 #bc4 d4 ,mu-ul-lil-e eim-bi -a-ni 444 e-dam #bc4 ,enlil the going forth of whose word4444 #bd4 ki-ub-g #d-kam-ma-m #bd4 ,it is the fourth song4 #be4 uru-ni ba-da-gul-m me-ni ba-da-kr-am #be4 ,her city has been destroyed1 her ordinances have been changed4 #bf4 gi-g- gl-bi- im #bf4 ,this is its antiphon4 #bg4 d4 ,en-lil-li ud-de g-ba-an-de #bg4 ,enlil utters the spirit of wrath #bh4 uku-e e-m- #bh4 and the people wail4 #bi4 ud e-gl-la kalaa-da ba-da-an-ar #bi4 ,the spirit of wrath prosperity from the ,land has destroyed #cj4 uku-e e-m- #cj4 and the people wail4 #ca4 ud dug ,ki-en-gi-da ba-da-an-ar uku-e e-m- #ca4 ,the spirit of wrath peace from ,sumer has taken and the people wail4 #cb4 ud ul-gl-e -ba-da-an-g uku-e e-m- #cb4 ,he has sent the evil spirit of wrath and the people wail4 #cc4 in-gal-ud-da ud-da-gub-ba u-na im-ma-an-sg #cc4 ,the 8,messenger of ,wrath10 the 8,assisting ,spirit0 into its hand he entrusted47#beb7 #cd4 ud kalam-tl-tl-e g-ba-an-de uku-e e-m- #cd4 ,he has uttered the spirit of wrath which exterminates the ,land and the people wail4 #ce4 d4,en-lil-li d4,gi-bil -ta-a ki-mu-na-ni-in- #ce4 ,enlil has sent ,gibil as its helper4 #cf4 ud-gal an-na-ge g-ba-an-de uku-e e-m- #cf4 ,the great spirit of ,heaven has been uttered and the people wail4 #cg4 ud-gal-e7#bec7 an-ta g-ni-ib-im-me uku-e e-m- #cg4 ,the mighty spirit on high he commanded forth and the people wail4 #ch4 ud kalam tl-tl-e azag ki 444 #ch4 ,the spirit that annihilates the ,land 444 #ci4 im-ul-e a-ma--a-gim 444 #ci4 ,the evil storm like a mounting inundation 444 #dj4 gi-dr7#bed7 uru-ge sag-gaz ni-ag 444 #dj4 ,the shepherd of the city it slew 444 #da4 an-na r-ba8 mu-un-nigin 444 #da4 ,of heaven its foundation it 444 #db4 ud-da igi-ba-ne mu-un-ne-ne 444 #db4 #dc4 br-br-ri ne-gig-edin-na tr787 444 #dc4 #dd4 an-ne-bar-m ne-gr-gr 444 #dd4 #de4 an-ne ,,ud-,,ud 444 #de4 #df4 kalam-ma lg-lg-ga 444 #df4 7,lines #dg-ee mostly illegible47 ,col4 ,v4 7,lines #a-f mostly illegible47 #g4 ,uri-7ki7-ma tg-gim ba-e-gul 444 gim ba-e-br #g4 ,ur like a garment thou hast destroyed1 like a 444 thou hast scattered4 #h4 ki-ub-g #e-kam-ma-m #h4 ,it is the fifth song4 #i4 ud ug787-m al- uku-e e-am- #i4 ,the spirit of wrath like a lion 444 and the people lament4 #aj4 gi- g- gl -bi- im #aj4 ,this is its antiphon4 #aa4 ud-ba ud uru-da ba-da-an-gar uru-bi 444 #aa4 ,at that time the spirit of wrath upon the city was wrought and the city44447#bee7 #ab4 a-a d4,nannar uru dim-dl-dl-da ba-da-an- uku-e e-m- #ab4 ,father ,nannar upon the city of master workmen 444 and the people wail4 #ac4 ud-ba ud kalama-ta ba-da-an-kr uku-e e-m- #ac4 ,at that time the spirit of wrath descended upon the ,land and the people wail4 #ad4 uku-bi ika-kud-da nu-me-a bar-ba ba-e-si #ad4 ,her people without water jars sit without her in desolation #ae4 bd-ba g 87#bef7-nin kaskala im-ma-an-gar-gar uku-e e-m- #ae4 ,within her 444 in the ways are placed and the people wail4 #af4 k-gal-ma gr-gl-la-ba d-a im-ma- an ,,bad #af4 ,the great city gate and the highways with the dead are choked up4 #ag4 duk8-tun-sr-gim d-a-ba sag-bal-e ba-ab- gar #ag4 ,like a leather vessel all of her the usurper cast asunder787 #ah4 e-sir gr-gl-la-ba d im-ma-an-gar-gar #ah4 ,in her 444 streets and roads corpses he heaped up787 ,,liturgical ,,hymns ,,of ,,the ,,tammuz ,,cult4 #cfef 7,,myhrman ,,no4 #e7 ,the obverse of this fine single column tablet contained a hymn in thirty-eight lines to the departed ,tammuz4 ,it represents the people wailing for the lord of life who now sleeps in the lower world4 ,thirteen lines have been completely broken away from the top4 ,the reverse carried a long liturgical song of the cult of this god in which the mother goddess is represented wailing for her ravished lover4 ,songs of the weeping mother are common enough in these wailings for ,tammuz1 but all other known examples of this motif represent the major unmarried type of mother goddess ,innini-,ishtar wandering on earth1 crying for her departed son4 ,the hymn on our tablet reveals in a wholly unexpected manner the close relation between the mother goddess ,gula of ,isin and ,innini4 ,it was known that both sprang from a common source1 a prehistoric unmarried goddess1 but one had hardly supposed that the liturgists went so far as to introduce the married goddess of ,isin in the rle of the virgin mother ,innini4 ,the great mother divinity of ,isin1 although attached in a loose way to a male consort ,ninurta1 in that city retained1 nevertheless1 much of her ancient unattached character4 ,in the standard liturgies she is almost invariably the type of ,weeping mother1 whereas ,innini is this type in the ,tammuz liturgies4 ,since ,gula of ,isin was the ordinary liturgical type we find the influence of the ordinary liturgies effective in the composition of the ,tammuz hymn4 ,it explains the extraordinary phenomenon of the introduction of a long passage 7,rev4 #c-aj7 from one of the wailing liturgies4 ,and the short litany refrain lines #aa-bj is obviously an imitation of numberless similar passages of the ordinary liturgies in which the goddess wails for various temples2 here only for ,nippur and ,isin1 since the composition was written for the services at ,nippur in the period of the ,isin dynasty4 ,in a most gratifying manner our tablet shows how the lamentations of the mother goddess in the canonical prayer books express sorrows for certain concrete misfortunes and certain defined temples and cities and find their general expression in the lamentations for ,tammuz1 the representative of all human vicissitudes4 ,this edition has been made from my own copy4 ,the tablet was first published by ,,myhrman1 ,,pbs4 ,vol4 ,i ,no4 #e1 and by ,,radau1 ,,be4 #cj ,no4 #b4 ,to these copies ,i have been able to make only slight additions4 ,,hymns ,,of ,,the ,,tammuz ,,cult #a4 ,,ku-8 #a4 #b4 kalag gi #b4 ,oh strong one #c4 me-ri ku--zu7#beg7 #c4 ,thy weary foot #d4 -lirum-u7#beh7-ku--zu 444 #d4 ,thy weary arms--breast--hands #e4 a-zu7#bei7-;guru a-zu #e4 ,oh strong healer1 oh 444 healer #f4 kalag d4,da-mu-mu #f4 ,oh strong one1 my ,damu #g4 u-mu -mu-un mu-zi-da #g4 ,oh child1 lord ,gizida #h4 a-zu a dam 444 ni-ku--a-zu #h4 ,oh healer1 how long husband 444 wilt thou be weary8 #i4 a-zu a u-mu 444 ni-ku--a-zu #i4 ,oh healer1 how long son 444 wilt thou be weary8 #aj4 i-d 787 444 u-ru 8 na8 zu-d #aj4 ,when before 444 thou sittest1 #aa4 kalag da-ga-m-ma7#bfj7-ni 444 zu-d #aa4 ,oh strong one1 when into his assembly thou 444 #ab4 a-rib7#bfa7 u-si me-ri 444 a-bal-m na-nam #ab4 ,alas he whose fingers and feet are bound1 my irrigator7#bfb7 is he4 #ac4 ag-zu- la-a-la-a-u-a-zu #ac4 ,because of thee she wanders far for thee4 #ad4 kalag d4,da-mu-mu a-bal-m na-nam #ad4 ,my sturdy ,damu1 my irrigator is he4 #ae4 ama-zu mu-lu er-ri nu-ku- #ae4 ,thy mother she of lamentation rests not4 #af4 ama ga-a-an tin-dib-ba tb-bi- nu-durun #af4 ,the mother1 queen who gives life to the afflicted1 tarries not to repose4 #ag4 -ub-ba-za -zi-ga-za sr-ri- na-ri-bi #ag4 ,in thy perdition1 in thy seizure1 in melodious sighing she speaks of thee4 #ah4 kalag a-rin-na-za 787 a-tar-ra-za sr-ri- na-ri-bi #ah4 ,oh hero1 in thy contumely1 in thy removal1 in melodious sighing she speaks of thee4 #ai4 ama-ugu-mu ,,gar-,,lul-,,lul-na-mu sr-ri- nu-u ma-gub-bi #ai4 ,my child-bearing mother1 my lamenter787 with melodious sighing behold she stands #bj4 kalag idim-ma me-en galu-kur-al #bj4 ,oh sturdy one1 prostrate thou art1 a man of the land of wailing7877#bfc7 #ba4 en 444 me-en galu-kur-dim7#bfd7 #ba4 ,oh lord1 444 thou art1 a man of the land of lament4 #bb4 unu-dagal-mu kur-idim-ma-mu #bb4 ,in my vast chamber1 in my land of misery1 #bc4 en me-en a-ra-li ki-sag kirud-da-mu #bc4 ,a lord am ,i4 ,in ,aralu1 place where ,i am cast away1 #bd4 kalag me-en kur-ri-sud-du- im-ma-ab-du me-en #bd4 ,a laborer am ,i4 ,unto the faraway land ,i go4 #be4 ud-me-e-na7#bfe7 ni- 8 8 #be4 ,daily787 he sorrows87#bff7 ,,reverse #a4 -ab-er-ri7#bfg7 ku--a-mu ma-a-a nad-da-mu #a4 ,i weary with heart woe1 where shall ,i rest8 #b4 balag-di -ab-er-ri ku--a-mu ma-a-a nad-da-mu #b4 ,oh sing to the lyre2 ,i weary with heart woe1 where shall ,i rest8 #c4 ama uru-sag ga-a-an tin-dib-ba mn #c4 ,mother of the chief city17#bfh7 queen who gives life to the dead am ,i4 #d4 sag-u-an-na ga-a-an -si-in-7ki7-na mn #d4 ,first born daughter of heaven17#bfi7 queen of ,isin am ,i4 #e4 u-mu -a ga-a-an-mu7#bgj7 d4,gu-nu-ra #e4 ,daughter of the temple1 ,queen ,gunura4 #f4 tum-lu-azag ama -b-ba mn #f4 ,holy tumlu mother of ,eabba am ,i4 #g4 d4,en--nun7#bga7 ama g-an-ni-si mn #g4 ,enanun mother of lamentation am ,i4 #h4 ga-a-an nign-mar-ra ki-azag-ga mn #h4 ,queen of ,niginmarra17#bgb7 the holy place1 am ,i4 #i4 ga-a-an -te7#bgc7 444 ga-a-an ,la-ra-ak-7ki7 mn #i4 ,queen of ,ate17#bgd7 queen of ,larak4 #aj4 ama -a d4,anan d4,azag-sud mn #aj4 ,mother of the temple1 ,anan the divine lustrator7#bge7 am ,i4 #aa4 -ab-er-ri a-e-ir-ri ma-a ku--mu #aa4 ,weeping and sighing where shall ,i find rest8 #ab4 er -kur-ra-ge ma-a ku--mu #ab4 ,weeping for ,ekur1 where shall ,i repose8 #ac4 er kenur-ra-ge ma-a ku--mu #ac4 ,weeping for ,kenur1 where shall ,i repose8 #ad4 er d-azag-ga-ge ma-a ku--mu #ad4 ,weeping for ,duazagga1 where shall ,i repose8 #ae4 er -dm-ma7#bgf7-;ge ma-a ku--mu #ae4 ,weeping for the 8,house of the ,king10 where shall ,i repose8 #af4 er uru-sag-g-ge ma-a ku--mu #af4 ,weeping for the chief city1 where shall ,i repose8 #ag4 er tir-azag-ga7#bgg7-;ge ma-a ku--mu #ag4 ,weeping for the sacred forest1 where shall ,i repose8 #ah4 er -si-in-7ki7-na-ge ma-a ku--mu #ah4 ,weeping for ,isin1 where shall ,i repose8 #ai4 er -gal-ma-a-ge ma-a ku--mu #ai4 ,weeping for ,egalmah1 where shall ,i repose8 #bj4 er ,la-ra-ak-7ki7-a-ge ma-a ku--mu ma-a na-d-da-bi #bj4 ,weeping for ,larak1 where shall ,i repose1 where shall he rest8 #ba4 -ab dam-e-mu a-ab tu-mu-7#bgh7 mu #ba4 ,the ravished one my husband1 the ravished one1 my son1 #bb4 444 ki-el-la b mu-ud-na-mu #bb4 ,in 444 the clean place1 the ravished one my spouse1 #bc4 u-mu-tr u-mu 444 #bc4 ,the little son1 the 444 son 444 #bd4 ga-a-an 444 #bd4 #be4 -ab 444 #be4 #bf4 ,,an-,,ne 444 #bf4 #bg4 sukkal 444 #bg4 7#bgi7 ,l4 ,e4 a-ab-ba-ni a-ba-bar-ra-ni ,l4 ,e4 ,how long his ravishing8 how long his absence87#bhj7 ,a ,,liturgy ,,to ,,enlil1 ,,series ,e-,,lum ,,gud-,,sun 7,,zimmern ,,kl4 ,,no4 #aa7 ,the history of the text of this long and intricate ,enlil liturgy elucidates in unusual manner the evolution of ,sumerian prayer books until they attained canonical and permanent form4 ,the earliest text of this liturgy is partially preserved on the ,tablet ,virolleaud published in the ,revue d',assyriologie1 ,vol4 ,,xvi4 ,the fragment was brought to ,europe in #aiji by the assyriologist ,,charles ,,virolleaud1 having been purchased by him during his excavations in ,persia4 ,it is light brown and varies from the center to the edge by two inches to one inch in thickness4 ,the fragment is from the upper left corner of a large three787 column tablet4 ,about half of the first melody is preserved on the obverse4 ,the reverse preserves the last two melodies4 ,from their rubrics we learn that the entire series contained eleven sections4 ,this tablet has the rubric ki-ub-g after each strophe4 ,the titular litany7#bha7 occupies as usual the next to the last place but only the opening lines giving the motif and a few titles are given4 ,the redactor indicates the remaining titles by a rubric 87,recite the title7 of a god until they are finished40 ,the rubric is in ,semitic which shows that the redaction was done by ,semitic scholars4 ,the series as it finally issued from the hands of the liturgists in the ,isin period was written upon a huge five787 column tablet1 the lower half of which has been published by ,,zimmern1 ,altsumerische ,kultlieder1 ,no4 #aa4 ,each column contained about fifty lines4 ,there are no gi-g-gal or antiphons after the melodies1 ten of which ,i have been able to restore4 ,by borrowing from old songs and other liturgies the redactors have greatly increased the length of this service4 ,at least ten songs have been lost on ,cols4 ,,iii1 ,,iv of the obverse and ,i1 ,,ii of the reverse4 ,the late ,assyrian redaction is mentioned in the catalogue of prayer books ,,iv ,raw4 #ec ,i #ac and in ,,bl4 ,no4 #ajc ,obv4 #ac4 ,,sbh4 ,no4 #ba1 edited in ,,sbp4 #aab-aai1 is tablet one of the late ,babylonian ,school7#bhb7 and contains the first four songs1 duplicates of the first four on ,k4,l4 #aa4 ,,sbh4 ,no4 #be1 edited in ,,sbp4 #abj-abc17bhc7 carries on the obverse two songs 7e-lum di-da-ra and me-e ur-ri men7 found on ,col4 ,,iii of ,k4,l4 ,no4 #aa1 ,rev41 or the two last melodies before the titular litany4 ,a fragment published by ,,meek in ,,ba4 ,x pt4 #a1 ,no4 #aa1 contains the end of e-lum di-da-ra and all of me-e ur-ri men4 ,,sbh4 #be and ,,meek ,no4 #aa belong to the series e-lum di-da-ra1 entered in the ,assyrian catalogue1 ,,iv ,raw4 #ec;a #h1 and form tablet one of that service4 ,the titular litany of the e-lum gud-sun series is identical 7except for some variants7 with the famous titular litany of the mother goddess series mu-ten ,,nu-,,nunuz gim-ma1 tablet five1 edited in ,,sbp4 #adi-afg4 ,portions of the titular litany of the ,enlil series have been edited in ,,pbs4 ,x #aee-afg1 see pages #afc-d4 ,the titular litany of n-ma-al g-de-de occurs at the end of tablet two of that series1 ,,sbp4 #bd-i ,,bl4 #gb-c4 ,not every series has a theological litany of this kind1 which ordinarily comes before the er-em-ma1 or intercessional song at the end4 ,the song to the 8word10 which occurs in all series1 is partially preserved on ,obv4 ,,iii and begins a-ma-ru na-nam4 ,the indispensable song to the weeping mother comes just before the titular litany4 ,this little nine-line melody me-e ur-ri-mn me-e ks-mn must have been a national religious song4 ,it was copied into another ,enlil song service as we have seen4 ,the same song introduces tablet four of an ,innini series of which we have only the end of tablet three1 ,k4 #bgei1 in ,,bl4 #ic f4 ,finally the reader will note that the first song e-lum gud-sun of this series has been copied into one of the tablets of ame baranara1 ,,sbh4 ,no4 #bb ,,sbp4 #abf f4 ,a fragment of some unknown series1 ,k4 #hfjc ,,bl4 #ad also employs this song in the body of its text4 #a4 e-lum gud-sun mu-zu kur-kur-7#bhd7 #a4 ,exalted one1 bull that overwhelms1 thy name is on the lands4 #b4 -mu-un-e7#bhe7 kur-kur-ra gud-sun #b4 ,lord of the lands1 bull that overwhelms1 thy name1 etc47#bhf7 #c4 -mu-un dg-ga-zi-da gud-sun #c4 ,lord of the faithful word1 bull that overwhelms1 etc4 #d4 d4,mu-ul-lil a-a ka-na-g7#bhg7-;g 444 gud-sun #d4 ,enlil1 father of the ,land1 bull that overwhelms1 etc4 #e4 sib sag-gg-ga gud-sun #e4 ,shepherd of the dark-headed people1 bull that overwhelms1 etc4 #f4 i-d-du ni-te-na gud-sun #f4 ,thou of self-created vision1 bull that overwhelms1 etc4 #g4 am ,g,r7#bhh7-na s-s gud-sun #g4 ,wild bull who directs his hosts1 bull that overwhelms1 etc4 #h4 -lul-la ku-ku7#bhi7 gud-sun mu-zu kur-kur- #h4 ,thou that sleepest the sleep of perversity1 bull that overwhelms1 thy name is on the lands4 #i4 mu-zu kur-ra mu-ma-al-la- an n-bi nam-db #i4 ,when thy name is laid upon the lands the heavens tremble of themselves1 #aj4 ki n-bi nam-sg #aj4 and the earth quakes of itself4 #aa4 d4,mu-ul-lil e-ne-em-zu kur-ra-m ma-ma-al-la- #aa4 ,oh ,enlil1 when thy word is laid upon the lands1 #ab4 dg-ga-zu kur-ra-m ma-ma-al-la- #ab4 ,when thy command is laid upon the lands1 #ac4 da-a-zu kur-ra-m ma-ma-al-la- #ac4 ,when thy command7#bij7 is laid upon the lands1 #ad4 an n db sg7#bia7 ki n-bi nam-sg #ad4 ,the heavens tremble of themselves1 the earth of itself quakes1 #ae4 ama nu7#bib7-;gg-gi ama nu-bar-ra dumu-ni mi-ni-in-g-g #ae4 ,the harlot mother1 the hierodule mother slays her son1 #af4 444 ga-a-an uru bar-ra-ra dumu-ni mi-ni-in-g-g #af4 444 queen of the city1 outside the city slays her son4 #ag4 444 dumu-ni mi-ni-in-g-g #ag4 444 slays her son4 #ah4 e-lum 444 e-ne-em-zu- 444 kur-ri ni-in-g-g #ah4 ,oh exalted 444 at thy word 444 the foreign land thou reducest to the misery of silence4 #ai4 d4,mu-ul-lil mu-lu8 ,a 444 #ai4 ,enlil lord of 4447#bic7 #bj4 kur-ri ni-in-g-g #bj4 the foreign land thou reducest to the misery of silence #ba4 e-lum za-e e-ne-em-zu an-e um-ma-dg #ba4 ,oh exalted one1 as for thee1 thy word in heaven speak #bb4 an-e ib-444 #bb4 and heaven shall 444 #bc4 d4,mu-ul-lil za-e e-ne-em-zu ki-e um-ma-dg #bc4 ,enlil1 as for thee1 thy word on earth speak #bd4 ki nu-um- #bd4 and earth shall not4444 #be4 dim-me-ir a-t-a7#bid7 um-ma-dg4444 #be4 ,god of libation speak and heaven shall 444 and earth shall not4444 #bf4 d4am an-ki am uru z-ba-ge um-ma-dg 4444 #bf4 ,divine wild ox of heaven and earth1 wild ox of the good city7#bie7 speak1 etc4 #bg4 ama -ma-a7#bif7 d4,dam-gal-nun-na-ge #bg4 ,mother of the house of the famous one1 ,damgalnunna1 #bh4 um-ma-dug 4444 #bh4 speak1 etc4 #bi4 d4,asar-l-dug-e dumu uru z-ba-ge #bi4 ,marduk1 son of the good city7#big7 #cj4 um-ma-dg 4444 #cj4 speak1 etc4 #ca4 d4d ama uru z-ba-ge um-ma dug4444 #ca4 ,river goddess1 mother of the good city speak1 etc4 #cb4 d4,a-87#bih7-;e ga-a-an ab-su-ra-ka-di7#bii7 um-ma-dug4444 #cb4 ,zarpanit queen of 444 speak1 etc4 #cc4 sukkal-zid mu-dug-ga-s-a-ra um-ma7#cjj7 #cc4 ,faithful messenger1 called by a good name1 speak1 etc4 #cd4 ud-d du7l7- du7l7-dg u-m mi-ib-gl #cd4 ,the spirit reduces all things to tribute47#cja7 #ce4 te-e-m ama-gan-ra dumu-ni z-em-m-na-ad767-du7#cjb7 #ce4 ,how long shall the child-bearing mother reject her son8 #cf4 te-e-m ama-gan-ra ga-a-an ur7#cjc7 bar-ra-ra dumu-ni z-em-m-na-ad767-du #cf4 ,how long shall the child-bearing mother1 queen of the city1 cast aside her son87#cjd7 #cg4 te-e-m ama-gan-ra ga-a-an sun-na-ra7#cje7 dumu-ni z-em-m-na-ad-du #cg4 ,how long shall the child-bearing mother1 the wild-cow queen1 reject her son8 #ch4 a ur-a mu-lu im-me-a-ra7#cjf7 dumu-ni z-em-m-na-ad-du #ch4 ,how long in the city shall he of wailing reject his son8 #ci4 a ki-dagar-ra-m ,nippur-m ib -ga-a-ra7#cjg7 #ci4 ,how long in the wide land1 in ,nippur1 in the region of the vast abode8 #dj4 a-gal-gal el-su-su mulu ta-zu mu-un-zu7#cjh7 #dj4 ,flood that drowns the harvests1 who comprehends thy form8 #da4 e-lum a-gal-gal el-su-su mulu ta-zu mu-un-zu #da4 ,exalted1 flood that drowns the harvests who comprehends thy form8 #db4 d4mu-ul-lil -mu-un kur-kur-ra #db4 ,enlil lord of the lands1 who etc4 ,,obverse ,,ii #a4 -mu-un dg-ga-zi-da7#cji7 #a4 ,lord of the faithful word1 who etc4 #b4 d4mu-ul-lil a-a ka-nag-ga #b4 ,enlil father of the ,land1 who etc4 #c4 sib sag-gg-ga #c4 ,shepherd of the dark-headed people1 who etc4 #d4 i-d-du n-te-na #d4 ,thou of self-created vision1 who etc4 #e4 am erin-na s-s #e4 ,hero who directs his hosts1 who etc4 #f4 -lul-a dr-dr #f4 ,thou that sleepest the sleep of perversity1 who etc4 #g4 ag gi- gi- -ab tg-e tg-e #g4 ,oh heart be reconciled1 be reconciled1 oh heart repose1 repose4 #h4 ag an-na gi- gi- #h4 ,oh heart of ,anu be reconciled1 be reconciled4 #i4 ag d4mu-ul-lil gi- gi- #i4 ,oh heart of ,enlil be reconciled1 etc4 #aj4 ag ur-sag-gal gi- gi-7#caj7 #aj4 ,oh heart of the great hero1 be reconciled1 etc4 #aa4 n-ma-al-e zid al-ma-al7#caa7 li-e7#cab7 nap-tan-na a-a-ka-nu #aa4 ,kneaded bread for the feast ,i set1 #ab4 n-ma-al-e n-ma-al-e #ab4 ,kneaded bread1 kneaded bread1 #ac4 n-ma-al-e zid al-ma-al #ac4 ,kneaded bread for the feast ,i set1 #ad4 kur-gal d4en-lil-da u-en-ne ba-tg #ad4 ,by the ,great ,mountain1 ,enlil1 it has been blessed4 #ae4 a-a d4mu-ul-lil u-en-ne ba-tg #ae4 ,by ,father ,enlil it has been blessed4 #af4 kur-gal d4en-lil-u-en-ne ba-tg #af4 ,the ,great ,mountain ,enlil has blessed4 #ag4 a-a d4mu-ul-lil u-en-ne ba-tg #ag4 ,the ,father ,enlil has blessed47#cac7 #ah4 -mu-un am ur-z-ib-7ki7 u-en-ne-ba-tg #ah4 ,lord1 hero of the sacred city1 has shown grace4 #ai4 ama--ma7#cad7-;a d4dam-gal-nun-na #ai4 ,mother of the house of the famous one1 ,damgalnunna1 has shown grace4 #bj4 d4asar-l-dug dumu ur z-ib-7ki7 #bj4 ,asarludug1 son of the sacred city1 has shown grace4 #ba4 mu-ud-na-an-ni d4apin7#cae7-nun-na-an-ki #ba4 ,his wife ,zarpanit has shown grace4 #bb4 d4d ama ur zi-ib-7ki7 #bb4 ,river goddess1 mother of the sacred city1 has shown grace4 #bc4 d4a-r-e ga-a-an ab-su-di7#caf7 #bc4 ,zarpanit queen of 4441 etc4 #bd4 sukkal-zid mu-dug-ga-s-a u-ba-e-en #bd4 ,faithful messenger1 called by a good name1 has shown grace4 #be4 n-ma-al-e z-ib ni-ma-al-la-ta #be4 ,the kneaded bread which has been well made1 #bf4 z-ib ni-ma-al-la-ta n-ma-al-e z-ib-bi d-kr-e7#cag7 #bf4 ,which has been well made1 the kneaded bread may he eat graciously1 #bg4 d4mu-ul-lil-li z-ib-bi-kr z-ib-bi d-kr-e #bg4 ,may ,enlil graciously eat2 yea graciously eat4 #bh4 ki an-dr-ru-na- uku7#cah7-;e gar-ma-an-z-en #bh4 ,where ,anu sits may the people hasten4 #bi4 d4,a-nun-na7#cai7-ki-an-dr-ru-na- uku-e gar ma-an-z-en #bi4 ,the ,anunnaki4 ,where ,anu sits let the people hasten4 #cj4 -e m-ba-al ne-sag-ma7#cbj7 -e am-ba-al #cj4 ,to the temple he enters1 the mighty priest of sacrifices to the temple enters4 #ca4 a-t-t ma-mu u-lu-ge a-t-t ma-mu #ca4 ,a libation he offers1 the priest of hand washing a libation offers4 #cb4 -e ud--ab- e-dam ud-u- e-dam #cb4 ,to the temple at mid-day go up6 at sun-set go up4 #cc4 ud-da ne-sag-e u-si-s e-dam #cc4 ,daily to direct the sacrifices go up6 #cd4 ud-da -gul-ma-ma u-si-s e-dam #cd4 ,daily to direct the prayers go up6 #ce4 ud-da an dm-me-ir mu-zu an-ni zu-zu-dam #ce4 ,daily ,anu merciful god7#cba7 on high proclaim4 #cf4 d4am-an-ki am ur-zi-ib-7ki7 an-ni zu-zu-dam #cf4 ,the hero of heaven and earth1 hero of the sacred city on high proclaim4 #cg4 d4en-lil m-gn7#cbb7 d4en-lil gn-uku-e gar-ma-an-zi-en #cg4 ,to ,enlil let all the land1 to ,enlil let all the people hasten4 #ch4 an-ni a-ma-an-t an-g787 an-ni a-ma-an-t -ab m-ma-ab-tg-e #ch4 ,unto heaven verily ,i will libate water1 unto the canopy of heaven1 unto heaven verily ,i will libate water4 ,the heart ,i will appease4 #ci4 im-ma-an-a-t a m-ma-ab-tg-e #ci4 ,i will pour out a libation1 the father ,i will appease4 #dj4 d4am-an-ki am ur-z-ib-7ki7 m-ma-ab-tg-e7#cbc7 #dj4 ,the hero of heaven and earth1 the hero of the sacred city ,i will appease4 ,,col4 ,,iii 7,here began a melody of which ten lines at least are lost47 #aa4 -4444ta 7,,kl4 #aa ,obv4 ,,iii #a7 #aa4 #ab4 unugal787-da4444ta #ab4 #ac4 d-sag-7#cbd7-ta #ac4 #ad4 -bi-tr-ta d4 #ad4 #ae4 -br-ta #ae4 #af4 -an-na-ta #af4 #ag4 e-ib #ag4 #ah-bb 444 #ah-bb 444 #bc4 #bc4 #bd4 d787 #bd4 #be4 444 #be4 #bf4 mu-un-tg-g-ta #bf4 ,he has been pacified #bg4 mu-un-tg-g-ta #bg4 ,he has been pacified #bh4 mu-un-tg-g-ta #bh4 ,he has been pacified #bi4 mu-un-tg-g-ta ag d4 #bi4 ,he has been pacified1 the heart of 444 has been pacified #cj4 mu-un-tg-g-ta kur-gal d4mu-ul-lil mu-un-tg-g-ta #cj4 ,he has been pacified1 the great mountain ,enlil has been pacified #ca4 edin-na 8 -a erida 7ki7-ta #ca4 ,in the 444 plain of ,eridu44447#cbe7 #cb4 a-ma-ru na-nam kur al-gul-gul #cb4 ,a tempest it is shattering the mountain4 #cc4 -mu-un-e e-ne-em-m-ni a-ma-ru na-nam #cc4 ,the word of the lord is a tempest4 #cd4 b-bi e-lum-e a-ma-ru na-nam #cd4 ,the heart7#cbf7 of the exalted is a tempest47#cbg7 #ce4 b-bi d4mu-ul-lil a-ma-ru na-nam #ce4 ,the heart of ,enlil is a tempest4 #cf4 -mu-un-na ag an- an n-ne ba-ni-ib-gam-ma-ne #cf4 ,the heart of the lord is in heaven and the heavens waver of themselves47#cbh7 #cg4 d4mu-ul-lil e-ne-em ki- ki n sg-ga-ni #cg4 ,the word of ,enlil is on earth and the earth trembles of itself4 #ch4 e-ne-em-m d4a-nun-na gil-li-em-e-a-ni7#cbi7 #ch4 ,the word which brings woe to the spirits of earth4 #ci4 e-ne-em-m-ni a-zu nu-tuk im-ar nu-un- tuk #ci4 ,his word a prophet has not2 a magician it has not4 #dj4 e-ne-em-m-ni a-ma-ru zi-ga gab-u-gar nu-un-tuk7#ccj7 #dj4 ,his word is an onrushing tempest1 an adversary to oppose it has not4 7,here followed ,obv4 ,,iv2 eight or ten lines continued this melody to the word4 ,their contents were similar to ,,sbp4 #ajj1 #di-eg ff47 ,,reverse ,,iii7#cca7 #a4 sukkal-zid mu-dug-ga-s-a #a4 ,the faithful messenger1 he called by a good name4 #b4 dingir ga-e-d a-be-in-si sag #b4 ,the god who satiates with milk and grain1 sag7#ccb74444 #c4 an-ki-bi-da im-mi-ib-un-g #c4 ,heaven and earth it has pacified4 #d4 ki-an-bi-da im-mi-ib-un-g #d4 ,earth and heaven it pacified4 #e4 ud -kr-ta kr-gal d4mu-ul-lil im-mi-ib-un-g #e4 ,when in ,ekur the great mountain ,enlil it pacified1 #f4 -lam-ma7#ccc7-ta ama-gal d4nin-lil im-mi-ib-un-g #f4 ,when in ,elamma the great mother ,ninlil it pacified1 #g4 an-ni-gar-ra7#ccd7-ta ere7#cce7 d4mu-ul--lil im-mi-ib-un-g #g4 ,in ,annigarra the consort 7sister7 of ,enlil it pacified4 #h4 e-lum di-da-ra d-en7#ccf7 ga-m-dr #h4 ,the exalted who walketh forth1 where tarries he87#ccg7 #i4 di-da-ra e-lum di-da-ra d-en ga-m-dr #i4 ,who walketh forth1 the exalted who walketh forth1 where tarries he8 #aj4 -mu-un-e kur-kur-ra-ge di-da-ra #aj4 ,the lord of the lands1 who walketh forth1 where tarries he8 #aa4 -mu-un-e dg-ga-zi-da di #aa4 ,the lord of faithful word1 who etc4 #ab4 d4mu-ul-lil a-a ka-nag-g di #ab4 ,enlil1 father of the ,land1 who etc4 #ac4 sib sag-gg-ga di #ac4 ,shepherd of the dark-headed people1 who etc4 #ad4 i-d-du n-te-na di #ad4 ,he of self-created vision1 who etc4 #ae4 am erin-na s-s di #ae4 ,hero that directs his hosts1 who etc4 #af4 -lul-la dr-dr di #af4 ,he that sleeps the sleep of perversity1 who etc4 #ag4 me-e bur-ma-a ka ga-an-na-ab nisak-ka #ag4 ,i in a great bowl will pour out wine to him4 #ah4 ama-gim dugud7#cch7-;da da-mu-un-lal #ah4 ,i like a wild ox will bow down to the mighty one47#cci7 #ai4 ur-zu al-gul-gul ga-an-na-ab-dg #ai4 8,thy city is destroyed10 will ,i say to him4 #bj4 kenur -nam-ti-la al #bj4 8,kenur and ,enamtila are destroyed10 will ,i say to him4 #ba4 zimbir-7ki7 -br-ra al #ba4 8,in ,sippar ,ebarra is destroyed10 etc4 #bb4 ur-zu tin-tir-7ki7 al #bb4 8,thy city ,babylon is destroyed10 etc4 #bc4 -sag-ila bd-si-ab-ba-7ki7 al #bc4 8,esagila and ,barsippa are destroyed10 etc4 #bd4 -zi-da -ma-ti-la al #bd4 8,ezida and ,emahtila are destroyed10 etc4 #be4 -te-me-en-an-ki al #be4 8,etemenanki is destroyed10 etc4 #bf4 -dr-an-na al7#cdj7 #bf4 8,edaranna is destroyed10 etc4 #bg4 gi-er-ra ba-m ga-an-na-ab-dg7#cda7 #bg4 8,wailing on the reed-flute ascends in her107#cdb7 will ,i say to him4 #bh4 ud ma-ra mu-un-zal-la-ta i-d-a-ni nu-gub #bh4 ,when ,i am overjoyous in his presence may ,i not stand4 #bi4 d4mu-ul-lil-li mu-un-zal-la-ta i-d-a-ni nu-gub i-d-nam-mu-un-d-ru #bi4 ,as to ,enlil when ,i am overjoyous in his presence may ,i not stand4 #cj4 d4mu-ul-lil-li i-d-a-ni nu-gub i-d-nam-mu-un-d-ru #cj4 ,in the presence of ,enlil may ,i not stand2 may he behold me not4 #ca4 me-e ur-ri-mn me-e ks-mn7#cdc7 #ca4 ,i am a stranger and a fugitive4 #cb4 a -ne al-dib a -ne al-dib #cb4 ,the risen waters seized away2 the risen waters seized away4 #cc4 nin-ur-ma ama-gal d4nin-lil-l mn #cc4 ,queen of city and house1 great mother ,ninlil am ,i4 #cd4 d4a-ru-ru ,,sal,,ku d4mu-ul-lil-l mn #cd4 ,aruru1 sister of ,enlil ,i am4 #ce4 nin8-a gaan ni-ib-bur mn #ce4 ,a queenly caretaker1 queen of ,nippur ,i am4 #cf4 gaan azag-ga7#cdd7 gaan ma-g-a mn #cf4 ,an holy queen1 queen of the convent ,i am4 #cg4 ma ma-al-la- ma ma-al-la- #cg4 ,in the builded house1 in the builded house1 #ch4 d4mu-ul-lil umun8 kr-kr-ra ma #ch4 ,enlil lord of lands in the builded house1 #ci4 ere-mu mu-un-til ma #ci4 ,my consort dwells not in the builded house4 #dj4 ,at the end of this column began a long titular melody47#cde7 7,lines #a-aa of this melody1 i4 e41 #dj-ea on ,,kl4 #aa1 ,,iii1 are supplied by ,tablet ,virolleaud1 ,rev4 #a-aa1 and restores the entire section47 ,,reverse ,,iv787 #a4 d4,mu-ul-lil-li dam-a-ni d4,nin-lil-li #a4 ,enlil and his consort ,ninlil 7we will pacify74 7 ,tab4 ,vir4 ,rev4 #ab47 #b4 ,an d4,uraa ki-e-gu-nu-e7#cdf7 #b4 ,anu-,ura kisegunu4 #c4 d4,en-ki d4,nin-ki ,en-ul d4,nin-ul #c4 ,enki and ,ninki1 ,enul and ,ninul4 #d4 d4,en-da-urim-ma d4,nin-da-urim-ma #d4 ,endaurimma1 ,nindaurimma47#cdg7 #e4 d4,en-d-azag-ga d4,nin-d-azag-ga7#cdh7 #e4 ,the ,lord of ,duazag1 the ,queen of ,duazag4 #f4 ama d4,nin-lil a-a d4,mu-ul-lil #f4 ,mother ,ninlil and father ,enlil4 #g4 d4,en-ut-til-7#cdi7 d4,en-me-en-r-ra7#cej7 #g4 ,enuttilla and ,enmenarra4 #h4 nin-zi-an-na7#cea7 ga-a-an ar-sag-g7#ceb7 #h4 ,ninzianna and ,ninharsag4 #i4 d4ul-pa-7#cec7 en gibanur-ra #i4 ulpae1 lord of the sacrificial board4 #aj4 ama e-en-tr7#ced7 dim-me-ir imin #aj4 ,mother entur1 7mother7 of the seven gods47#cee7 #aa4 -mu-un si7#cef7,nipru-7ki7 -mu-un kalag-a #aa4 ,the lord light of ,nippur1 mighty lord4 #ab4 g-de-de7#ceg7 ga-a-an ,nipru-7ki7 #ab4 ,the loud crying1 queen of ,nippur4 #ac4 dingir dumu-sag7#ceh7 d4ga-a-an mu-un-ga-ra #ac4 ,divine first born daughter1 divine queen of treasures4 #ad4 d4,nusku -ma dingir-gidim -kur-ra #ad4 ,nusku of mighty message1 divine spirit of ,ekur4 #ae4 ama -a-ge d4,sa-dr-nun-na #ae4 ,mother of the temple1 ,sadar-nunna4 #af4 d4e-ra-a gidim -ar-ra #af4 erah spirit of ,earra4 #ag4 lamma-g-ga me-lam-an-na #ag4 ,the propitious spirit whose splendor is supreme4 #ah4 dumu sukkal-gal d4,nannar d4,zuen-na #ah4 ,the son1 great messenger1 ,nannar-,sin4 #ai4 d4,en-nu-,,nunuz-zi d4,nannar7#cei7 dam d4,nannar-ge #ai4 ,zir spouse of ,nannar4 #bj4 nu-banda-ma d4,mu-ul-lil-la-zi-ge #bj4 ,the august prefect1 divine ,enlilzi7#cfj7 #ba4 d4,en-bu-ul-e dumu -sab-ba #ba4 ,enbul son of ,eabba4 #bb4 ul-an-na umun ar-sag-al-ge #bb4 ,hero of heaven1 lord of the great mountain4 #bc4 d4ga-a-an-gal-e ama-an-na-ge #bc4 ,ningal heavenly mother4 #bd4 d4ga-a-an an-na -ni-gi-ge7#cfa7 #bd4 ,the queen of heaven who alone is strong4 #be4 mu-ud-na-ni d4,ama-uum-gal-an-na #be4 ,her husband ,tammuz4 #bf4 ama -mu-un-na gaan sun-na #bf4 ,the mother of the lord17#cfb7 ,ninsun4 #bg4 -mu-un banda -mu-un -nun-na #bg4 ,lugalbanda lord of ,enunak4 #bh4 -rib an-na mu-tin-an-na #bh4 ,the heavenly sister-in-law1 ,getinanna47#cfc7 7,here supply twenty-eight lines ,,sbp #aed1 #bd-aef1 #ea47 ,,reverse ,v787 #a4 d4,en--nun ama g-an-ni-si #a4 ,enanun mother of loud weeping47#cfd7 #b4 d4,,ninda ,,gud7#cfe7 amar zag-gi-ra7#cff7 #b4 ,ninda-,gud1 the radiant son4 #c4 d4,s-nir-da7#cfg7 en ul-m-ra #c4 unirda1 queen1 heroine of battle4 #d4 dumu-g-ga ga-a-an kr7#cfh7-nun-na-ra #d4 ,the pious daughter1 ,ninkar-nunna47#cfi7 #e4 ga-a-an dig-ga dingir-lum-ma7#cgj7 ur-sag #e4 ,queen787 of the dead1 ,lumma the heroic4 #f4 -mu-un uru7#cga7-;gal -mu-un 7#cgb7-;gid-da #f4 ,lord of the grave1 lord of the seizing hand4 #g4 d4,ir7#cgc7-ra-gal k-a-nu-si-ra7#cgd7 #g4 ,great ,girra1 hero unopposable4 #h4 lamma-g-ga sil-gig edin-na #h4 ,the good genius of the dark ways of the plain47#cge7 #i4 d4,nin-sg-ge d4,gukin-banda-ra #i4 ,ninsig ,gukinbanda1 #aj4 -mu-un nig-nam-ma-ge ,u7#cgf7-kur-kur7#cgg7 #aj4 ,lord of whatsoever is1 the sculptured form4 #aa4 sal-si7#cgh7-;a d4,ba-7#cgi7-;g-ga #aa4 ,the earth woman1 beneficent ,bau4 #ab4 -mu-un n me en7#chj7 ga-a-an abzu #ab4 ,lord of might1 lord of decrees1 priest of the deep47#cha7 #ac4 d4,anan d4,azag-sug7#chb7 mun-galu7#chc7-sal-sal #ac4 ,anan the divine cleanser1 the 444 loud crying4 #ad4 -mu-un sa-a7#chd7 ki-s7#che7 dumu nun-ra #ad4 ,lord of light1 director of the earth1 and the daughter of the prince47#chf7 #ae4 gidim uru-ma ur sag-imin #ae4 ,the demon of my city the dog of seven heads4 #af4 d4,gi-bil mu- 8 8-na7#chg7 mu-ten ur-sag #af4 ,gibil 444 warlike man4 #ag4 d4,ut-ta-ed-d mu-lu ki-azag-ga #ag4 ,uttaedde lord of the holy place4 #ah4 umun ma-da sub-be an-na #ah4 ,lord of the land1 light of heaven47#chh7 #ai4 umun -zu umun e7#chi7-;gid-da #ai4 ,lord ,nergal1 him of the seizing hand4 #bj4 ga-a-an-n-da umun mu-zi-da #bj4 ,allat and ,ningizida7#cij7 #ba4 d-a #ba4 #bb4 -ga #bb4 7#cia7 #bc4 d4,ir-ri-e ur-sag ga-a-an-subur #bc4 ,irri1 the heroic lord of the soil4 #bd4 dingir ama -uru-sag-g gaan tin-dib-ba #bd4 ,the divine mother of the temple of the chief city7#cib7 queen who gives life to the dead4 #be4 sag-g an-na gaan -si-in-na #be4 ,the lofty browed queen of ,isin4 #bf4 d4,pa-bil-sag -mu-un ,la-ra-ag-ga #bf4 ,pabil-sag7#cic7 lord of ,larak4 #bg4 d4,gu-nu-ra dim-gal kalam-ma #bg4 ,gunura bar of the ,land4 #bh4 d4,da-mu g-ga -mu-un gir-su-a #bh4 ,the pious ,damu lord of the flood47#cid7 #bi4 d4,immer -mu-un n-d-an-na #bi4 ,immer lord of terror47#cie7 #cj4 d-da-ra #cj4 444 the river47#cif7 #ca4 -mu-un i ka-nag-g i kur-kur-ra #ca4 ,lord of the souls of ,sumer1 of the souls of the lands4 #cb4 d4,s-ud-da-am du-mu nun-na ama -ab-ba #cb4 ,suddam1 daughter of the prince1 mother of ,eabba4 ,about twenty-four lines completed this column and ended the liturgy4 ,the void is to be completed by part of the titular litany1 ,,sbp4 #afj1 #ai-afd1 #ch1 and by a short intercession similar to the fragmentary intercession at the end of ,,kl4 ,no4 #h4 ,it is possible that the eleventh and last section on ,tablet ,virolleaud was retained as the final melody of this later redaction4 ,,reverse ,,of ,,tablet ,,virolleaud 7,,the ,,titular ,,litany7 #a4 -e sub-da sub-da mu-un-la-en-ne-en ,to the temple with prayer1 with prayer let us go47#cig7 #b4 balag7#cih7 -e dirig sub-da mu-un-la-en-ne-en ,to the lyre unto the temple which surpasses all let us go4 #c4 balag nigin-na-e sub-da d4,mu-ul-lil-ra mu-un ,to the lyre unto the merciful one with prayer1 unto ,enlil1 #d4 balag dm-me-ir mu-lu sub-da d4,mu-ul-lil-ra mu-un ,to the lyre unto god1 the lord1 with prayer1 unto ,enlil let us go4 #e4 dm-me-ir lu-g-lu-ne-en sub-da mu-un-la-en-ne-en ,unto him who is god of his people with prayer let us go4 #f4 me-en-ne -e tb a-ra-zu-a mu-un-la-en-ne-en ,we 8,oh temple repose0 in prayer come4 #g4 me-en-ne ki-e tb a-ra-zu-a mu-un-la-7en7-ne-en d4,mu-ul-lil-ra ,we 8,oh earth repose0 in prayer come1 unto ,enlil 7come74 #h4 -mu-un -ab tb-e-da in-g7#cii7-la-7en7-ne-en d4,mu-ul-lil-ra ,to pacify the heart of the lord behold we come unto ,enlil4 #i4 -ab un-g bar un-g-da in-g-la-ne-en d4,mu-ul-lil-ra ,to pacify the heart1 to pacify the soul1 behold we come to ,enlil4 #aj4 me-en-ne -ab -mu-un-na mu-un-tb-7en7-ne-en d4,mu-ul-lil ,we will pacify the heart of the lord1 yea of ,enlil4 #aa4 -ab an-na -ab d4,mu-ul-lil-l mu-un-tub-7en7-ne-en ,the heart of ,anu and the heart of ,enlil we will pacify4 #ab4 d4,mu-ul-lil-l dam-a-ni 444 d4,nin-lil-l ,the heart of ,enlil and his wife ,ninlil we will pacify4 #ac4 d4,en-ki d4,nin-ki d4,en-mul d4,nin-mul7#djj7 ,the heart of ,enki1 ,ninki1 ,enmul and ,ninmul we will pacify4 #ad4 i-lu a-di ig-ga-am-ma-ru ,a god until they are finished47#dja7 ki-ub-g #aj-kam-ma7#djb7 ,the tenth strophe4 7,the ,recessional7 #ae4 -mu-un-mu za-e babbar7#djc7 uru-m ur-sag-g me-en ,my lord thou art1 light of my city1 a hero thou art4 #af4 b-bi-mu -mu-un kalag-a ur-sag-g me-en ,my illumination1 oh valiant lord1 a hero thou art4 #ag4 -mu-un kalag-a ur-sag-g me-en kalag-ga-na me-en ,oh valiant lord1 a hero thou art1 its7#djd7 defender thou art4 #ah4 d4,babbar-gim za-e 8 en-na an-ni tur-tur-ne-en ,like ,shamash thou art 444 into heaven enters4 #ai4 d4,nannar-gim ki dumu-zu an-na7877#dje7 na-an-gir-ri-ne-en ,like ,nannar where thy son7#djf7 in heaven hastens4 #bj4 -mu-un-mu enem-zu galu-ra7#djg7 na-an-na-ab-z-em ,my lord thy word on man has fallen4 #ba4 enem-zu galu ki7#djh7-kal-ra na-an-na-ab-z-em ,thy word on him of the foreign land has fallen4 #bb4 enem-zu galu en-na nu-eg-ra na-an-na-ab-z-em ,thy word on men as many as are not obedient has fallen4 #bc4 -mu-un-mu uru-zu-a -ni a-sar-sar-ra7#dji7 ,my lord beneficent waters in thy city cause to spring forth4 #bd4 a-ad4 ,mu-ul-lil ki-bur-ta-bur-ta uru-zu-a -ni ,father ,enlil 444 in thy city cause to come forth4 ki-ub-g #aa-kam-ma ,the eleventh strophe4 #be4 sub-bi e-ib -kur-ra-ta ki-na g-g-ra4 ,a prayer for the brick walls of ,ekur1 that it return to its place4 ki--bi-im ,a song of supplication4 #bf4 al-tl e-lum gud-sun ,it is finished1 the series 8,exalted1 bull that overwhelms40 ,,early ,,form ,,of ,,the ,,series ,d4,,babbar-,,gim--,,ta #aacei 7,,myhrman ,,no4 #h7 ,ni4 #aacei1 published by ,,myhrman1 ,,pbs4 ,i4 ,no4 #h1 is the left upper corner of a large four column tablet4 ,it contained a series of ki-ub melodies which formed the prototype of the later ,enlil series of which three tablets have been edited by the writer1 see ,sumerian ,liturgical ,texts #afg4 ,it stands to the completed series as the similar tablet of the e-lum gud-sun series1 ,tablet ,virolleaud1 is related to its completed canonical form in ,,zimmern1 ,,kl4 #aa4 ,both ,ni4 #aacei and ,tablet ,virolleaud show the evolution of two great ,enlil liturgies arrested midway in their evolution4 ,they still consist of unmethodically joined melodies4 ,both have the same rubric at the end4 ,the first melody of d4,babbar-gim--ta after line four agrees with the first melody of the ,enlil series zi-bu- sud-du-m in ,,zimmern1 ,,kl4 #h and #i after line five of that series4 ,a duplicate will be found in ,,bl4 pp4 #cg-ci1 which see for critical notes on the reconstructed text4 ,,obverse #a #a4 d4,babbar-gim -ta #a4 ,like the sun-god arise 444 #b4 -mu-un gan 444 #b4 ,oh lord 444 #c4 a-a d4,mu-ul-lil -mu-un kur-kur-ra #c4 ,father ,enlil1 lord of the lands4 #d4 d4,mu-ul-lil -mu-un dg-ga-zi-da #d4 ,enlil lord of faithful word4 #e4 am-n-a gud-d sg-gan-nu-di #e4 ,crouching wild ox1 bull that rests not47#daj7 #f4 d4,mu-ul-lil dam-kar-ra ki-dagar-ra #f4 ,enlil herdsman of the wide earth4 #g4 -mu-un mu erin-na-ni sag-ma-al ki #g4 ,lord who summons his toilers1 recorder of the earth4 #h4 -mu-un i erin-a-ni ga-eri-m da-ma-la #h4 ,lord who causes to abound oil for his toilers1 milk for the newly born47#daa7 #i4 -mu-un ki-dr-a-ni uru ir-ir #i4 ,lord whose abode is the city of weeping4 #aj4 ki-n-a-ni -g-g-e gal-zu #aj4 ,in whose chamber oracles are interpreted4 #aa4 a-a d4,mu-ul-lil uru-ta ,nibru-ki #aa4 ,father ,enlil in 7thy7 city ,nippur4 #ab4 -kur -ag-gi-pad-da-ta #ab4 ,in ,ekur temple of 7thy7 heart's choice4 #ac4 gi-gun-na gi-tir-im gi erin-na-ta #ac4 ,in the great dark chamber of odorous forest and cedar4 #ad4 e-d-a-ka e-mul 444 ta #ad4 ,in 4441 #ae4 si-ra --di- ta #ae4 ,in 444 the house of vision1 #af4 lu babbar nu-zu-ta #af4 ,in 444 house which knows the sunlight not1 #ag4 -gi-dim-dim-ma i-d nu-bar-ri-ta #ag4 ,in the house of the 8reed of sorrow10 which eye beholds not1 #ah4 ma dug-li du-du-ta #ah4 ,in the great 444 causing prosperity to abound1 #ai4 787-ku-a giik-ku-igi-lal-a-ta #ai4 ,in ,ekua gate of the lifting of the eyes1 #bj4 -silim-ma mu-mar mar-ra-ta #bj4 444 ,,reverse ,,ii 444 #ba4 sub-bi e-ib -kur-ra-ta8 ki-na-an-g-g-ra7#dab7 #ba4 ,prayer for the brick walls of ,ekur that it be restored to its place4 #bb4 ki--bi-im #bb4 ,it is a service of prostrations4 ,,liturgy ,,of ,,the ,,cult ,,of ,,kes 7,,nippur ,,fragments ,,and ,,ashmolean ,,prism47 ,ke and ,opis1 two closely associated but unlocated southern cities of ,sumer1 lay apparently somewhere in the region between ,erech and uruppak4 ,so closely were they united that the same cult of the great mother goddess obtained in both47#dac7 ,according to ,,ii ,raw4 #fj;a #bf1 ,innini of ,hallab was the queen of ,ke4 ,the ,sumerian liturgy1 ,,bl4 p4 #ed1 names ,nintud as the goddess of this city1 but the list of mother goddesses in ,,psba4 #aiaa ,pl4 ,,xii calls her by the name ,ninharsag17#dad7 where she is associated with ,ninmenna1 epithet of the earth mother in ,adab a city near uruppak4 ,a fragment1 ,no4 #ajb in ,,bl41 reads her title at ,ke as ,aruru4 ,these various epithets all refer to the earth mother whose principal married type is ,ninlil4 ,in fact one liturgy actually names ,ninlil as the goddess of ,ke1 ,,sbp4 #bd1 #gd4 ,on the other hand1 a cult document of the ,neo-,babylonian period names ,kallat ,ekur1 the bride of ,ekur1 as the goddess of ,u-pi-ia or ,opis1 ,,vs4 ,,vi4 #bac1 #ba47dae7 ,the bride of ,ekur is ,ninlil4 ,thus the twin cities ,ke and ,opis of ,sumer with their cult of the earth mother ,ninharsag or ,nintud were imitated in later times in ,akkad and located on the ,tigris where ,opis survived into ,greek times 77 and ,ke seems to have become confused in writing with ,ki a famous city near ,babylon4 ,at ,opis in ,akkad a male satellite ,igi-du was associated with the mother goddess and we may be safe in assuming that he was borrowed from the original southern cult47#daf7 ,of the names ,ninharsag1 ,aruru1 ,nintud1 ,ninmah1 ,innini of ,hallab1 we are not certain which one applied especially to ,ke and ,opis4 ,in any case the liturgy which we are about to discuss had some special name for the goddess here4 ,in a refrain which recurs at the end of each melody the psalmists say that the god of ,ke1 that is probably ,igidu17#dag7 was made like ,airgi1 or ,ninurta1 and that its goddess was made like ,nintud1 hence the special name of the mother goddess in this liturgy cannot have been ,nintud4 ,so far as the text of this important liturgy in eight melodies can be established1 it leads to the inference that1 like all other ,sumerian choral compositions1 the subject is the rehearsal of sorrows which befell a city and its temple4 ,here the glories of ,ke1 its temple and its gods are recorded in choral song1 and the woes of this city are referred to as symbolic of all human misfortunes4 ,the name of the temple has not been preserved in the text4 ,but we know from other liturgies that the temple in ,ke bore the name ,urabba47#dah7 ,the queen of the temple ,urabba is called the mother of ,negun1 also a title of ,ninurta in ,elam47#dai7 ,the close connection between the goddess of ,ke and ,ninlil is again revealed1 for ,negun is the son of ,ninlil in the theological lists1 ,,ct4 #bd1 #bf1 #aab4 ,therefore at ,ke we have a reflection of the ,innini-,tammuz cult or the worship of mother and son1 mother goddess ,ninlil or ,ninharsag1 and ,igidu or ,negun47#dbj7 ,ke and ,opis must have been closely associated with both ,erech and uruppak1 and of traditional veneration in ,sumer4 ,ke is mentioned in a list with ,ur1 ,kullab 7part of ,erech7 and uruppak1 ,,smith1 ,miscellaneous ,texts #bf1 #e4 ,gudea speaks of a part of the temple in ,lagash which was pure as ,ke and ,aratta 7i4 e4 uruppak747#dba7 ,the various mother goddesses of ,eridu1 ,kullab1 ,ki1 ,laga and uruppak are invoked in an incantation1 ,,ct4 #af1 #cf1 #a-i4 ,the first melody of the ,ashmolean ,prism contains a reference to the horse of uruppak4 ,the textual history of this liturgy is interesting4 ,the major text is written upon a four-sided prism now in the ,ashmolean ,museum of ,oxford4 ,the object is eight inches high1 four inches wide on each surface and is pierced from top to bottom at the center by a small hole1 so that the liturgy could be turned on a spindle4 ,the writer published a copy of this prism or prayer wheel in his ,babylonian ,liturgies4 ,the elucidation of this exceedingly difficult text was lightened somewhat by the discovery of a four column tablet in ,constantinople1 which originally contained the entire text4 ,it was afterwards published as ,no4 #bc of my ,historical and ,religious ,texts4 ,since the edition of these two sources1 the ,nippur ,collection in ,philadelphia has been found to contain several fragments of the same liturgy4 ,a portion of the redaction on several single column tablets had been already published by ,,radau in his ,miscellaneous ,sumerian ,texts1 ,no4 #h 7,ni4 #aahgf71 last tablet of the series containing melodies six1 seven1 and eight4 ,i failed to detect the connection of ,,radau's tablet at the time of the first edition but referred to it with a rendering in my ,epic of ,paradise1 p4 #ai4 ,another tablet1 also from a single column tablet redaction at ,nippur1 has been recovered in ,philadelphia1 ,ni4 #hchd47dbb7 ,this text utilized here in transcription contains a section marked number #d on that tablet but all the other sources omit it4 ,hence this redaction probably contained nine melodies4 ,the new melody has been inserted between melodies three and four of the standard text4 ,if evidence did not point otherwise the editor would have supposed that ,ni4 #hchd and #aahgf belonged to the same tablet4 ,but ,ni4 #hchd has melodies four1 five and six of its redaction with the catch-line of the next or its seventh melody which partly duplicates the ,radau tablet4 ,moreover1 these two tablets have not the same handwriting and differ in color and texture of the clay4 ,finally a small fragment1 ,ni4 #adjca1 contains the end of the second melody and the beginning of the third on its obverse4 ,the reverse contains the end of the sixth melody4 ,this small tablet undoubtedly belongs to the four column tablet in ,constantinople4 ,the two fragments became separated by chance when the ,nippur ,collection was divided between ,philadelphia and the ,muse ,imperial of ,turkey4 ,ni4 #adjca will be found in my ,sumerian ,liturgical ,texts1 ,no4 #bb4 ,under ordinary circumstances a text for which so many duplicates exist should have yielded better results than ,i have been able to produce4 ,but the contents are still obscure owing largely to the bad condition of the prism4 ,my first rendering of the interesting refrain in which ,i saw a reference to the creation of man and woman was apparently erroneous4 ,the refrain refers rather to the creation of the mother goddess of ,ke and to her giving birth to her son ,negun47#dbc7 ,,col4 ,i 7,lines #a-bb defaced7 444 #bc4 ke-7ki7-dug-ga d-a #bc4 ,temple in holy ,ke builded4 #bd4 787 ,n-,,ar-7ki7-dug-gu d-a #bd4 ,temple787 in holy ,,en-,,ar builded4 #be4 444 nun-gim an-na dirig-ga #be4 ,temple like 444 nun1 like heaven exceeding all47#dbd7 #bf4 444 azag-gim 8 -si ri-a #bf4 ,temple like the pure 444 clothed in #bg4 an-na-gim m kur-kur-ra #bg4 ,temple like heaven the illumination of the lands4 #bh4 444 tr-gim ki-a-ta sur-sur-ra #bh4 ,temple like 444 tur in the earth founded4 #bi4 444-gim mur-du ninda7#dbe7-;gim g-nun-di7#dbf7 #bi4 ,temple like 444 roaring1 like a young bull bellowing4 #cj4 444 bi-ta lipi kalam-ma #cj4 ,temple in whose 444 the hearts of the creatures of the ,land 4447#dbg7 #ca4 444 bi-ta zid ,ki-en-gi-ra #ca4 ,temple in whose 444 the soul of life of ,sumer 444 #cb4 444 ib-gal an-e-ri7#dbh7 u-sa #cb4 ,temple1 great 444 ,,ib1 attaining unto heaven4 #cc4 444-da-gal an-e7#dbi7 u-sa #cc4 ,temple1 great 444 da1 attaining unto heaven4 #cd4 444 gal an-e u-sa #cd4 ,temple1 great 4441 attaining unto heaven4 #ce4 444 -na an-e u-sa #ce4 ,temple 4441 attaining unto heaven4 ,,col4 ,,ii #a4 444 an-ki 444 #a4 444 heaven and earth 444 #b4 444 abzu 444 #b4 444 of the nether-sea 444 #c4 an-ni787 u- #c4 ,temple which ,anu 444 #d4 d4,en-lil-li zag- 444 #d4 ,enlil above all 444 #e4 ama d4,nin-tud e-bar-kin 444 #e4 ,the mother1 ,nintud oracles 444 #f4 ,ke-ki 444 na 444 #f4 ,temple in ,ke 444 #g4 ,n-,,ar-7ki77#dcj7-;gim rib-ba7#dca7 galu i-in-ga-an-tm-mu #g4 ,like ,,en-,,ar it has been made surpassing2 verily man has brought solicitude for it47#dcb7 #h4 ur-sag-bi d4-ir-g-gim rib-ba #h4 ,its hero like ,airgi has been #i4 ama i-in-ga-an7#dcc7--tud #i4 made surpassing2 the mother7#dcd7 verily has borne him4 #aj4 nin-bi d4,nin-tud-gim rib-ba-ra a-ba7#dce7 er-mu-ni-in-du #aj4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #aa4 g #b kam-ma-m #aa4 ,it is the second song4 #ab4 an- ud-da ki- 4447#dcf7 #ab4 ,temple1 in heaven resplendent1 in earth 444 #ac4 an- 444 ki- 444 #ac4 ,temple1 in heaven 4441 in earth 444 #ad4 an- sia7#dcg7 ki- udu-gim 444 444 #ad4 ,temple1 in heaven 7like7 a wild goat1 on earth like a sheep 444 #ae4 an- 444 ki- dr-bar-gim 444 #ae4 ,temple1 in heaven 7like7 4441 in earth like a roe 444 #af4 an- 444 gim 444 ki- dr-bar-gim 444 #af4 ,temple1 in heaven like 4441 in earth like a roe 444 #ag4 an- mu-gim sg-ga ki-u babbar-gim za-e la-la8 #ag4 ,temple1 in heaven like a dragon gleaming1 on earth like the sunlight thou shinest4 #ah4 an- babbar-gim -a ki-u d4,nannar-gim 444 #ah4 ,temple1 in heaven like the sun arising1 in earth like the new moon 444 #ai4 an- kur-ra ki-u idim-ma #ai4 ,temple1 in heaven shining17#dch7 on earth loud crying47#dci7 #bj4 an-ki #c gu-ma-bi na-nam #bj4 ,of the temple of heaven and earth three are its attendants4 #ba4 ,n-,,ar-7ki7 gim rib-ba galu i-in-ga-an-tm-mu #ba4 ,like ,,en-,,ar it has been made surpassing2 verily man has brought solicitude for it4 #bb4 ur-sag-bi d4-ir-g-gim rib-ba-ra #bb4 ,its hero like ,airgi has been made surpassing2 the mother #bc4 ama i-in-ga-an--tud #bc4 verily has borne him4 #bd4 nin-bi d4,nin-tud-gim rib-ba-ra a-ba er-mu-ni-in-du #bd4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #be4 g #c-kam-ma-m #be4 ,it is the third section4 #hchd4 #a4 - 444 n-gal-ar an-ni mu-ma s #a4 ,temple 444 in splendor blazing1 which ,anu with a far-famed name has named4 #b4 444-gal d4,en-lil-li nam-ma-ni gal tar-ri #b4 ,temple 444 great1 whose fate ,enlil has grandly decreed4 #c4 -nun-gl d4,a-nun-ge-ne kalam sigi7877#ddj7 lm787-mu #c4 ,temple 444 of the ,anunnaki1 in the ,land starlike gleaming4 #d4 ki-dr im-db-bu7#dda7 dingir gal-gal-e-ne #d4 ,temple1 peaceful dwelling place of the great gods4 #e4 an-ki-bi-da gi-ar-bi ni-ar me el u-ba-e-tag #e4 ,oh temple whose design in heaven and earth has been planned1 thou art possessed of pure decrees4 #f4 kalam ki-gar-ra zag-gar-ra u-sa #f4 ,temple erected in the ,land1 where stand the chapels of the gods4 #g4 -kur e-gl ka-zal ud-zal-zal-li #g4 ,mountain house1 radiant with abundance and festivity4 #h4 d4,nin-ar-sag-g zi-kalam-ma ki-bi- gar #h4 ,temple in whose place ,ninharsag has instituted the breath of life of ,sumer4 #i4 -ar-sag-gal u-lu-a tm-ma nig-nam-ma-ni ni7#ddb7-kr #i4 ,great mountain house1 made worthy of the rituals of purification1 of its possessions nought changes4 #aj4 444 da-nu ka--bar nu-g-g #aj4 ,temple 444 ceases not to render decision4 #aa4 444 kalam-dagal- l-a #aa4 ,temple 444 unto the wide ,land bearing4 #ab4 kalam r -tud numun gi-isimu tuk-tuk #ab4 ,temple causing the multitudes of the ,land to produce offspring1 causing the seed to send forth sprouts4 #ac4 lugal -tud nam kalam-ma tar-ri #ac4 ,temple that gives birth to king1 decreeing the fate of the ,land4 #ad4 br-br kar su-in-dr-bi ag-d #ad4 444 #ae4 ,n-,,ar-7ki7-gim rib-ba galu i-in-ga-an-tm-mu #ae4 ,like ,n-,,ar it has been made surpassing2 verily man has wrought solicitude for it4 #af4 ur-sag-bi d4-ir-g-gim rib-ba ama i-in-ga-m--tud #af4 ,its hero like ,airgi has been made surpassing2 the mother verily has borne him4 #ag4 nin-bi d4,nin-tud-gim rib-ba-ra a-ba er-mu-ni-in-du #ag4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #ah4 g #d-kam-ma-m #ah4 ,it is the fourth section4 ,,ashmolean ,,prism1 ,,col4 ,,ii #bf4 uru7#ddc7-;in-ga-m uru-in-ga-m ag-bi a-ba a-mu-un-zu7#ddd7 #bf4 ,it is a city1 it is a city6 ,its secrets who shall understand8 #bg4 ,ke-ki uru-in-ga-m ag-bi a-ba a-mu-un-zu #bg4 ,the temple of ,ke is a city6 ,its secrets who shall understand8 #bh4 ag-bi-a ur-sag ur-sag-e-ne si-mu-un-si-di-e-ne #bh4 ,within it the heroic ones administrate4 #bi4 e-bar-in-dg-ga u-gal mu-un-d-d7#dde7 #bi4 ,the oracles proclaimed grandly it executes4 #cj4 -e gud-udu7#ddf7-;dam gud-m-ma-gur-ri787-en #cj4 #ca4 8-e tum-ma-m lu-lu- 444 #ca4 #cb4 -e gud-r-ra-m7#ddg7 al-dg-ga8 #cb4 #cc4 -e udu-r-ra-m al-dg-ga8 #cc4 #cd4 gi-,,ku-,,lil787-ne7#ddh7 g-,,lil-ma-m gl-li 444 #cd4 #ce4 gi-,,ku-da7#ddi7 444 gr 444 #ce4 ,,col4 ,,iii #b4 gi,a-,,tu-,,gab-,,li-dam an-da-,,pi-,,pi-,,sal787 444 #b4 #c4 ar-sag-da m-a7#dej7 an-da-sg-sg-ga-m8 #c4 #d4 ,,en-,,ar-7ki7-gim rib-ba galu i-in-ga-tm-mu #d4 ,like ,,en-,,har it has been made surpassing2 verily man has wrought solicitude for it4 #e4 ur-sag-bi d4,a-ir-gi-gim rib-ba ama i-in-ga-an--tud #e4 ,its hero like ,airgi has been made surpassing2 the mother verily has borne him4 #f4 nin-bi d4,nin-tud-gim rib-ba-ra a-ba er mu-ni-in-du #f4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #g4 g7#dea7 #d-kam-ma-m #g4 ,section four7#deb7 it is4 #h4 444 #h4 444 #i4 #i4 #aj4 -la n tu7#dec7 ur #aj4 #aa4 ag-bi-a ur-sag ur-sag-e-ne si-mu-un-si-di-e-ne #aa4 ,within it the heroic ones administrate4 #ab4 d4,nin-ar-sag-g uumgal-m ag-ki im- #ab4 ,ninarsag placed it in the bosom of the earth like a python4 #ac4 d4,nin-tud ama-gal-la tud-tud mu-un- #ac4 ,nintud the great mother 444 #ad4 d4ul-pa--a pa-te-si-ge nam-en-na mu #ad4 ulpae the priest king lordship 444 #ae4 d4-ir-gi7#ded7 ur-sag-g ,,ab7#dee7-mu-444 #ae4 ,airgi1 the champion1 444 #af4 d4,uruma ligir-gal-m7#def7 edin-na-an7#deg7 mu-da-an-444 #af4 ,uruma great prince in the 7heavenly7 plain has 444 #ag4 -e sia lu-lim7#deh7 g-m-ma-gur-ri7#dei7 #ag4 ,the temple assembles the rams and bucks4 #ah4 ,n-,,ar-7ki7-gim rib-ba galu i-in-ga-an-tm-mu #ah4 ,like ,,en-,,har it has been made surpassing2 verily man has wrought solicitude for it4 #ai4 ur-sag-bi d4-ir-gi7#dfj7-;gim rib-ba #ai4 ,its hero like ,airgi has been made surpassing2 the mother #bj4 ama i-in-ga-a-an--tud #bj4 verily has borne him4 #ba4 nin-bi d4,nin-tud-gim rib-ba-ra7#dfa7 a-ba er-mu-ni-in-du #ba4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #bb4 #e-kam-ma-m #bb4 ,it is the fifth7#dfb7 section4 #bc4 ud-gim ki-gal-la gub-ba #bc4 ,the temple like the sun on the vast foundation stands4 #bd4 am-la-la-gim edin-na sg-sg-gi #bd4 ,like a white bull on the landscape it reposes4 #be4 e gar-ra #be4 #bf4 -bi-ta #bf4 #bg4 -ta #bg4 #bh-cj4 7#bh-cj illegible or lost on all the variants47#dfc77 #ca4 ra #ca4 #cb4 gar nu #cb4 #cc4 an-r ki-ar #cc4 #cd4 bi la-a-ma ki-u-sa #cd4 #ce4 na-ra-ab ,uri-7ki7-ka ke-du #ce4 #cf4 ,n-,,ar-7ki7-gim rib-ba7#dfd7 galu i-in-ga-an-tm-mu #cf4 ,like ,n-,,har it has been made surpassing2 verily man has brought solicitude for it4 ,col4 ,,iv #a4 ur-sag-bi d4-ir-g-gim rib-ba-ra #a4 ,its hero like ,airgi has been made surpassing2 the mother #b4 ama-a7#dfe7 i-in-ga-an--tud #b4 verily has borne him4 #c4 nin-bi d4,nin-tud-gim rib-ba-ra a-ba er-mu-ni-in-du #c4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #d4 7#dff7 #f-kam-ma m #d4 ,it is the sixth section4 #e4 -azag ,,lu-bi 7#dfg74444 #e4 ,the sacred temple whose 787 is4444 #f4 -,ke-7ki7-azag ,,lu-bi 7#dfh7 #f4 ,the sacred temple of ,ke whose 8 is4444 #g4 -a en-bi d4,a-nun-na-me-e #g4 ,in the temple whose high priests are the ,anunnaki1 #h4 nu--bi dim--an-na-me-e7#dfi7 #h4 ,whose sacrificial priests are the dim of ,eanna1 #i4 kisal-e lugal-bur-ra-m mu-un-gub #i4 ,the aisle 444 treads4 #aj4 en-dug ag tg-lal nam-mi-in-lal #aj4 7,the temple7 unto which a beneficent lord has shown solicitude4444 #aa4 a-tu-e umun d4,en-ki ,,ne-,,gab in- #aa4 ,the libator7871 lord ,enki4444 #ab4 tu-e a-r7877#dgj7-;a7#dga7 mu- e- gub #ab4 ,the baptizer 444 treads thee4 #ac4 ll a-ag-ga ki-azag-ga-m mi-7#dgb7444 #ac4 #ad4 en isimu-e7#dgc7 abkal ubar-e-ne t ki-m-ma-gl-li-e e-a-ni ,,su-mu-un-sg-gi-ne7#dgd7 #ad4 ,the lord ,isimu1 the councilor4444 #ae4 ,,ru ,,uru ,,ru mu-ni-ib-bi-ne #ae4 #af4 -ma-ge gig-ga7#dge7 mi-ni-ib-za -lal-e g-u mi-ni-ib-bi #af4 444 in sorrow abounds4 444 the bound cry like birds 787#g #ag4 8-ra-ge s-s mi-ni-ib-za dug-gi si-a-ba-ni-ib di #ag4 444 in desolation abounds4 444 may direct aright4 #ah4 ka-zal-bi al-dug #ah4 ,of 444 its joy was sweet4 #ai4 -dug ka-zal-bi al-dug #ai4 ,of 444 its joy was sweet4 #bj4 -zal-bi a-mu-un-,,ku #bj4 #ba4 -ar-sag-g nin-bi8- bi m-mu-un-,,ku787 #ba4 #bb4 ,n-,,ar-7ki7-gim rib-ba galu i-in-ga-an-tm-mu #bb4 ,like ,,en-,,har it has been made surpassing2 verily man has brought solicitude for it4 #bc4 ur-sag-bi d4-ir-gi-gim rib-ba ama i-in-ga-an--tud #bc4 ,its hero like ,airgi has been made surpassing2 verily the mother has borne him4 #bd4 nin-bi d4,nin-tud-gim rib-ba-a a-ba er-mu-ni-in-du #bd4 ,its lady like ,nintud has been made surpassing4 ,and then wailing began4 #be4 7877#dgf7 #g-kam-ma-m #be4 ,it is the seventh section4 ,,third ,,tablet ,,of ,,the ,,series 8,,the ,,exalted ,,one ,,who ,,walketh0 7,e-,,lum ,,didara7 7,,no4 #ac7 ,the series elum didara is entered in the ,assyrian liturgical catalogue1 ,,iv ,raw4 #ec;a #h1 and the first tablet of this ,enlil liturgy has been found in the ,berlin collection and published by ,,reisner1 ,,sbh4 ,no4 #be47dgg7 ,the ,berlin tablet belongs to a great ,babylonian temple library of the ,greek period redacted by a family of liturgists descendants of ,sin-ibni4 ,a fragment of the same first tablet of another ,babylonian copy has been found1 ,,bm4 #ha-g-bg1 #bjc47dgh7 ,the catch line of tablet two is lost on ,,sbh4 #be and no part of tablet two has been identified4 ,in #aiad ,i copied ,,bm4 #ghbci 7#hh-e-ab1 #id7 the upper half of a large tablet carrying according to the colophon ninety-six ,sumerian lines4 ,the number of lines provided with an interlinear translation on this fragment is only two1 which increases the actual number of lines to ninety-eight4 ,probably a few more should be added for ,semitic lines on the lost portion4 ,this tablet1 also from a ,babylonian redaction1 belongs to an edition made by another school of liturgists and contains tablet three of elum didara4 ,the third tablet of elum didara began with a melody nin-ri nin-ri g-am-me to the mother goddess ,bau 7,i4 #b71 who in line #g is identified with ,nan4 ,lines #c-f introduce by interpolation other local forms of the mother goddess1 as a concession to cities whose liturgists succeeded in inserting these lines before the canon of sacred songs were closed in the ,isin period4 ,hence ,babylon is favored by a reference to ,zarpanit in line #c2 ,barsippa by a reference to ,tamet in lines #d-f4 ,bau or ,gula wails for ,nippur whose destruction is here attributed to the moon-god1 ,sin4 ,the introduction of a long passage to the moon-god in the weeping mother melody of an ,enlil liturgy is unusual4 ,the entire passage reflects the phraseology and ideas of the well-known ,sumerian hymn to the moon-god magur azag anna47#dgi7 ,the composer desiring to utilize these fine lines makes a setting for them by describing ,sin as the god who visited ,nippur with wrath1 regardless of the inconsistency of placing such a passage in an ,enlil song service which attributed the sorrows of ,nippur to ,enlil himself4 ,according to the catch line of tablet two of the ,ninurta liturgy gud-nim kurra the third tablet of that series began by the same melody as tablet three of the elum didara47#dhj7 ,it is probable that the first melody of tablet three of both series was identical4 ,melodies are always identified by their first lines and when these agree we assume that the entire melodies are identical4 ,since the musicians referred to all melodies by their first lines it was manifestly impossible to begin two different melodies with the same line4 ,but tablet three of the weeping mother liturgy muten nu-nunuz-gim begins its first melody7#dha7 nin-ri nin-ri g-m1 etc41 otherwise both melodies differ completely4 ,this is the first known of example of two different melodies bearing the same title4 ,it is curious indeed that an ,enlil1 a ,ninurta and a mater dolorosa series all begin their third tablets in the same manner4 ,the obverse of ,,bm4 #ghbci breaks away before the end of the melody nin-ri ninri g-m-me4 ,here forty-five ,sumerian lines are lost2 one or two melodies at least stood in this break4 ,for the last passage on tablet three1 the scribe borrows the first melody of the ,ninurta series gud-nim kurra47#dhb7 ,the litanies which begin these melodies or series of addresses to ,ninurta differ greatly in the two redactions4 ,since ,,sbh4 ,no4 #ah belongs to a ,ninurta series the addresses therein are much more extensive4 ,the composer of the ,enlil series elum didara obviously introduced this irrelevant melody to obtain the fine passage to the weeping mother1 ,rev4 #aj-ba on ,,bm4 #ghbci4 ,these lines are lost on the ,berlin text ,,sbh4 ,no4 #ah4 ,on the whole the liturgy elum didara is more inconsistent in the development of ideas than any song service of which extensive portions are known4 ,only tablets one and three are as yet identified and neither of these is much more than half complete4 ru-ba-tum 7rubatum7 i-si-it li i-es-si ina lal-la-ra-ti ,the princess1 the princess1 in misery shouts the wailing of the city47#dhc7 #a4 nin-ri nin-ri g-m-me ru in-ga-m-me -li-li #a4 #b4 a gaan-mu nu-nunuz-g-ga #b4 ,how long my queen1 the pious woman1 in misery87#dhd7 #c4 -g-a -sag-il-la7#dhe7 #c4 ,the bride of ,esagila in misery8 #d4 dumu-sag d4,uraa-a #d4 ,first born daughter of ,urasha in misery8 #e4 dumu-sag -i-be- d4,a-nu-um #e4 ,first born daughter of the temple ,ibe-,anum in misery8 #f4 gaan-g-ur-a-sg ud-lal-a-ge #f4 ,the obedient queen1 she the 4441 in misery8 #g4 gaan-mu d4,na-na-a #g4 ,my queen ,nana in misery8 #h4 -zu -zu- #h4 7,how long7 shall thy temple for thy temple in misery be8 #i4 uru-zu uru-zu- #i4 ,thy city for thy city in misery be8 #aj4 dam-zu dam-zu- #aj4 ,thy wives for thy wives in misery be8 #aa4 dumu-zu dumu-zu- #aa4 ,thy sons for thy sons in misery be8 #ab4 e-ib- e-ib-g-g #ab4 7,how long7 for the brick walls shall the brick walls restored wail8 #ac4 saar- saar-g-g7#dhf7 #ac4 ,for the dust shall the restored dust wail8 #ad4 si-m7#dhg7 azag an-na e-ir-ma-al-la n-te-na dirig-ga-zu-d za-e dirig-ga-zu-d #ad4 ,bright horned light of heaven mighty of itself1 in thy excellence1 yea thou in thy excellence1 #ae4 na-an-na-ru el-lu a a-me-e e-il ra-ma-ni-u ina u-tu-ru-ti-ka at-tam #ae4 #af4 a-a d4,nannar si-m azag an-na e-ir-ma-al- a n-te-na #af4 ,o father ,nannar bright horned light of heaven1 mighty of itself1 7in thy excellence1 yea thou in thy excellence71 #ag4 a-a d4,nannar umun-e an-r #ag4 ,father ,nannar1 lord of all the heavens1 #ah4 umun d4,nannar umun d4,a-m-r-ra7#dhh7 #ah4 ,lord ,nannar1 lord of the rising light1 #ai4 umun gu-la galu nin-ul-ma-al-la uru-zu n-te-en-na e-ir-ma-al-la n-te-en-na #ai4 ,great lord1 who himself has wrought evil to thy city17#dhi7 mighty of himself1 #bj4 uru-zu ,nippur-7ki7 galu nin-ul-ma-al-la uru-zu #bj4 ,as for thy city ,nippur1 he who has wrought evil to thy city1 #ba4 nigin kalam-ma-zu -si ma-ni-ib-bi #ba4 ,all thy ,land4444 #bb4 uru8 kalam-ma-da-zu gig-ga-an-na-ag-e #bb4 ,thy city and land are afflicted with woe4 #bc4 zu-g7#dij7 7galu7 a-ba an-l7#dia7-;e #bc4 ,in thy 444 and thy 444 the scribes are driven away4 #bd4 zu-g pag-da7#dib7 ma-an-l-lal-la-a7877#dic7-;e #bd4 ,in thy 444 and thy 444 the augurers are exiled4 #be4 444 zu ba-ni-ib-gul #be4 ,thy 444 is destroyed4 #bf4 444 zu ba-ni-ib-sg-sg #bf4 #bg4 444 ,,ul-,a-,a 7gloss7 e-ga ib 444 #bg4 #bh4 444 ,a-,,an ,,ul 444 e-ga ib 444 #bh4 #bi4 444 #bi4 444 ,,reverse #a4 g-ud nim kur-ra mu-lu ta-zu mu-un-zu #a4 ,exalted hero of the world1 doth any one comprehend thy form87#did7 #b4 kar-ra-du a-ku-u a ma-a-tim kat-tuk man-nu i-lam-mad #b4 #c4 alim-ma umun ur-sag-gal #c4 ,honored one1 lord1 great champion4 #d4 ur-sag-gal umun si d4,mu-ul-lil-l-ge #d4 ,great champion1 lord1 light of ,enlil4 #e4 alim-ma abil -kur-ra #e4 ,honored one1 son of ,ekur47#die7 #f4 ur-sag-gal umun -u-me-,,du7#dif7 #f4 ,great champion1 lord of ,eume-du4 #g4 umun -ag-ma-a umun-e -i-be-u-gd #g4 ,lord of ,eama1 lord of ,e-ibe-ugud47#dig7 #h4 umun sukkal-ma-di7#dih7 gal-ukkin d4,nusku-ge #h4 ,lord1 great messenger1 the herald ,nusku4 #i4 d4,ma-tab-ba d4,lugal-gr-ra #i4 ,the twin god1 ,lugalgirra4 #aj4 dg-ga-zu mu-lu ta-zu mu-un-zu #aj4 ,as to thy commands1 who comprehends thy form8 #aa4 ta-a-zu mu-lu #aa4 ,as to thy succor1 who comprehends thy form8 #ab4 e-ne-em-zu mu-lu #ab4 ,as to thy word1 who comprehends thy form8 #ac4 edin-na di-di edin-na e-m-du #ac4 ,she wanders on the plain1 on the plain she wails4 #ad4 ama gaan tin-dib-ba edin-na #ad4 ,the mother1 queen who gives life to the dead1 on the plain wails4 #ae4 nin gaan nign-gar-ra edin-na #ae4 ,the queen1 lady ,nigingar1 on the plain wails4 #af4 nin gaan ,lara-ak-7ki7-ge7#dii7 edin-na #af4 ,the queen1 lady of ,larak1 on the plain wails4 #ag4 nin gaan ,i-si-in-na-7ki7 edin-na #ag4 ,the queen1 lady of ,isin1 on the plain wails4 #ah4 nin ama -dr7#ejj7-;azag-ga edin-na #ah4 ,the queen1 mother of the holy city1 on the plain wails4 #ai4 nin ama ,u-,,al-,,bi7#eja7 edin-na #ai4 ,the queen1 the 444 mother1 on the plain wails4 #bj4 d4,ba- nu-nmuz g-ga edin-na #bj4 ,bau1 the pious woman1 on the plain wails4 #ba4 -rab-ri-ri umun d4,s-kut-ma-a edin-a #ba4 ,the abode1 ,erabriri1 of the lord ,sakutmah on the plain wails4 #bb4 e-lum-e la-lu u-'u-a u-'u-a #bb4 ,oh honored one1 the exuberant1 alas1 alas4 #bc4 #if-m mu-id-bi-im duppu #c-kam e-lum di-da-ra nu al-tl #bc4 ,ninety-six is the number of its lines4 ,third tablet of ,elum didara1 unfinished4 #bd4 gab-ri ,br-sip-7ki7 kima labiri-u a-ir-ma barim duppu d4,bl-i-ur mri-u a d4,bl-ikun-ni #bd4 ,copy from ,barsippa1 according to its original1 written and collated4 ,tablet of ,blikur son of ,belishkunni1 #be4 mar ,iddin-d4,papsukkal pa-li d4,nabu ina ar-tum la uteir ina me-ri-tum la u-a-bi7#ejb7 #be4 son of ,iddin-,papsukkal worshipper of ,nebo4 ,in fraud he has not translated it and with wilful readings has he not published it4 ,,babylonian ,,cult ,,symbols4 #fjfj 7,,no4 #ab7 ,ni4 #fjfj1 a ,cassite tablet in four columns1 yields a notable addition to the scant literature we now possess concerning ,babylonian mystic symbols4 ,a fragmentary ,assyrian copy from the library of ,aurbanipal was published by ,,zimmern as ,no4 #bg of his ,ritual ,tafeln4 ,the ,assyrian copy contains only fifteen symbols with their mystic identifications1 in ,col4 ,,ii of the obverse4 ,the ends of the lines of the right half of ,col4 ,i are preserved on ,,zimmern #bg1 and these are all restored by the ,cassite original4 ,the obverse of these two restored tablets contained about sixty symbols with their divine implications4 ,most of them are the names of plants1 metals1 cult utensils and sacrificial animals1 each being identified with a deity4 ,a tablet in the ,british ,museum1 dated in the #agdth year of the ,seleucid era or #ach ,b4 ,c41 ,spartola ,collection ,i #aca1 published by ,,strassmaier1 ,,za4 ,,vi #bda-d1 begins with an astronomical myth concerning the summer and winter solstices7#ejc7 and then inserts a passage on the mystic meanings of ten symbols4 ,the myth of the solstices runs as follows3 8,in the month ,tammuz1 #aath day1 when the deities ,minii and ,kauna1 daughters of ,esagila17#ejd7 go unto ,ezida7#eje7 and in the month ,kislev1 #c;d day1 when the deities ,gazbaba and ,kazalsurra1 daughters of ,ezida1 go unto ,esagila--,why do they go8 ,in the month ,tammuz the nights are short4 ,to lengthen the nights the daughters of ,esagila go unto ,ezida4 ,ezida is the house of night4 ,in the month ,kislev1 when the days are short1 the daughters of ,ezida to lengthen the days go unto ,esagila4 ,esagila is the house of day40 ,the tablet then explains the ,sumerian ideogram gubarra,arat1 the western mother goddess ,ashtarte1 and says that ,arat of ,ezida is poverty stricken47#ejf7 ,but ,arat of ,esagila is full of light and mighty47#ejg7 ,some mystic connection between ,arat or ,getinanna1 mistress of letters and astrology17#ejh7 scribe of the lower world1 and the daughters of night and day existed4 ,this cabalistic tablet here refers to a mirror which she holds in her hand and says she appeared on the #aeth day to order the decisions4 ,the #aeth of the month ,tammuz is probably referred to or the beginning of the so-called dark period when the days begin to shorten and ,nergal the blazing sun descends to the lower world to remain #afj days47#eji7 ,for some reason ,arat1 here called the queen17#eaj7 appears to order the decisions1 probably the fates of those that die4 ,the phrase 8,the divine queen appeared0 is usually said of the rising of stars or astral bodies1 but the reference here is wholly obscure4 ,as a star she was probably ,virgo4 ,at any rate some mystic pantomime must have been enacted in the month of ,tammuz in which the daughters of ,esagila and ,ezida and the queen recorder of ,sheol were the principal figures4 ,the pantomime represented the passing of light1 the reign of night and the judgment of the dead4 ,clearly an elaborate ritual attended by magic ceremonies characterized the ceremony4 ,at this point the tablet gives a commentary on the mystic meaning of cult objects used for the healing of the sick or the atonement of a sinner4 ,obviously some connection exists between this mystagogy and the myth described4 ,the commentary is probably intended to explain the hidden powers of the objects employed in the weird ritual1 at any rate the mystery is thus explained47#eaa7 7#a7 ,gypsum is the god ,ninurta47#eab7 7#b7 ,pitch is the asakku-demon47#eac7 7#c7 ,meal water 7which encloses the bed of the sick man7 is ,lugalgirra and ,meslamtaea47#ead7 ,a string of wet meal was laid about the bed of a sick man or about any object to guard them against demons4 ,hence meal water symbolizes the two gods who guard against demons4 ,see especially ,,ebeling1 ,,kta4 ,no4 #fj ,obv4 #h zisurr talamme-u1 8,thou shalt enclose him with meal water40 7#d7 ,three meal cakes are ,anu1 ,enlil and ,ea47#eae7 7#e7 ,the design which is drawn before the bed is the net which overwhelms all evil4 7#f7 ,the hide of a great bull is ,anu4 ,here the hide of the bull is the symbol of the heaven god as of ,zeus ,dolichaos in ,asia ,minor4 7#g7 ,the copper gong7#eaf7 is ,enlil4 ,but in our tablet ,,ii #ac symbol of ,nergal and in ,,ct4 #af1 #bd1 #be apparently of ,anu4 ,the term of comparison in any case is noise1 bellowing4 7#h7 ,the great reed spears which are set up at the head of the sick man are the seven great gods sons of ,ihara4 ,the seven sons of ,ihara are unknown1 but this goddess was a water and vegetation deity closely connected with ,nidaba goddess of the reed47#eag7 ,the reed1 therefore1 symbolizes her sons4 7#i7 ,the scapegoat is ,ninamaazagga4 ,here the scapegoat typifies the genius of the flocks who supplies the goat4 ,see1 however1 another explanation below ,obv4 ,,ii #ag4 7#aj7 ,the censer is ,azagsud4 ,the deity ,azagsud in both theological and cult texts is now male and now female4 ,as a male deity he is the great priest of ,enlil1 ,,ct4 #bd1 #aj1 #ab1 and always a god of lustration closely connected with the fire god ,gibil1 ,,meek1 ,,ba4 ,x pt4 #a ,no4 #bd1d47eah7 ,but ordinarily ,azagsud is a form of the grain goddess who was also associated with fire in the rites of purification4 ,as a title of the grain goddess1 see ,,ct4 #bd1 #i1 #ce #bc1 #ag2 ,,sbp4 #aeh1 #fd ,a-sug where ,,zimmern1 ,,kl4 #aa ,rev4 ,,iii #aa has ,azag-sug4 ,she is frequently associated with ,ninabursildu and ,nidaba 7the grain goddess7 in rituals1 ,,zimmern1 ,rt4 #abf1 #bg and #bi2 #ach1 #ad1 etc4 ,the censer probably symbolizes both male and female aspects1 the fire that burns and the grain that is burned4 ,see below ,,ii #i1 where the censer is symbol of ,urash a god of light4 7#aa7 ,the torch is ,nusku the fire god in the ,nippur pantheon4 ,below 7,,ii #aj7 the torch is ,gibil1 fire god in the ,eridu pantheon4 ,the mystic identifications do not always agree1 but the term of comparison can generally be found if the origin and character of the deities are known and the nature of the symbol determined4 ,each god was associated with an animal and a plant and with other forms of nature over which they presided4 ,when the cult utensils are symbols the term of comparison is generally clear4 ,below will be found such interpretations of these mysteries as the condition of the tablet and the limits of our knowledge permit4 ,most difficult of all are the metal symbols which begin with ,obv4 ,i #aj4 ,here silver is heaven1 but it can hardly be explained after the manner of the same connection of ,zeus ,dolichaos with silver in ,kommagene4 ,the cult of this ,asiatic heaven god is said to have been chiefly practiced at a city in the region of silver mines47#eai7 ,that is an impossible explanation in the case of ,anu whose chief cult center was at ,erech4 ,the association of gold with ,enmesharra1 here obviously the earth god1 is completely unintelligible4 ,in ,obv4 ,i #ca he is possibly associated with lead or copper as the planet ,saturn4 ,in lines ,i #ad-ah the symbols are broken away1 but they are probably based upon astronomy4 ,metals seem to be connected with fixed stars and planets on the principle of color4 ,the metallic symbolism of the planets was well known to ,byzantine writers who did not always agree in these matters4 ,their identifications are certainly a ,grco-,roman heritage which in turn repose upon ,babylonian tradition47#ebj7 ,the following table taken from ,,cook1 ,zeus1 p4 #fbf1 will illustrate ,grco-,roman ideas on this point3 ,kronos--lead 7,saturn72 ,zeus--silver 7,jupiter72 ,ares--iron 7,mars72 ,helios--gold 7,sun72 ,aphrodite--tin 7,venus72 ,hermes--bronze 7,mercury72 ,selene--crystal 7,moon74 ,our tablet preserves only the names of the deities at this point1 and if metals stood at the left we are clearly authorized to interpret the divine names in their astral sense4 ,this assumes1 of course1 that these astral identifications obtained in the ,cassite period4 ,assuming this hypothesis we should have the metals for ,betelgeuze1 ,ursa ,major1 ,venus1 ,jupiter1 ,mars1 ,saturn1 ,new-moon7871 a star in ,orion1 ,venus as evening and morning star1 ,virgo1 and perhaps others4 ,the reverse of the tablet is even more mystic and subtle4 ,the first section connects various cult substances with parts of the body4 ,white wine and its bottle influence the eyes4 ,white figs pertain to a woman's breasts4 ,must or mead have power over the limbs as the members of motion4 ,terms of comparison fail to suggest themselves here and we are completely disconcerted by the fancy of the ,babylonian mystagogue4 ,in the next section1 which is only partially preserved1 we have twelve gods of the magic rituals4 ,the province of each in relation to the city and state is defined4 ,kushu1 the evil satyr who receives the sin-bearing scapegoat1 hovers over the homes of men4 ,muru1 the deity who receives burnt offerings1 or incarnation of the fires of sacrifice1 dwells at the city-gate4 ,sakkut1 a god of light and war1 inexplicably protects the pools4 ,then follow hitherto undefined and unknown ,cassite deities and a break in the tablet4 ,as in the ,assyrian duplicate1 ,,zimmern ,rt4 #bg1 so also here1 the reverse contains a lexicographical commentary on mythological phrases4 ,the name of the god ,negun is commented upon here and most timely information is given4 ,both the phonetic reading of the name and the character of the deity are defined4 ,the colophon at the end has the usual formula attached to cult instructions whose contents are forbidden to the uninitiated4 #a4 duk a-gub-ba 444 7#eba7 #a4 ,the vessel of holy water 444 of the gods #b4 d4,nin-abur-sil-du nin787 t-t-ge7#ebb7 #b4 is ,ninhabursildu17#ebc7 queen of incantations4 #c4 dukgan-nu-tr7#ebd7 d4 ,,me-,,gar #c4 ,the little hannu-vessel is the deity 444 #d4 giinig d4,a-nim #d4 ,the tamarisk is anu47#ebe7 #e4 giag-giimmar7#ebf7 d4,dumu-zi #e4 ,the date palm-head is ,tammuz4 #f4 in-nu-u7#ebg7 d4-a #f4 ,the mashtakal-plant is ,ea4 #g4 giul-i d4,nin-urta #g4 the alatu-reed is ,ninurta4 #h4 el7#ebh7 d4,nin7#ebi7 #h4 ,the ,el-plant is ,nin #i4 giburru7#ecj7 d4,gir-r7#eca7 #i4 ,the gibur wood is the ,fire ,god ,girra4 #aj4 dgkubabbar d4,,gal7#ecb7 #aj4 ,silver is the great god 7the moon74 #aa4 dgku-gi d4,en-me-r-ra7#ecc7 #aa4 ,god is ,emmearra 7the sun74 #ab4 dgurudu d4-a #ab4 ,copper is ,ea4 #ac4 dgan-na d4,nin-ma #ac4 ,lead is ,ninmah47#ecd7 #ad4 7#ece7 d4,ninurta #ad4 is ,ninurta4 #ae4 d4,ninlil7#ecf7 #ae4 is ,ninlil4 #af4 d4,dilbat #af4 is ,ishtar-,venus4 #ag4 d4,,amar-,,ra-,e-,,ud-,,du-,a-,,lu-,,tu7 #ecg7 #ag4 is ,marduk-,jupiter4 #ah4 d4,lugal-gi-a-tu-gab-li-a7#ech7 #ah4 is ,nergal-,mars4 #ai4 d ,sak-kud #ai4 is ,ninurta-,saturn47#eci7 #bj4 d4,nusku7#edj7 #bj4 is ,nusku4 #ba4 d4,pap-sukkal7#eda7 #ba4 is ,papsukal4 #bb4 -g d4,sak-kut7#edb7 #bb4 is ,sakkut4 #bc4 -,,id ilu,ram-ma-nu #bc4 is ,ramman4 #bd4 ilat,ishtar ,uruk-7ki7 #bd4 is ,ishtar of ,erech47#edc7 #be4 ilat,ishtar ,a-ga-de-7ki7 #be4 is ,ishtar of ,agade47#edd7 #bf4 -,,tar ilat,be-lit-ri #bf4 is ,blit-eri47#ede7 #bg4 d4,nin-lil #bg4 is ,ninlil4 #bh4 ri-kis-su-nu d4,ninurta #bh4 their band787 is ,ninurta4 #bi4 ilni sibitti7#edf7 #bi4 is the seven gods4 #cj4 d4,en-me-r-ra #cj4 is ,enmesharra47#edg7 ,,obverse ,,ii 444 #b4 gi d4 #b4 #c4 gi d4 #c4 #d4 giim d4 #d4 #e4 im-al7#edh7 d4 #e4 ,box-wood is the god4444 #f4 gi-dug-ga7#edi7 d4 #f4 ,the good reed is the god4444 #g4 im-li d4,immer7#eej7 #g4 ,cypress is ,adad4 #h4 pti burrumti7#eea7 ilu,labartu7877#eeb7 marat ilu,anim #h4 ,wool of variegated color is ,labartu daughter of ,anu4 #i4 im-,,zu7#eec7 d4,nin-urta #i4 ,the aromat-,,zu is ,ninurta4 #aj4 nig-na d4,ura #aj4 ,the censer is ,urasha47#eed7 #aa4 gi-bil-l d4 ,gi-bil #aa4 ,the torch is ,gibil47#eee7 #ab4 u-ta-ri ibbti7#eef7 d4,ne-gun #ab4 ,the clean incense is ,negun47#eeg7 #ac4 mul-lil-lum d4,igi-,,balag7#eeh7 l nu-gis-ar d4,en-lil-l #ac4 ,the amphora787 is ,igi-,,balag1 gardener of ,enlil4 #ad4 urudnig-kalag-ga7#eei7 d4,nin-sar d4,nergal #ad4 ,the copper kettledrum is ,ninsar17#efj7 that is ,nergal4 #ae4 ku-g-gal7#efa7 d4,,ninda,,gud #ae4 ,the hide of a great bull is ,,ninda,,gud47#efb7 #af4 im-bar d4,utu-gl-lu #af4 ,gypsum is the storm god 7,ninurta747#efc7 #ag4 esir d4id #ag4 ,bitumen is the river god47#efd7 #ah4 m-ul-db-ba-a d4,ku-u #ah4 ,the scapegoat is ,kushu47#efe7 #ai4 udu-ti-la7#eff7 d4,gira #ai4 8,the living lamb0 is ,gira47#efg7 #bj4 m-gi-bil-la d4,mu-u-ra #bj4 ,the goat of the torch7#efh7 is ,muru4 #ba4 e-bir-bir-ri u-pu-un-tum #ba4 8,scattered grain78710 chick pea 787 #bb4 zr ma-ka-lu- #bb4 seed-corn1 eating table and #bc4 duka-gazpl4 d4,nun-r-ra d4,ea7#efi7 #bc4 the agaz-pots are ,ninurra-,ea4 #bd4 giku-ma-nu #g -mu7#egj7 ku d4,marduk #bd4 ,the seven 7headed7 weapon of laurel wood1 the storm1 the weapon of ,marduk4 #be4 k-gi-sigpl4 d4,a-nun-na-ki #be4 ,red sun-disks787 are the ,anunnaki4 #bf4 k-gi nig-m-zid7#ega7 d4,ma-tab-ba-gal-ga #bf4 ,the golden sacred kid787 is the ,great ,twins47#egb7 #bg4 ma-d d4,un-gal ,nibru-ki7#egc7 #bg4 ,the kid is ,ungal7#egd7 of ,nippur4 #bh4 kur-gi-7u7 d4,nin-sg #bh4 ,the crane is ,ninsig47#ege7 #bi4 sn7#egf7 gierin ita7#egg7 d4,zi-i #bi4 ,the sun of cedar1 weapon of ,zu47#egh7 #cj4 ll 444 d4 #cj4 ,honey 444 is the god 444 #ca4 l 444 li #ca4 ,oil 444 oil 444 #cb4 d4d d4 #cb4 444 ,river-god1 god444 ,,reverse ,i #a4 karanu ellu aul-ti en-u #a4 ,white wine and bottle are his eyes4 #b4 tittu pitu7#egi7 tul-u7#ehj7 #b4 ,the white fig is her breasts4 #c4 iunurm bir-ka-a-u #c4 ,the nur-fig is his 7her7 knees4 #d4 tittu7#eha7 ki-sal-la-a-u #d4 ,the fig is his 7her7 loins4 #e4 mirsu pit puridi-u #e4 ,must is his 7her7 crotch4 #f4 d4,ku-i r ki-i-i7#ehb7 #f4 ,the god ,kushu over the chamber4 #g4 d4,mu-u-ra ina pan abulli #g4 ,muru before the city gate4 #h4 d4,sak-kut ina abal appari #h4 ,sakkut in the midst of the pool4 #i4 d4,si-lak-ki7#ehc7 ina ma-na-a-ti #i4 ,silakki in the ruins4 #aj4 d4,e-u-rum7#ehd7 ina libbi r idi #aj4 ,ekurum in the leg4 #aa4 d4,ab-ba- gu-la7#ehe7 ina igari #aa4 ,abbagula in the wall4 #ab4 d4 8 8 ina nasikati #ab4 in the fortress4 #ac-ag4 444444444444444444444444 #ac-ag4 #ah4 #ab ilni #ah4 ,twelve gods4 ,,reverse ,,ii #a4 ,,sag-,g,r-,,me a ina pani-u namru7#ehf7 #a4 ,the battle which before him gleams4 #b4 ,,ku- la7#ehg7 ma-ru #b4 444 not are received4 #c4 -u3,,nu3 la-a #c4 ,,nu not4 #d4 ,,bt3u-u7#ehh73;,,ila3ma-a-ri #d4 ,,bi that3 ,,ila to present4 #e4 d4,ne-gun erim-bi nu-tuk-a ai-bi ina at-u la uni #e4 ,negun who foes has not4 ,the wicked from his hand escape not4 #f4 ,,ne-,,ru3ai-bi3,,id3a-ti3,,tuk-,a ,,sal-,e8 #f4 ,,ne-,,ru wicked 3 ,,id hand 3 8 8 #g4 d4,ne-gun7#ehi7 a-lu- i-a-tam #g4 ,negun is he that burns with fire4 #h4 ,u-gunu#a;agin3gu-nu-u3,,si3a-lu-u #h4 ,the gunu of ,u has the syllabic value gun3si7g7 to burn4 #i4 ,,ne3i-a-tu3sa-ni ka-lu ni-ka #i4 ,,ne fire3 ,or to consume offerings in fire4 #aj4 ,,sal-,e7#eij73;ba-nu-3 ga-lu #aj4 ninmu blaze1 burn4 #aa4 ,,si3ba-nu-3,,ne ga-lu #aa4 si7g7 blaze3 bil burn4 #ab4 md md li-kal-lim #ab4 ,let the knowing inform the knowing4 #ac4 la md ul immar #ac4 ,he that knows not may not read4 ki-ma labiri-u ilu,ninurta-nair mar ,ilu-ia ameluaipu iur bi ,e-u-me-r ,according to its original ,ninurtu-nair son of ,ilu-iia1 the priest of magic wrote4 ,it is the property of the temple ,eumera47#eia7 ,,addendum ,,on ,,obv4 ,i #aj ,f4 ,anu in this passage really denotes ,sin1 the moon1 which has been connected with silver on account of its color4 ,the identification of ,anu1 the heaven god1 with the moon god rests upon the astronomical connection between the moon and the summer solstice1 see ,,weidner1 ,handbuch der ,babylonischen ,astronomie1 #cb4 ,sin is called 8,anu of heaven10 ,,king1 ,magic1 ,no4 ,i1 #i1 and for the connection with silver1 see ,,virolleaud1 ,astrologie1 ,supplement1 ,v ,,ii1 kaspu ilu ,a-nu hurau ilu ,enlil er ilu ,ea4 ,enlil is connected with gold in ,,virolleaud1 ,astrologie1 ,second ,supplement1 ,,xvii #ad1 and ,enlil is not infrequently identified with ,shamash1 see p4 #aeh1 #a-b and p4 #cjh1 #ah1 and gold is the traditional metal of the sun4 ,the ,greek identification of ,zeus1 the sky-god1 with silver is certainly borrowed from ,babylonia2 see p4 #ccd4 ,,description ,,of ,,tablets ,,number ,,museum ,,description ,,in ,,this ,,number ,,volume #a #achef ,large two column tablet4 ,unbaked2 light brown with dark spots4 ,top broken away and left lower corner damaged4 ,h4 #f- inches2 ,w4 #d-2 ,t4 #a- - 4 ,liturgy of the cult of ,ishme-,dagan4 ,see pages #bde-beg4 #b #aajje ,upper part of a large two column tablet4 ,unbaked2 light brown4 ,top and left edge of the fragment damaged4 ,h4 #c-2 ,w4 #c-2 ,t4 #a- - 4 ,liturgy of ,ishme-,dagan4 ,see pages #beh-bei4 #c #ghdg ,dark brown unbaked tablet4 ,right upper corner slightly damaged4 ,right lower corner broken away4 ,two columns4 ,h4 #h2 ,w4 #e-2 ,t4 #a - 4 ,mythological hymn to ,innini4 ,the obverse is translated on pages #bfj to #bfd1 but the reverse is too badly damaged to permit an interpretation4 ,the text ends with the line1 8,oh praise ,innini10 the literary note characteristic of epical compositions4 ,the scribe adds a note stating that there are #aec lines4 ,written by the hand of ,lugal-e-a 444 son of ,e-a-i-l7874444 #d #ghgh ,light brown fragment from the left upper corner of a large unbaked tablet4 ,h4 #c-2 ,w4 #a- - #a2 ,t4 #a- - #a4 ,duplicate of #ghdg4 ,this tablet omits the liturgical note1 8,oh praise ,innini40 ,it has the colophon1 8,written by the hand of ,ninurash-mu4441 in the presence of ,nidaba-igi-pa787-444e-en40 #e #aebjd ,single column1 dark brown tablet4 ,partly baked4 ,left lower corner broken away4 ,h4 #d-2 ,w4 #b-2 ,t4 #a- - 4 ,psalm to ,enlil4 ,see pages #bfe-bfh4 #f #baed ,single ,column1 light brown tablet4 ,top and left lower corner broken4 ,h4 #d-2 ,w4 #b-2 ,t4 #a--4 ,lamentation for ,lagash4 ,see pages #bfh-bgb4 #g #hjig ,single column1 light brown tablet4 ,lower edge damaged4 ,h4 #d-2 ,w4 #b-2 ,t4 -4 ,liturgical hymn to ,sin4 ,see pages #bgf-bgi4 #h #cdf ,single column1 dark unbaked tablet4 ,damaged at top and bottom4 ,h4 #d2 ,w4 #b-2 ,t4 #a--4 ,bilingual hymn4 ,see plate #hf4 #i #hccd ,single column1 light brown tablet1 unbaked4 ,left upper corner and top of reverse damaged4 ,h4 #d-2 ,w4 #b-2 ,t4 #a--4 ,hymn to ,innini4 #aj #hecc ,upper part of a large two column tablet4 ,light brown1 soft and crumbling4 ,purchased by the ,expedition in #ahie1 from ,abu ,hatab4 ,h4 #c-2 ,w4 #e-2 ,t4 #a--4 ,hymn to ,enlil4 #aa #gjhj ,large light brown tablet2 five columns2 broken perpendicularly at the middle4 ,isin period4 ,h4 #h-2 ,w4 #d2 ,t4 #b4 ,liturgy to ,enlil4 ,lamentation for the city of ,ur4 ,see pages #bgi-bhe4 #ab #fjfj ,nearly complete tablet2 baked4 ,temple library 7,,iv74 ,second ,exp4 ,two column tablet2 ,cassite period4 ,h4 #d2 ,w4 #c-2 ,t4 #a-4 ,cult symbols4 ,see pages #cbj-cdb4 #ac ,b4,m4 ,upper half of large single column tablet4 ,light #ghbci brown1 partially baked4 ,h4 #g2 ,w4 #f2 ,t4 #b4 ,acquired by the ,british ,museum in #ahhh4 ,late ,babylonian edition of the third tablet of the liturgy elum didara to ,enlil4 ,see pages #cbc-cbi4 #ad #aacbg ,lower part of a large unbaked tablet1 two columns4 ,right half almost wholly broken away4 ,myth of the water god ,enki4 ,h4 #f2 ,w4 #f-2 ,t4 #a-4 ,probably a zag-sal hymn4 ,,index ,,of ,,tablets ,tablets in this ,volume4 ,,museum ,,number ,,number ,,in ,,this ,,volume #cdf #h #baed #f #fjfj #ab #gjhj #aa #ghdg #c #ghdh #d #hjig #g #hccd #i #hecc #aj #aajje #b #aacbg #ad #achef #a #aebjd #e ,b4,m4 #ghbci #ac ,other ,tablets ,translated ,or ,discussed ,nies #acae1 ,tablet ,virolleaud1 #bij-cjh ,poebel1 ,,pbs4 ,v ,no4 #bf1 #bgb-bgf ,myhrman1 ,,pbs4 ,i ,no4 #e1 ,radau1 ,,be4 #cj1 ,no4 #b1 #bhe-bij ,myhrman1 ,,pbs4 ,i ,no4 #h1 #cji-caj ,zimmern1 ,,kl4 ,no4 #aa1 #bij-cjh ,zimmern1 ,ritual ,tafeln1 ,no4 #bg1 #ccj-cdj ,ashmolean ,prism1 #caa-cbc ,strassmaier1 ,,za4 ,,vi #bda-d1 #ccj-ccc ,reisner1 ,,sbh4 ,no4 #ah1 #cbg-cbi ,reisner1 ,,sbh4 ,no4 #ba1 #bib-big ,reisner1 ,,sbh4 ,no4 #bb1 #bib-bie ,reisner1 ,,sbh4 ,no4 #be1 #cjj-cjb ,,index ,,to ,,vol4 ,x abal1 irrigator1 #bhg1 #ab4 ,abbagula 7deity71 #cda1 #aa4 agubba1 vessel1 symbol of ,ninhabursildu1 #ccf1 #a4 ,aja 7goddess71 #cje1 #ad4 ,allat 7goddess71 #cjf1 #bj4 am1 d,am1 title of ,ea1 #bid4 ,ama-uhalbi1 title of mother goddess1 #cbi1 #ai4 ,ama-uum-gal1 title of ,tammuz1 #cjd4 ,annigarra1 temple in ,isin1 #cjj1 #g4 ,anu 7god71 #bfa2 #bfd2 #bha2 #bhb2 #bie2 #big2 #cjb4 ,identified with the moon god1 #ccg1 #aj4 ,anunnaki 7gods71 #bdg1 #b2 #bfb2 #cag2 #cdj4 ,arabu1 bird of ,enlil1 #bff4 ,aralu1 #bhh1 #bc4 ,aruru 7goddess71 sister of ,enlil1 #cja4 ,aimur1 title of moon god1 #bgg1 #ag and #bb2 #bgh4 ,anan 7goddess71 #bhi2 #cje4 ,airgi 7god71 #caf2 #cag2 #cah2 #cai2 #cbj4 ,ate1 temple in ,larak1 #bhi1 #i4 ,azagsud 7ilu71 title of grain goddess1 #bhi1 #aj2 #cje1 #ac4 ,babylon 7city71 #cja1 #bb4 balag-di1 choral phrase1 #bej1 #ad2 #bed1 #bf4 ,barsippa 7city71 #cja1 #bc4 ,bau 7goddess71 #cbi2 #cje4 ,belit-ri 7goddess71 #cch4 ,bel-arbe1 title of ,nergal1 #ccg1 #ah4 bitumen1 symbol of river god1 #cci4 ,canonical liturgies1 #bcg ff4 censer1 symbol of ,urash1 #cci1 #aj4 copper1 symbol of ,ea1 #ccg1 #ab4 crane1 bird symbol of ,ninsig1 #cdj4 ,damgalnunna 7goddess71 #bid2 #bif4 ,damu1 title of ,tammuz1 #bhg1 #f3ad2 #cjf1 #bh4 date-palm1 symbol of ,tammuz1 #ccf1 #e4 ,dilbat 7goddess71 #ccg1 #af4 ,dilmun 7ki71 #bgi1 #ad3ai4 dog1 seven-headed1 #cje1 #ae4 ,duazag1 sanctuary1 #bdh1 #g2 #bhi4 dumu-sag1 title of ,tamet1 #cbf1 #d3e4 dingir dumu-sag 7 ,nappasi ,ninmungara7 is probably a title of ,ninlil1 #cjc1 #ac4 ,see ibid4 note #f and ,,sbp4 #aej note #e1 line #ad4 ,ea 7god71 #ccf1 #f4 ,e-anna1 temple of ,itar in ,erech1 #bge1 #bj4 ,e-barra1 temple of the sun god1 #cja4 ,e-daranna1 chapel of ,ea in ,esagila1 #cja4 ,e-dimma1 temple1 royal chapel in ,ekur1 #bhi1 #ae4 ,e-durazagga1 epithet of ,isin1 #cbi1 #ah4 ,e-galmah1 temple at ,isin1 #bhi1 #ai4 e-gi-a1 bride1 title of ,zarpanit1 #cbf1 #c4 ,e-,ibi-anum1 temple in ,dilbat1 #cbf4 ,e-,ibe-agud1 #cbh4 ,e-kua1 #caj1 #ai4 ,e-kur1 temple of ,enlil1 #bef2 #beh2 #bei2 #bhi2 #cjh2 #caj2 #cbh4 ,ekurum 7god71 #cda4 ,e-lamma1 chapel or temple of ,ninlil at ,nippur1 #cjj1 #f4 el-plant1 symbol of ,nin1 #ccf1 #h4 ,e-maha1 #bid1 #bg and note4 ,e-mahtila1 chapel in ,ezida1 #cja4 ,e-mudkurramu1 chapel 787 in ,ur 7871 #bgi1 #f3aj4 ,e-namtila1 chapel of ,ekur1 #cja4 ,enanun1 title of mother goddess1 #bhi1 #g2 #cjd4 ,enbul 7god71 son of ,eabba1 #cjc1 #ba ,,sbp4 #aebaf and ,,ct4 #bd1 #bc1 #abg4 ,var4 d,a-an-bu-bu1 ,,ct4 #bd1 #f1 #cc4 ,endaurimma1 title of ,enlil1 #cjb1 #d4 ,en-duazag1 title of ,enlil1 #cjb4 ,,en-,,har7ki71 #caf2 #cag2 #cah2 #cai2 #cbj4 ,enki 7god71 #bei1 #af2 #cjb2 #cjg2 #cbb4 ,enlil 7god71 #beh2 #bei2 #bfa2 #bfd2 #bfe2 #bff2 #bfg2 #bfh2 #bfi2 #bgg2 #bha2 #bhb2 #bhc2 #bib2 #bic2 #bie2 #bii2 #cjj2 #cjb2 #cjg2 #cji4 ,as sun god1 #cjh1 #ah and #ae4 ,enlilsi1 deified king1 #cjc1 #bj4 ,enmearra 7god71 #ccg1 #aa2 #cch1 #cj4 ,enmenarra1 #cjb4 ,enul1 title of ,enlil1 #cjb4 ,enmul1 #cjg4 ,enuttilla1 title of ,enlil1 #cjb4 ,e-rabriri1 temple of sakkut1 #cbi1 #ba4 ,erech 7city71 #bgb2 #bgc2 #bgd2 #bge4 ,eridu 7city71 #bei1 #af2 #bii1 #ca4 ,e-abba1 temple of ,gula in uruppak1 #bhh1 #f2 #cjc1 #ba2 ilat,suddam is mother of ,eabba1 #cjf1 #cb4 ,see ,suddam4 ,e-sagila1 temple of ,marduk1 #cja2 #cbf4 ,e-agnamsar1 temple in ,dilmun1 #bgi1 #ad3ai4 ,e-amah1 temple of ,ninurta1 #cbh1 #g2 see ,,bl4 p4 #ace4 ,e-arra1 #cjc1 #af4 ,ninurta is son of ,e-r-ra1 ,,bl4 ,no4 #i1 #h4 ,mythological chamber in ,ekur1 ,,sbp4 #bba n4 #g4 ,itar weeps for ,e-r-e1 ,,kl41 #abc1 ,obv4 ,,ii #b4 ,enunak 7city71 #cjd1 #bg4 ,e-umera1 temple of ,ninurta in ,nippur1 #cbh1 #f2 #cdb1 #ac4 ,e-temenanki1 stage tower in ,babylon1 #cja4 ,e-zida1 temple of ,nebo1 #cja4 gannu-tur1 vessel1 symbol of a deity1 #ccf1 #c4 gepar1 dark chamber1 #bgj1 #bd2 #bga2 #bgb4 getinanna 7goddess71 #cjd4 ,gibil1 firegod1 #cci1 #aa2 #cje1 #af4 gidugga1 reed1 #cch1 #f4 ,girra1 firegod1 #ccg1 #i4 giburru1 a wood1 symbol of firegod1 #ccg1 #i4 gisgigal1 antiphon1 #bea1 #bd2 #bed1 #bc2 #bhc1 #bf2 #bhd1 #aj4 ,gizida 7god71 #bhg1 #g4 gold1 symbol of sun1 #ccg1 #aa4 gudede1 title of ,ninlil1 #cjc1 #ab4 ,gula 7goddess71 consort of ,tammuz1 #bhe4 ,gunura1 title of mother goddess1 #bhh1 #e2 #cjf1 #bg ,,sbp4 #afj1 #ac4 ,gukinbanda1 title of ,ea1 #cje1 #i4 gypsum1 symbol of ,ninurta1 #cci4 ,hallab 7city71 #bge2 #bgf4 ,historical poems1 #bdb4 ,ibi-,sin1 king of ,ur1 #bha4 ,id 7deity71 river god or goddess1 #bid2 #big2 #cdj4 ,igibalag 7deity71 #cci1 #ac4 ,immer 7god71 #bfj2 #bfb2 #cjf2 #cci1 #g4 incense1 symbol of ,negun1 #cci1 #ab4 ,innini 7goddess71 #bge2 #bgf4 ,irri 7god71 title of ,ninurta1 #cjf1 #bc ,,sbp4 #afj1 #h4 ,isin 7city71 #bhi4 ,queen of ,isin1 #cjf1 #be2 #cbi4 ,ime-,dagan1 deified king1 #bdc2 #bde2 #beg2 #beh2 #bci4 ,itar1 goddess of ,erech1 #cch1 #bd2 of ,agade1 #cch1 #be4 kagaz1 pot1 symbol of ,ea1 #cdj4 ,kenur1 chapel of ,ninlil in ,ekur1 #bei2 #bhi2 #cja4 ,ke 7city71 southern and northern ,ke1 #caa2 southern ,ke1 #cae2 #caf2 #cai2 #bfg4 ,kingaludda1 messenger of the ,word1 #bhc4 kinsig1 a chamber1 #bdh1 #g4 ,kiegunura1 title of ,ura1 #cjb1 #b4 kiub1 prayer in liturgies1 #bde2 #bef2 #bgi2 #bij2 #cjh4 kugugal1 hide of an ox1 symbol of ,nindagud1 #cci1 #ae4 ,kuu 7deity71 #cci2 #cda4 ,lagash 7city71 #bfh2 #bgj4 ,larak 7city71 #cbh1 #af2 #bhi1 #i and #bj4 lead1 symbol of ,ninmah1 #ccg1 #ac4 ,libit-,itar1 deified king1 #bdc4 ,liturgical compositions and compilations1 #bcg ff4 #bdc4 ,lugalbanda 7god71 #cjd4 ,lugalgirra 7god71 #cbh1 #i4 ,lumma 7deity71 #cjd4 ,mama 7god71 title of ,sin1 #bfi1 #h4 ,marduk 7god71 #bid2 #bif2 #ccg2 #cdj4 magibilla1 burnt offering1 symbol of the god ,muhra1 #cdj4 mauldubb1 #cci4 ,matabba 7god71 #cbh4 ,matabba-galgal1 twin gods1 ,gemini1 #cdj4 matakal-plant1 symbol of ,ea1 #ccf1 #f4 metals of planets1 #ccd4 mi-ib-weapon1 #bfd1 #bb4 ,muhra 7god71 #cdj2 #cda1 #g4 ,musical instruments1 #bdi1 #bc2 #bea1 #bi2 #bfb1 #cc2 #bgi1 #bb2 #cja1 #bg4 ,nan 7goddess71 #cbf1 #g4 ,nannar1 god of new moon1 #bgg4 ,son of ,enlil1 #bgg1 #bb2 #bhd1 #ab2 #cjc2 #cjh1 #ai2 #cji1 #a2 #cbg4 ,nappasi 7goddess71 #cjc n4 #f4 ,nebo 7god71 #bid2 #big2 #bii4 ,negun 7god71 #cci1 #ab4 ,firegod1 #cdb4 ,nergal 7god71 #cjd2 #cjf4 ,nigin marra1 title of mother goddess1 #bhi1 #h2 #cbh1 #ae4 nigkalalag1 kettle drum1 symbol of ,nergal1 #cci1 #ad4 ,nin 7goddess71 #bgj2 #ccf4 ,ninazu 7god71 title of ,nergal1 #bgb1 #dg4 ,nindagud 7god71 #cci1 #ae2 #cjd4 ,nindaurimma1 mother name of ,enlil1 #cjb4 ,nin-duazag1 mother name of ,enlil1 #cjb4 ,ningal 7goddess71 #cjc4 ,ningizida 7god71 #cjf1 #bj4 ,ninhabursildu 7goddess71 #ccf1 #b4 ,ninharsag 7goddess71 #bgb2 #cjb2 #cah2 #cbj4 ,ninkarnunna 7goddess71 #cjd1 #d4 ,ninki1 mother name of ,enlil1 #cjb2 #cjg4 ,ninliga 7goddess71 #bgb4 ,ninlil 7goddess71 #beh2 #bei2 #bfa2 #bfg2 #cjb2 #ccg2 #cch4 ,ninmah 7goddess71 #ccg4 ,ninmar7ki71 goddess of1 #bfi1 #e4 ,ninsar1 title of ,nergal1 #cci1 #ad4 ,ninsig1 title of ,ea as god of metallurgy1 #cdj1 #bh2 #cje1 #i4 ,ninsun 7goddess71 #cjd4 ,nintud 7goddess71 #caf2 #cah2 #cbj2 #cba4 ,ninul1 ,nimul1 mother names of ,enlil1 #cjb2 #cjg4 ,ninura 7god71 #bef2 #ccf2 #ccg2 #cch2 #cci4 ,ninurra1 title of ,ea1 #cdj4 ,ninzianna1 title of ,ninlil1 #cjb1 #h4 ,nippur 7city71 #bdh2 #bei2 #bff2 #bfh2 #bie4 ,nunammir1 title of ,enlil1 #beh1 #e4 ,nusku1 firegod1 #ccg1 #bj2 #cjc1 #cbh4 ,opis 7city74 ,northern and southern ,opis1 #caa4 ,see ,ke4 ,papsukkal 7god71 #ccg1 #ba4 ,papilsag1 god of ,larak1 #cjf4 ,queen of heaven1 #cjd4 ,ramman 7god71 #cch4 ,sadarnunna1 consort of ,nusku1 #cjc1 #ae2 ,,sbp4 #aeb note #a4 sagar1 liturgical rubric1 #bgg1 #af2 #bgi4 ,sakkut 7god71 #cda1 #h4 ,sakkutmah1 #cbi1 #ba4 ,see also #ccg1 #ai2 #cch1 #bb4 allu1 plant1 symbol of ,ninurta1 #ccf1 #g4 ama 7god71 #cje1 #ad4 arur-weapon1 #bgd1 #ah4 attam1 religious title1 #bgd4 entur1 title of ,ninlil1 #cjc1 #aj4 erah 7god71 ,semitic title of ,serpent-god as patron of vegetation1 #cjc1 #af ,,sbp4 #aeb1 #aj4 seven gods1 #cch1 #bi2 #cjc1 #aj4 seven-headed weapon1 #cdj4 ,silakki 7god71 #cda4 silver1 metal of ,anu1 i4 e41 moon god1 #ccg1 #aj4 imli1 cypress1 symbol of ,adad1 #cci1 #g4 imal-wood1 symbol of a deity1 #cch1 #e4 imzu1 an aromat1 symbol of ,ninurta1 #cci1 #i4 ,sin 7god71 #bfc2 #bgg2 #bgi4 ,single song services1 #bdj4 ipatu1 wool1 symbol of ,labartu1 #cci4 ,sippar7ki71 #cja1 #ba4 ,sirar7ki71 #bgj4 ,suddam1 title of ,gula1 #cjf1 #cb ,,sbp4 #afj1 #ah4 ,for this title of ,gula of uruppak1 see p4 #agg n4 #d in part #b of this volume4 ,usually a title of ,aja or ,ishtar as deities of light4 ,since d ,sukurru or ,gula of uruppak is the same as ,suddam mother of ,eabba1 the temple ,eabba must be located in uruppak4 ulpae1 title of ,enlil1 #cjc2 #cbj4 umer1 #bei2 #bhc4 unirda1 title of the goddess ,aja1 #cjd4 uruppak 7city71 #bgg1 #bj2 #bgh1 #be4 ,symbols of deities1 #ccf ff4 tallu1 part of a door1 #bge1 #bj4 tammarisk1 symbol of ,anu1 #ccf1 #d4 ,tammuz 7god71 #bgj2 ,hymn of1 #bhe2 #ccf1 #e4 tirazagga1 sacred grove1 #bhi1 #ag4 ,titular litanies1 #bcf2 #cjb ff4 ,ubukkinna1 hall of assembly1 #bdg1 #c4 ,uddagubba1 messenger of the ,word1 #bhc4 udutila1 symbol of ,girra1 #cdj1 #ai4 ,ur 7city71 #bgg2 #bgh2 #bgi2 #bhb2 #bhd4 ,ungal 7god71 #cdj2 cf4 #cjf1 #ca4 ,ura 7god71 #cbf2 #beh1 #f2 #bfj2 #cjb1 #b4 ,ur-,engur1 cult hymn of1 #bdc4 ,uruma 7god71 #cbj4 urusagga1 chief city1 title of ,isin1 #bhi1 #af2 #cjf1 #bd4 ,utta-edde 7god71 #cje1 #ag ,,sbp4 #aeh1 #d4 ,weeping mother1 #bfe2 #bhj4 ,word1 #bfa1 #bh2 #bfb1 #bi2 #bhd2 #bid2 #bii2 #cjh1 #bb2 #cae4 ,hymn to the ,word1 #bhc4 zagsal1 rubric1 #bcc ff42 #bgf1 #cg4 ,zarpanit 7goddess71 #bid2 #bif2 #big4 ,zeus ,dolichaeos1 #ccd4 ,his connection with silver borrowed from ,babylonia1 #cdb4 ,zir 7goddess71 wife of ,nannar1 #cjc4 ,zu 7god71 the eagle as symbol of the sun1 #cdj1 #bi4 ,,autographed ,,texts ,plate ,,lxxi4 #a4 ,obverse4 ,col4 #a4 ,plate of cuneiform tablet4 ,plate ,,lxxii4 #a4 ,obverse4 ,col4 #b4 ,plate of cuneiform tablet4 ,plate ,,lxxiii4 #a4 ,reverse4 ,col4 #a4 ,plate of cuneiform tablet4 ,plate ,,lxxiv4 #a4 ,reverse4 ,col4 #b4 ,plate of cuneiform tablet4 ,plate ,,lxxv4 #b4 ,obverse4 ,plate of cuneiform tablet4 #b4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxvi4 #c4 ,obverse4 ,col4 #a ,initial4 ,plate of cuneiform tablet4 ,plate ,,lxxvii4 #c4 ,obverse4 ,col4 #a ,continued4 ,plate of cuneiform tablet4 #c4 ,obverse4 ,col4 #b ,initial4 ,plate of cuneiform tablet4 ,plate ,,lxxviii4 #c4 ,obverse4 ,col4 #b ,continued4 ,plate of cuneiform tablet4 #c4 ,reverse4 ,col4 #a ,initial4 ,plate of cuneiform tablet4 ,plate ,,lxxix4 #c4 ,reverse4 ,col4 #a ,continued4 ,plate of cuneiform tablet4 #c4 ,reverse4 ,col4 #b ,initial4 ,plate of cuneiform tablet4 ,plate ,,lxxx4 #c4 ,reverse4 ,col4 #b ,continued4 ,plate of cuneiform tablet4 #d4 ,obverse4 ,plate of cuneiform tablet4 #d4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxi4 #e4 ,obverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxii4 #e4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxiii4 #f4 ,obverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxiv4 #f4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxv4 #g4 ,obverse4 ,plate of cuneiform tablet4 #g4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxvi4 #h4 ,obverse4 ,plate of cuneiform tablet4 #h4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxvii4 #i4 ,obverse4 ,plate of cuneiform tablet4 #i4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,lxxxviii4 #aj4 ,obverse4 ,col4 #a4 7,col4 #b ,destroyed7 ,plate of cuneiform tablet4 ,plate ,,lxxxix4 #aj4 ,reverse4 ,col4 #a4 ,plate of cuneiform tablet4 #aj4 ,reverse4 ,col4 #b4 ,plate of cuneiform tablet4 ,plate ,,xc4 #aa4 ,obverse4 ,col4 #c ,initial4 ,plate of cuneiform tablet4 ,plate ,,xci4 #aa4 ,obverse4 ,col4 #c ,continued4 ,plate of cuneiform tablet4 #aa4 ,obverse4 ,col4 #d ,initial4 ,plate of cuneiform tablet4 ,plate ,,xcii4 #aa4 ,obverse4 ,col4 #d ,continued4 ,plate of cuneiform tablet4 ,plate ,,xciii4 #aa4 ,obverse4 ,col4 #d ,final4 ,plate of cuneiform tablet4 #aa4 ,obverse4 ,col4 #e ,initial4 ,plate of cuneiform tablet4 ,plate ,,xciv4 #aa4 ,obverse4 ,col4 #e ,continued4 ,plate of cuneiform tablet4 ,plate ,,xcv4 #aa4 ,reverse4 ,col4 #a4 ,initial4 ,plate of cuneiform tablet4 ,plate ,,xcvi4 #aa4 ,reverse4 ,col4 #a ,continued4 ,plate of cuneiform tablet4 #aa4 ,reverse4 ,col4 #b ,initial4 ,plate of cuneiform tablet4 ,plate ,,xcvii4 #aa4 ,reverse4 ,col4 #b ,continued4 ,plate of cuneiform tablet4 #aa4 ,reverse4 ,col4 #c4 ,initial4 ,plate of cuneiform tablet4 ,plate ,,xcviii4 #aa4 ,col4 #c ,continued4 ,plate of cuneiform tablet4 ,plate ,,xcix4 #ab4 ,obverse4 ,cols4 #a and #b4 ,plate of cuneiform tablet4 ,plate ,c4 #ab4 ,reverse4 ,cols4 #a and #b4 ,plate of cuneiform tablet4 ,plate ,,ci4 #ac4 ,obverse4 ,plate of cuneiform tablet4 ,plate ,,cii4 #ac4 ,reverse4 ,plate of cuneiform tablet4 ,plate ,,ciii4 #ad4 ,obverse4 ,col4 #a ,plate of cuneiform tablet4 ,plate ,,civ4 #ad4 ,obverse4 ,col4 #b4 ,plate of cuneiform tablet4 #ad4 ,reverse4 ,col4 #a4 ,plate of cuneiform tablet4 ,plate ,,cv4 #ad4 ,reverse4 ,col4 #b4 ,plate of cuneiform tablet4 ,,footnotes #a ,in addition to the examples of epical poems and hymns cited on pages #ajc-e of this volume note the long mythological hymn to ,innini1 ,no4 #c and the hymn to ,enlil1 ,no4 #aj of this part4 ,an unpublished hymn to ,enlil1 ,ni4 #ihfb1 ends a-a d,en-lil zag-sal1 8,o praise father ,enlil40 ,for ,ni4 #achei1 cited above p4 #ajd1 see ,,poebel1 ,,pbs4 ,v ,no4 #bf4 #b ,so far as the term is properly applied4 ,being of didactic import it was finally attached to grammatical texts in the phrase d,nidaba zag-sal1 8,o praise ,nidaba10 i4 e41 praise the patroness of writing4 #c ,,poebel1 ,,pbs4 ,v ,no4 #be2 translated in the writer's ,le ,pome ,sumrien du ,paradis1 #bbj-beg4 ,note also a similar epical poem to ,innini partial duplicate of ,,poebel ,no4 #be in ,,myhrman',s ,babylonian ,hymns and ,prayers1 ,no4 #a4 ,here also the principal actors are ,enki1 his messenger ,isimu1 and 8,holy ,innini0 as in the better preserved epic4 ,both are poems on the exaltation of ,innini4 #d ,ni4 #ibje published by ,,barton1 ,miscellaneous ,babylonian ,inscriptions1 ,no4 #d4 ,this text is restored by a tablet of the late period published by ,,pinches in ,,jras4 #aiai4 #e ,ni4 #ghdg1 published in this part1 ,no4 #c and partially translated on pages #bfj-bfd4 #f ,undoubtedly ,ni4 #aacbg1 a mythological hymn to ,enki in four columns1 belongs to this class4 ,it is published as ,no4 #ad of this part4 ,a similar zagsal to ,enki belongs to the ,constantinople collection1 see p4 #de of my ,historical and ,religious ,texts4 #g ,historical and ,religious ,texts1 pp4 #ad-ah4 #h ,see ,,psba4 #aiai1 #cd4 #i ,one of the most remarkable tablets in the ,museum is ,ni4 #adjje1 a didactic poem in #fa lines on the period of pre-culture and institution of ,paradise by the earth god and the water god in ,dilmun4 ,published by ,,barton1 ,miscellaneous ,babylonian ,inscriptions1 ,no4 #h4 ,the writer's exegesis of this tablet will be found in ,le ,pome ,sumrien du ,paradis1 #ace-adf4 ,it is not called a zag-sal probably because the writer considered the tablet too small to be dignified by that rubric4 ,similar short mythological poems which really belong to the zag-sal group are the following3 hymn to ,shamash1 ,,radau1 ,miscel4 ,no4 #d2 hymn to ,ninurta as creator of canals1 ,,radau1 ,,be4 #bi1 ,no4 #b1 translated in ,,bl41 #g-aa2 hymn to ,nidaba1 ,,radau1 ,miscel4 ,no4 #f4 #aj ,ni4 #aab2 see pp4 #agb-agh4 #aa ,for example1 ,,myhrman1 ,no4 #c2 ,,radau1 ,miscel4 ,no4 #ac2 both canonical prayer books of the weeping mother class4 ,for a liturgy of the completed composite type in the ,tammuz cult1 see ,,radau1 ,,be4 #cj1 ,nos4 #a1 #e1 #f1 #h1 #i4 #ab ,see ,,zimmern1 ,sumerische ,kultlieder1 p4 ,v1 note #b4 #ac ,the base text here is ,,zimmern1 ,,kl4 ,no4 #ab4 #ad ,the base of this text is ,,zimmern1 ,,kl4 ,no4 #aa4 #ae ,now in the ,nies ,collection1 ,brooklyn1 ,new ,york4 #af ,a similar liturgy is ,ni4 #aigea1 published by ,,barton1 ,miscellaneous ,babylonian ,inscriptions1 ,no4 #f4 #ag ,translated by ,,radau on pages #dcf-ddj4 #ah ,abbreviation for ki-ub-g-da ru1 strophe1 song of prostration4 #ai ,no4 #c of the texts in part #d4 #bj sa-gar pitnu aknu1 choral music1 v4 ,,zimmern1 ,,za4 #ca1 #aab4 ,see also the writer's ,,pbs4 ,vol4 ,,xii1 p4 #ab4 #ba nar-balag4 ,the liturgists classified the old songs according to the instrument employed in the accompaniment4 ,see ,,sbp4 p4 ix4 #bb ,see page #aah in part #b4 #bc ,see ,,iv ,raw4 #ec1 ,,iii #dd-;,,iv #bh restored from ,,bl4 #ajc ,reverse1 a list of #dg u-il-l prayers to various deities4 #bd ,pages #ajf-aji4 #be ,less than half the tablet is preserved4 #bf ,note that this breviary of the cult of ,libit-,ishtar terminates with two ancient songs1 one to ,innini and one to ,nin1 both types of the mother goddess who was always intimately connected with the god-men as their divine mother4 #bg ,for a list of the abbreviations employed in this volume1 see page #ih of ,part ,i4 #bh ,the twelfth kiub of a liturgy to ,ishme-,dagan is published in ,,zimmern',s ,kultlieder1 ,no4 #bjj4 ,a somewhat similar song service of the cult of this king has been published in the writer's ,sumerian ,liturgical ,texts1 #agh-ahg4 ,a portion of a series to ,dungi was published by ,,radau in the ,hilprecht ,anniversary ,volume1 ,no4 #a4 ,the liturgy to ,libit-,ishtar in ,,zimmern1 ,k ,l4 #aii ,i--,rev4 ,i #g1 is composed of a series of sa-7bar7-gid-da4 #bi na-ba- is for nam-ba1 emphatic prefix4 ,see ,,pbs4 ,x pt4 #a p4 #gf n4 #d4 ,cf4 na-ri-bi1 verily she utters for thee1 ,,be4 #cj1 ,no4 #b1 #bj4 #cj ,on the philological meaning of this name1 see ,,vab4 ,,iv #abf1 #ee4 #ca ,for the suffixes e1 u1 denoting plural of the object1 see ,sum4 ,gr4 p4 #afh4 #cb ,on ki-dr-gar cf4 ,gudea1 ,cyl4 ,b #ab1 #ai4 #cc ,usually written d-azag1 throne room4 ,on the meaning of du in this word1 see ,,ajsl4 #cc1 #ajg4 ,written also d-azag1 in ,ni4 #aajje ,,ii #i4 #cd ,cf4 ,gudea1 ,cyl4 ,a #be1 #ad1 the kin-gi of the unu-gal4 #ce ,br4 #ggbj4 ,the sign ,,te is here gunufied4 ,cf4 ,,obi4 #abg1 ,obv4 #e4 #cf ,tin alone may mean 8wine10 as in ,gudea1 ,cyl4 ,b1 #e1 #ba2 #f1 #a4 ,see also ,,nikolski1 ,no4 #bfd1 duk-tin1 a jar of wine4 #cg a-gim dimtu1 ban1 ,,sbh4 #ei1 #be4 a-gim e-im-bal-e1 ,the ban may he elude1 ,ni4 #aajfe ,rev4 ,,ii #be4 ,unpublished4 ,the line is not entirely clear2 cf4 ,,br,,nnow1 ,no4 #cbge4 #ch ,for en-na in the sense of 8while10 see ,,pery1 ,sin in ,,lss4 page #da1 #af4 #ci ,the sign is imperfectly made on the tablet4 #dj ,cf4 ,,sbp4 #cbh1 #aa4 #da ,a is probably identical in usage with ,,pe1 and the idea common to both is 8be many1 extensive1 abundant40 ,note ,,zimmern1 ,kultlieder #ai ,rev4 has ,a where ,,sbp4 #ab1 #b has ,,pe4 u-pe occurs in ,gudea1 ,cyl4 ,a #af1 #bc2 #aa1 #i2 #ai1 #i and ,,ct4 #ae1 #g1 #bg4 #db ,on ugu-de alku1 na'butu1 to run away1 see ,,delitzsch1 ,glossar p4 #dc4 ,also ugu-bi-an-de-e1 ,v ,r4 #be;a #ag2 -g-d1 ,,ra4 #aj1 #gh1 #ad2 -gu ba-an-d1 if he run away1 ,,vs4 #ac1 #gb #i and #hd1 #aa1 with variant #gc1 #aa u-da-pa-ar udtappar1 if he take himself away4 -gu-ba-an-de-zu1 when thou fleest1 ,,be4 #ca1 #bh1 #bc4 -gu-ba-de1 ,,genouillac1 ,inventaire #idd2 ,,clay ,miscellen #bh ,v #ga3 m -gu-ba-an-de1 8,if a boat float away10 ibid4 ,,iv #ad4 ,see also ,,grant ,,ajsl4 #cc1 #bjj-b4 #dc ,sic6 g-sa-bi is expected2 cf4 ,,ra4 #aa1 #ade1 #ca g-sa-bi napar-u-nu4 #dd ,sign obliterated2 the traces resemble ,,su4 #de ,read perhaps d-ub nad a rigmi1 to shout loudly4 ,cf4 dg sir-ra ub-ba-a-zu rigme zarbi addiki1 ,,askt4 #abb1 #ab4 ,passim in astrological texts4 #df ,the tablet has ,,ma4 ,the ,semitic would be adi mati kabattu iparrad4 #dg ri is apparently an emphatic element identical in meaning with m2 cf4 ,,sbp4 #aj1 #g-ab4 ,note ri1 variant of nam1 ,,sbh4 #ie1 #bc ,,zimmern1 ,,kl4 #ab ,i #h4 #dh ,sic6 ,double plural4 e probably denotes the past tense1 see ,sum4 ,gr4 #bbd4 #di ,sign ,,br,,nnow1 ,no4 #aabjh4 #ej ,the first melody or liturgical section probably ended somewhere in this lost passage at the top of ,col4 ,,ii4 #ea ,text ,a-6 #eb ,the subject is ,ishme-,dagan4 #ec ,the sign is a clearly made ,,br4 ,no4 #ajbge but probably an error for #ajbcd4 ,for sr-ri-e see ,,ba4 ,v #fcc1 #bb2 ,,sbh4 #ef ,rev4 #bg2 ,,zimmern1 ,,kl4 #ab ,rev4 #ag4 #ed ,this compound verb di-e-sud here for the first time4 di-e is probably connected with de to flee4 ,at the end ,a is written for ,,an4 ,read a- and construe e as a plural8 #ee gul kal1 restrain1 is ordinarily construed with the infinitive alone2 e-du nu-u-gul-e-en damma ul ikalla1 ,lang4 ,b4,l4 #hj1 #be2 ,,sbh4 #acc1 #fe2 #ff1 #ae1 etc4 #ef ,confirms ,,sai4 #fejg uu1 dumb1 grief stricken4 #eg ,variant of sg-sg1 etc4 ,see ,sum4 ,gr4 p4 #bcg sig4 #c4 ,also ,,poebel1 ,,pbs4 ,v #bf1 #bi4 #eh ,on the liturgical use of balag-di1 see ,,bl4 p4 ,,xxxvii4 #ei ,var4 of ad-du-ge bl nissti1 ,,iv ,r4 #aa;a #bc3 ad-da-ge1 ,,zim4 ,k4,l4 #ab ,,ii #c4 ,see for discussion1 ,,lang4 ,,pbs4 ,x #acg n4 #g4 #fj ,a new ideogram4 ,perhaps uu knu1 8sure foundation40 #fa ,for suffixed ni1 bi1 ba in interrogative sentences note also a-na an-na-ab-du-ni1 ,what can ,i add to thee8 ,,genouillac1 ,drehem1 ,no4 #a1 #ab1 a-ba ku-ul-la-ba1 ,who shall restrain8 ,ni4 #dfaj ,rev4 #a4 #fb ,see ,,bl4 p4 ,,xlv1 and ,,pbs4 ,x #aea note #a4 #fc ,on the anticipative construct1 see #ach of the grammar4 #fd nu-mal are uncertain4 ,the tablet is worn at this point4 #fe ,on the use of this term1 see ,,pbs4 ,x #aea n4 #a and #ahb1 #cc4 #ff ,cf4 ,,bl4 #aaj1 #aa4 #fg ,written ,br4 #cjdf1 but the usual form is the gunu1 ,br4 #cjji4 su-m-bi aulap-u4 ,,poebel1 ,,pbs4 ,v #aeb ,,ix #h3 cf4 also lines #i and #aj ibid4 ,in later texts su-a aulap1 ,,haupt1 ,,askt4 #abb1 #ab4 ,,delitzsch1 ,h4 ,w4 #dd;a4 aulap has the derived meaning of mercy1 the answer to the 8,how long0 refrain as in this passage4 ,see also ,,sbp4 #bda note #bg and ,,schrank1 ,,lss4 ,,iii #a1 #ec4 #fh ,cf4 nar-balag nig-dug-ga1 ,,poebel1 ,,pbs4 ,v #be ,,iv #dh4 ,our text has the emesal form ag-zib4 #fi ,for d-na ali1 see ,,ra4 #aa1 #adf1 #cc4 #gj ,written ,br4 #cjdf nasu4 #ga ,for ta-4 ,cf4 ,,ba4 ,v #fgi1 #ad4 #gb ,probably a variant of namalam1 namilim alutu4 #gc ,the demonstrative pronoun ur1 r #gd mi urra1 ,,iv ,r4 #e;a #fe2 ,,ct4 #af1 #bj1 #fh4 #ge ,text ,a-,a4 #gf ,sign ,,al4 itim1 idim idinnu is usually written with the sign ,,gim1 ,,poebel1 ,,pbs4 ,v #aag1 #ad f4 amelu ,,im idinnu1 passim in ,neo-,babylonian contracts4 #gg ,literally1 8caused to enter40 #gh munga with ra1 to carry away property as booty1 see ,,sbh4 ,no4 #cb ,rev4 #ba and ,,bl4 ,no4 #ea4 ,the comparison with line #aa suggests1 however1 another interpretation1 immer-e be-in-ne-ra-m1 8the storm-wind carried away40 #gi ,in lines #g and #i the verb tur is employed in the sense of 8to cause an event to enter10 to bring about the entrance of a condition or state of affairs4 #hj ,br4 #aabjh4 #ha ,the passage refers to the priests' robes and garments of the temple service4 ,see also ,,sbp4 #d1 #i4 #hb ,variant of nam-rig-aga allu4 #hc ,see ,obv4 ,,ii #bc4 #hd ,enlil4 #he ,rendered a iri1 ,,bl4 #ie1 #ai4 ,on this title for a psalmist1 see ,,bl4 ,,xxiv4 #hf u has evidently some meaning similar to the one given in the translation but it has not yet been found in this sense in any other passage4 ,we have here the variant of i1 e bak with vowel u4 ,see ,sum4 ,gr4 #bac and #bbb4 #hg ,,dul-,,du4 ,the sign ,,dul is erroneously written ,,rec4 #bcf4 ,in the text change si to i4 #hh ,br4 #cgci4 #hi ,here treated as plural4 #ij ,the tablet has ,,su4 ,for ag-zu synonym of telitu1 see ,,iv ,r4 #ba;b ,rev4 #e4 #ia libbu ru2 see ,,zimmern1 ,,kl4 ,no4 #h ,i #c and ,,iv #bh4 #ib ,the sign like many others on this tablet is imperfectly made4 ma-pad8 or ma-ig8 ,the meaning is obscure4 #ic ,text uncertain4 ,perhaps ,,pi-,,si-g-bi4 #id ,written ,a-,,ka4 ,an unpublished ,berlin syllabar gives ,a-,,ka 7uga7 muu4 #ie ,br4 #eeae4 ,for this sign with value mataku1 see ,,delitzsch1 ,h4 ,w41 sub voce and ,,ba41 ,v #fbj1 #bj4 ,the ,sumerian value is ama1 ,chicago ,syllabar1 #bda in ,,ajsl4 #cc1 #ahb4 #if ,restored from an unpublished text in ,constantinople1 ,ni4 #gba4 #ig ,section #d ended somewhere in this break4 #ih ,probably a refrain4 #ii ,for the reading1 see ,,ajsl4 #cc1 #ahb1 #bdj4 #ajj ,see ,,bl4 #abh1 #ba4 #aja ,read ,a-,,an1 i4 e41 m4 #ajb ,cf4 sag-bi zi-zi1 ,,zimmern1 ,k4,l4 #aii ,i #cf4 #ajc ,cf4 ,,lang4 ,sumerian ,liturgical ,texts #aed1 #af4 #ajd ,,ar is written ,i,u6 #aje ,the second sign g is only partially made by the scribe4 #ajf ,the analysis of the text and the meaning are difficult4 ,perhaps a should be taken with the following sign a-,,ar-ri1 an unknown ideogram4 mur-ri is here taken for rigmu4 #ajg ,see line #ab above4 #ajh ,sic6 ,demonstrative pronoun4 ,see ,sum4 ,gr4 #afc4 #aji ,here we have the first occurrence of the original expression for kullu a ri2 cf4 ,,br4 #aabdd4 #aaj ,cf4 ,,sbp4 #ccj1 #aj4 #aaa ,the epithet refers to ,ime-,dagan4 #aab ,this word is obscure and unknown4 #aac ,on gigunna1 part of the stage tower1 see ,,vab4 ,,iv #bcg n4 #b2 ,,bl4 #ch1 #ad4 #aad ,cf4 ,,sbp4 #cbh1 #e4 #aae ,written ,br4 #cjdf4 ,see ,br4 #cjce4 #aaf ,br4 #aabjh4 #aag me paru1 refers primarily to the rubrics of the rituals1 the ritualistic directions1 but here the reference is clearly to the utensils employed in the rituals4 #aah ,,ne-,,ru4 #aai lal1 l-a uammumu1 see ,,sbp4 #ff1 #bj4 #abj ir is uncertain4 ,the sign may be either d or ni4 #aba ,literally1 8,below and above40 #abb ,probably a variant of d-azag4 ,as the phrase is written dug-azag-ga might mean 8holy knees10 birku ellitu1 but that is not probable4 ,a parallel passage occurs in the liturgy to ,dungi1 ,,be4 #ca1 #ab1 #h1 where my interpretation is to be corrected4 ,for d1 d1 rendered into ,semitic by the loan-word d1 with the sense 8high altar1 pedestal of a statue1 altar or throne room0 see ,,ajsl4 #cb1 #ajg4 #abc ,cf4 ,gudea1 ,cyl4 ,b #ac1 #d4 #abd ,this phrase should have a meaning similar to 8speak words of peace10 8assure1 comfort40 ,the expression occurs also in ,gudea1 ,cyl4 ,a #g1 #e1 ,ningirsu1 son of ,enlil g za-ra ma-ra-un-g-e1 8will speak to thee words of peace40 #abe ku1 preposition eli1 is derived from ku zumru1 8body10 literally 8at the body40 #abf ,in view of the parallel passages where kings are called the sag-u of temples and cities 7i4 e4 the muknu or mukl r7 it seems necessary to render -kur-ri as the object of sag-u4 ,see ,,sak4 #aig below c #e2 ,,be4 #bi ,no4 #a ,,iv #f2 ,,pbs4 ,v ,no4 #gc4 ,a rendering1 8,she who raiseth me up daily in ,ekur0 is possible4 #abg ,cf4 ,,sbp4 #eb1 #e2 ,,bl4 p4 #ach4 #abh ,sic6 third person4 #abi ,text 8his40 #acj ,or read billudu4 ,this passage proves that garza and billudu really do have a meaning1 sanctuary1 cult object or something synonymous4 ,see billud in ,,vab4 ,,iv ,index4 ,the meaning1 sanctuary1 has been suggested for the ,semitic paru and this must be taken into consideration4 #aca ,var4 ar-ra4 #acb ,var4 is certainly not nin4 #acc ,for sag-sr1 see also ,,askt4 #if1 #be2 ,k4 ,l41 #aii1 #ae2 #aii ,col4 ,,iii #ea2 ,,ct4 #bd1 #ae1 #gi4 #acd ,var4 mu-e4 #ace ,same as previous footnote4 #acf ,cf4 ,ni4 #deha ,obv4 #h in ,,pbs4 ,x pt4 #b1 where it is connected with d4,immer4 ,var4 ,,ka-g-a6 #acg ,read ,u for ,,ri7874 muen blu1 beltu1 cf4 ,,pbs4 ,v #ae ,rev4 #ad4 ,render 8,their divine queen thou art08 #ach ,var4 ni4 ,sic6 #aci ,var4 ma4 #adj mimat kiati4 #ada ,sic6 ,prepositions ra and da in the same phrase6 #adb ,text gr6 #adc ,cf4 mar-zen1 gar-zen u1 ,,sbp4 #aaf1 #cc2 ,k4,l41 #ae ,,ii #ab4 #add ,in liturgies usually translated by 8the ,word40 #ade ,cf4 ,,sbp4 #f1 #af4 #adf ,for ra4 ,read za-la for lal-la8 #adg ,note the overhanging vowel a denoting a dependent phrase without a relative introductory adverb1 and see also ,sum4 ,gr4 page #afc1 examples cited b-in-da-ra-d-a1 etc4 #adh ,the plural of this verb has been indicated by doubling the root1 a case of analogy1 being influenced by the similar plural formation of nouns4 ,see ,sum4 ,gr4 #abd4 ,an example of the same kind is sag-nu-mu-un-da-ab-g-g ul -ir-ru-u1 8they approached it not10 ,k4 #heca1 #f in ,,hrozny1 ,ninrag1 p4 #h4 #adi ,text ub6 ,read ub sag-ki-za tupi pani-ki78874 #aej ,for the form1 see ,,pbs4 ,v #ajb ,,iv #c4 #aea ,if la be correct1 then the reading is ka-sil-la4 #aeb ,cf4 nir-da-an1 ,k4 #de1 #f1 and nir-da1 ,gudea1 ,cyl4 ,a #ab1 #bf with #ah1 #c where nig-erim nir-da4 #aec ,for i-lu-dg aru4 #aed a-a -a a4 ,,ct4 #ae1 #aa1 #g2 ,k4 ,l4 #c;b #bh4 ,cf4 also the ,n4 ,pr4 d4,gibar-a d4,gibar-4 8,the fire-god causes to come forth40 #aee ,so the text for g-ga- na-an-da-ab-bi4 #aef ,see above1 line #cf4 #aeg ,for the construction dirig with ra1 see l-ne-ir dirig eli annim rabi1 ,,poebel1 ,,pbs ,v #aeb #cb4 #aeh ,see previous footnote4 #aei ,refers to ,sin4 #afj ,here begins abruptly a passage spoken by the goddess herself4 ,this is not unusual in liturgical texts4 #afa ,the sign is d1 not dul4 #afb ,for a discussion of these early ,sumerian single song services1 see the writer's ,babylonian ,liturgies1 pp4 ,,xxxvii ff4 #afc ,see also line #ac4 #afd ,see ,tammuz and ,ishtar1 p4 #aaa4 #afe ,the ,sumerian ar-bu 7,,ud-,,du-,,bu7 is rendered into ,semitic by the loan-word arab1 called iur mu1 bird of the storm1 ,,za4 ,,vi #bdd1 #dh4 ,in ,,ct4 ,,xii #g;a #b ,,ud-,,du 7ara7 namru1 fierce1 raging1 where the entry is followed by ,,ud-,,du 7ara7 a ,,ud-,,du-bu 7u71 hence in any case a bird of prey4 ,were it not for the reference to this bird in the omen text1 ,,boissier1 ,,da #fg1 #ah1 one might conclude that the bird is mythical4 ,for the reading arab1 see also ,,reisner1 ,,sbh4 #ajd1 #ce4 #aff addu a kiadi1 see ,,sbp4 #aaj1 #bb1 8bend the neck10 i4 e41 8grant favor40 #afg ,cf4 ,v ,raw4 #ci;a #cc4 #afh ,cf4 dagan-me-a ina puri-ni1 ,,ra4 ,,xi #add1 #h4 #afi ,cf4 ,,sbp4 #de1 #ac2 #gi1 #ac2 #ih1 #dd1 etc4 #agj ,for this method of forming the plural see ,sumerian ,grammar1 #abd4 ,for uru-bar kapru1 see ,,meissner1 ,,sai4 #edc4 ,note also umun ur-bar1 ,,sbh4 #bb1 #eg #ai1 #ef and ,k4 #fi ,obv4 #bj4 title of ,nergal as lord of the city of the dead4 #aga ,cf4 ,historical and ,religious ,texts1 p4 #cd1 #f4 #agb ,for ,ninlil as queen of ,ke1 see also ,,zimmern1 ,,kl4 #bc #c2 ,,sbp4 #bc note #ag4 ,at ,ke she was identified with the unmarried and earlier deity ,ninharsag4 #agc ,the line drawn across the tablet intersects the address of ,innini and1 if not for some unknown musical purpose1 must be regarded as an error4 #agd ,for the construction1 see ,sumerian ,grammar1 #ia4 #age ,,ga na1 variant of ga 7,,ila7 na4 ,the figure of lifting the foot and raising the hand 7line #cj7 to ,enlil refers to the attitude of adoration assumed by the mother goddess as she stands before one of the gods and intercedes for mankind4 ,she is frequently depicted on seals in this attitude2 see for example ,,ward1 ,seal ,cylinders of ,western ,asia1 #cjc;a1 #cjd1 #cjh1 etc4 #agf ,the suffixed pronoun mu with affixed preposition ra4 #agg ,innini is compared to the sudin-bird in ,,sbp4 #f1 #af also4 #agh ,for the optative use of this vowel1 see ,sumerian ,grammar1 #bag4 #agi ,dialectic for du da ga 7by vowel harmony74 ,note the form ga-mu-ra-ab-id with variant da-mu-ra-ab-id1 ,sumerian ,liturgical ,texts1 #aee1 #cj 7variant unpublished74 ,see also ,sumerian ,grammar1 #ej4 #ahj ,for the idea1 see also ,,sbp4 #bib1 #be-bi4 #aha ,for ,,urim with value uzlaru1 see ,,thompson1 ,reports #ajc1 #aa and supply u-uz in ,,ct4 #ab1 #bf;a #bb4 #ahb ,the sign for enzu certainly has a phonetic value ending in d2 note ,,nikolski ,,no4 #bfb1 where the sign is followed by da and ,,zimmern1 ,kultlieder1 #abc ,,iii #i1 where it is followed by d4 #ahc ,see lines #c1 #bc1 #ca and #dd below and lines #e1 #ad1 #ba1 #bg and #cd of the parallel text in the volume cited above4 #ahd ,this refrain occurs also in ,sumerian ,liturgical ,texts1 #aba1 #e2 #abb1 #ad1 #ag2 #abc1 #ba1 #bg1 #cd1 where it characterizes a lamentation for various cities of ,sumer destroyed by an invasion from ,gutium4 ,the translation given above is preferable to the interpretation accepted in my previous volume4 #ahe ,title of ,sin in ,,ct4 #be1 #db1 #e4 ,note also that dumugu is a title of ,sin1 ,,ii ,raw4 #dh1 #cc1 and ,,ct4 #bd1 #cj1 #e4 #ahf ,for namga as an emphatic adverb1 see ,journal of the ,society of ,oriental ,research1 ,i #bj1 ,metropolitan ,syllabar1 ,obv4 ,i #ab-ae4 ,variant nanga1 ,sumerian ,liturgical ,texts1 #ahh1 #a1 #d and #e4 #ahg ,the scribe has written im twice4 #ahh ,cf4 ,,sbp4 #d1 #f4 #ahi gar is employed as a variant of kar1 see ,sum4 ,gr4 #bbc4 ,for gar in this sense1 note gar atu1 nasu in the syllabars4 ,see also ,,sbp4 #aih1 #ad and note #ae4 ,the same sense of gar will be found in ,gudea1 ,cyl4 ,a #f1 #af2 #g1 #ad2 ,st4 ,b #i1 #af2 ,cyl4 ,a #ab1 #be4 #aij ,the third sign of this ideogram is clearly ,,unu not ,,nina on the tablet4 ,for the ideogram see ,,sbp4 #bhd1 #f4 #aia ,for the adverbial force of bi see ,sum4 ,gr4 #gb4 #aib ,restored from ,sumerian ,liturgical ,texts1 #abc #ca1 and below line #de4 #aic ,,ka with value du alku occurs here for the first time4 ,variant has du 7line #cc74 ,this text supplies two more signs and makes possible a better translation4 #aid ,cf4 ,babylonian ,liturgies1 ,no4 #gh1 #c4 #aie ,cf4 ,,pbs4 ,,xii ,no4 #f ,obv4 #aa4 #aif ,identification uncertain4 #aig ,the line is parallel to ,,pbs4 ,x #abb1 #ac4 #aih nam-en-na entu1 priesthood4 #aii ,a title of ,nergal4 #bjj ,about four lines are broken away to the end of the tablet4 #bja igi-da occurs also in the title of ,sin1 igi-da-gl1 ,,zimmern1 ,,kl41 ,no4 #a ,obv4 ,i #c and #f4 ,the most natural interpretation is to regard da as a variant of du1 hence 8to go before40 #bjb ,written tg4 gu-ig is a kind of plant1 on a tablet of the ,tello ,collection in ,constantinople1 ,,mio4 #gjhf4 ,for the meal of the gu-ig see also ,,ct4 ,x #bj1 ,,ii #cc and ,,reisner1 ,templeurkunden1 #abh ,col4 ,,iii4 #bjc ,restored from line #ad4 ,here begins the rehearsal of the woes of ,erech4 #bjd ,cf4 also ,,ct4 #ae1 #ai ,rev4 #b where a place word is also expected4 #bje ,cf4 ,gudea1 ,st4 ,b #i1 #bg4 #bjf ,semitic attamma a title employed in later times apparently in a secular sense4 ,originally it has a sacred meaning and probably denoted a musical director who was also a priest4 ,the application of a priestly title to the king is in accord with his royal prerogatives4 #bjg ,the sign is ,br4 #hhii4 #bjh ,for ni nu1 see ,,sbp4 #ach1 #bb1 ni-ku- nu-ku-2 ,,sbh4 #gj1 #c #aca1 #dh4 ,read li8 #bji ,text ,,gar6 #baj ,,bad kidinu1 has the value u2 cf4 u-sa kuddinu1 ,br4 #ejfa4 #baa e is here interpreted as a phonetic variant of ,,ud-,,du4 ,cf4 also e-dam in ,,sbp4 #aah1 #ci4 #bab ,this is the first example of this form employed as subject4 #bac ,the text is difficult4 ,,un is certain but the sign ,,sal is not clear on the tablet4 #bad ,text ,,su4 #bae ,phonetic variant of gil-sa sukuttu4 ,the prefix a is difficult and probably the noun augment1 see ,sum4 ,gr4 #adh4 ,the vowel a seems to possess another sense in ,,sbp4 #bhd1 #a4 #baf g pi1 confine1 ,,ra4 #i1 #gg ,i1 #aj2 note also -a-m g ina bti pi1 ,k4 #da ,col4 ,,ii #ab4 #bag ,part of the door2 see ,,vab4 ,,iv ,index4 #bah ,variant of -ta ru4 ,the final ka is for the emphatic ge in the status obliquus 7ga74 ,this emphatic particle is here attached to the object which is not a construct formation1 but the choice of ka for ge is probably influenced by the principle of employing the oblique case of the construct when the noun in question is in the accusative2 see ,sum4 ,gr4 #ace4 8,defender0 refers to ,tammuz4 #bai ,the same title in ,,pbs4 ,v #b ,obv4 ,,ii #bc1 d,dumu-zi u-,,pe4 ,,poebel interpreted this as a variant of u-a ba'iru1 fisherman1 and his suggestion is probably correct4 ,we have1 however1 to consider the possibility of a confusion with kam ukkuu1 the afflicted1 ,,sai4 #ejhb4 #bbj ,the rise of the semi-vowel i between the vowels a-a occurs under similar circumstances in igi-e-ni-ib-ila-ia-dg1 ,,radau1 ,miscellaneous ,texts1 ,no4 #d1 #e4 ,see also ,sum4 ,gr4 #ch1 #b4 ,the form above arose from bar-ri-a-a-dg4 ,the prefixed element dg falls under #aec of the ,grammar4 bar sapu is a variant par1 to spread out1 scatter4 #bba ub1 to let fall1 hence tabku1 to pour out4 ,heretofore this meaning of ub was known only from the forms al---be ittanatbak1 ,,sbh4 ,no4 #fb1 #ae1 and forms cited by ,,meissner1 ,,sai4 #hcde4 ,see also u from ub1 ibid41 #hccd and al---be1 ,,mvag1 #aiac pt4 #b p4 #di1 #af4 #bbb ,the same passage occurs in ,ni4 #achef ,,ii #ac4 sg-sg aummatu1 variant of sg-sg4 #bbc zig is probably phonetic for eg magru1 see ,sum4 ,gr4 #beh1 zig#g4 #bbd lu from lum da1 di1 passim4 #bbe ,cf4 also ,,pbs4 ,v #be ,i #ae2 ,,ii #ac mu-na-ni-ib-g-g4 #bbf eku from uku by dissimilation of vowels4 ,see also ,,reisner1 ,,sbh4 #gg1 #ag4 #bbg ,for ama ummatu1 ummantu1 see ,sum4 ,gr4 #bjb1 ama#b and ,,weidner1 ,handbuch der ,babylonischen ,astronomie1 p4 #hf1 #d4 #bbh ,see1 for the musical instrument ,,al1 ,sumerian ,liturgical ,texts1 ,index1 p4 #bba4 #bbi ,text omits zu1 which is not on the tablet4 #bcj ,written ,,ku-,,ki ,cf4 also ,,ct4 #af1 #dd1 #hj ,,ku-,,ki-gar-ra-bi ina abi-u4 #bca ,enlil4 #bcb ,a reading r-im-me1 8it is glorified10 suggests itself4 ,cf4 ,,sbh4 #ic1 #a4 #bcc ,cf4 ,,tsa4 #ca ,obv4 ,,ii4 #bcd ,see ,,pbs4 ,vol4 ,,xii #ab4 #bce ,cf4 ,,sbp4 #bie1 #ag4 #bcf ul-ti ubuu1 8the lusty man10 ,,poebel1 ,,pbs4 ,v #acf ,v #ac1 with which compare n4 pra4 ubbuu1 ubbutu1 in ,,holma1 8,personal ,names of the ,form fu ul10 p4 #ej4 ,note also ul-ti-a batum1 ,,pbs4 ,v ibid4 l4 #ab4 ,the hymn to ,sin1 ,,sbp4 #bif1 contains in line #ad the same phrase4 #bcg ,text not entirely certain4 ,if correctly read the signs ,,ar-,,gud kabattu must be read in ,,sbp4 #dh1 #de after the variant ,,sbh4 #c1 #aj4 #bch ,restored from line #aj4 ,the only previous occurrence of this name is in ,,smith',s ,miscellaneous ,texts1 #aa1 #a which has ,,ri not ,,mu4 ,the end of the name is broken in ,,bl4 ,no1 #bg4 ,perhaps ,,smith copied the sign wrongly4 #bci ,pronounced udugga altu4 #bdj ,the name as transliterated means mudammi musarr1 8,temple of the benefactor of writing40 ,in line #ae its holy reed is mentioned1 a mythical stylus symbolic of the god of wisdom1 ,enki1 according to ,,sak4 #f h4 #bda nar-balag tig1 a kind of flute4 ,here the word indicates that in the musical accompaniment this instrument was employed4 ,it probably denotes a specific kind of melody4 ,three other musical instruments have given their names to classes of melodies1 the eremma1 balag and me-z1 see ,,sbp4 page ,,ix1 and ,,bl4 page ,,xxxviii4 #bdb ,rev4 ,,ii #bb4 #bdc ,rev4 ,,ii #ai4 #bdd ,rev4 ,,ii #bi4 #bde ,rev4 ,,ii #cj4 #bdf ,rev4 ,,ii #cg3da4 ,cf4 er-gig mu-un--1 ,,zimmern1 ,,kl4 #be ,,ii #b f4 #bdg ,see ,historical and ,religious ,texts #e-h4 #bdh nig to ni4 #bdi ,lines #ej-ed on ,col4 ,,iii may be restored from lines #h-ab4 #bej ,literally1 8decree again their oracle40 #bea gim1 emphatic suffix4 #beb ,we meet here for the first time with two avenging angels or genii who attend the ,word in its execution of the wrath of god4 ingaludda is mentioned as one of four evil spirits ilu limmu in ,,ct4 #be1 #bb1 #dd4 ,he is mentioned with the ,z bird and the demon du as appearing in dream omens1 ,,boissier1 ,,da4 #bjg1 #cd4 ,see also ,,boissier1 ,choix1 ,,ii #ec1 #d4 ,on uddugub as a title of kings see ,,be4 #ca1 #bb n4 #i4 #bec ,the ud-gal is regarded as plural mu rabti and identified with the evil spirits of incantations1 ,,ct4 #af1 #bb1 #bff and #bgf4 ,in the ,epic of ,creation the 8great spirit of wrath0 is one of the demons attendant upon ,tiamat4 #bed ,see ,,pbs4 ,x #afa1 #ac4 #bee ,the traces on ,ni4 #gjhj are against the restoration e-am-4 ,lines #aa-ai are restored from ,,pbs4 ,x ,no4 #aj4 #bef gr8 ,variant g-nin6 #beg ,cf4 ,,ra4 #ab1 #cg1 #a4 #beh ,so from my copy and ,,ct4 ,,iv #d;b #ab ,babyloniaca1 ,,iii #ag4 #bei ,for this title of ,tammuz1 see ,tammuz and ,ishtar1 #cd4 #bfj ,probably for dagan puru1 ,,ra4 #aa1 #add1 #h4 ,see also dakan1 divine abode1 ,,delitzsch1 ,glossar1 #acb4 #bfa ,cf4 ,,sb ,p4 #cjd1 #ac4 #bfb ,title of ,tammuz as spirit of the waters1 see ,tammuz and ,ishtar1 pp4 #f and #dd4 a-bal tbik m1 pourer of water1 irrigator1 is the original idea of this ideogram4 ,for the title galu-a-bal in this sense1 see ,,ct4 #ac1 #db1 #g ff4 ,ak-ki galu abal1 the gardener who cared for ,sargon4 ,see also ,,thureau-,,dangin1 ,lettres et ,contrats1 ,no4 #agd1 #f-h1 galu a-bal1 a kind of laborer4 ,the later usage of the word as libator of water for the souls of the dead1 ,semitic n m is a strictly conventional development1 see ,babyloniaca1 ,,vi #bjh4 #bfc al as synonym of ,,de 7in line #ba7 is probably a variant of ilu nag4 #bfd ,sign ,,de4 #bfe ,this line is connected with the classical interlude ma-a-bi ud-me-na-gim etc4 discussed in ,,sbp4 #ahe n4 #aj and ,,bl4 ,,xlix4 #bff ,below the double line the figure #ch1 i4e4 #ch lines on the obverse4 ,thirteen lines have been broken from the top4 #bfg ,cf4 ,,zimmern1 ,k4,l41 #be ,,ii #db4 #bfh ,i4 e4 ,isin4 #bfi ,on this title see ,,bl4 #adc4 #bgj ,probably an error4 ,omitted in translation4 #bga ,on this line1 see the commentary in ,sumerian ,liturgical ,texts #agc note #c4 #bgb ,temple in ,isin-uruppak4 uruppak must have been a quarter of the later and more famous ,isin4 ,note that this temple is assigned to uruppak in ,,poebel1 ,,pbs4 ,v #aeg1 #g4 ,the liturgies1 however1 constantly place ,niginmar at ,isin4 #bgc ,i see traces of a sign after te4 #bgd ,temple in ,larak1 a quarter of ,isin4 ,see ,,sbp4 #afj n4 #g4 #bge azag-sug title of the deities of lustration ,anan1 ,nidaba and ,gibil4 #bgf ,rendered bit arru1 ,v ,raw4 #af1 #eb1 probably a royal chapel or room in ,ekur especially provided for the king4 ,see also ,,sbp4 #bib1 #ad2 ,,kl4 #be ,i #aa4 #bgg ,probably name of a sacred park at ,isin4 ,it contained a chapel1 -tir-azag-ga1 ,,kl4 #be ,i #ab4 #bgh ,for the restoration1 cf4 ,,ra4 #ab1 #cd1 #i4 #bgi ,the edge has the figure #dh which indicates the number of lines on the reverse and left edge4 #bhj ,see also the same idea in ,,sbp4 #cab1 #ab and ,,kl4 #be ,,ii #da4 #bha ,concerning the titular litanies1 see ,,pbs4 ,x #aef1 #agc1 etc4 #bhb ,erroneously designated the fourth tablet of ame baranara in ,,sbp4 #bhc ,erroneously assigned to ame baranara in ,,sbp4 #bhd ,the text of lines #a-be is taken from ,tablet ,virolleaud1 now ,collection ,nies4 ,no #acae4 #bhe ,,sbp4 #aab and #abf have umun1 et passim4 #bhf ,,sbh4 #db has an inserted line between ,,ii4 #a-b4 ,see ,,sbp4 #aab4 #bhg ,vars4 nag4 #bhh ,uncertain4 ,apparently ,,rec4 #bbe4 ,elsewhere in this passage always ,,ab which has been read erin-na ummni-u1 ,,bl4 #aaa1 #af4 #bhi ,see ,yale ,vocabulary #ace4 #bij ,on this passage see ,,pbs4 ,x #agj1 #ac and ,ni4 #aebjd1 #h of this volume4 #bia ,sic6 ,error for n-bi-db4 #bib ,omitted by the scribe4 ,line restored from ,ni4 #aebjd1 #aa4 #bic ,with line #ai the variant ,,sbh4 #db lower fragment begins4 #bid ,var4 adds ra4 #bie ,the god ,ea of ,eridu is meant4 #bif ,cf4 ,col4 ,,ii #ai4 ,on this variant for dumu-ma1 see note in ,sumerian ,liturgical ,texts #afc4 #big ,restored from ,col4 ,,ii #bj4 #bih ,we expect the sign ,,edin 7 r7 but the traces are clearly not those of ,,edin4 #bii ,col4 ,,ii #bc ab-su-di4 ,here begins ,,kl4 ,no4 #aa1 ,i1 which joins directly on to ,tablet ,virolleaud4 #cjj ,this refrain is read -um etc4 on the late variant1 ,,sbh4 ,no4 #ba1 ,obv4 lower fragment4 #cja ,cf4 ,,sbp4 #dj1 #cc4 ,restoration uncertain4 ,this line does not appear in ,,sbh4 #db ,,sbp4 #aab which has here insertions for ,tametu and ,nan4 #cjb ,for -na-ta84 ,the suffixed conjugation is frequently employed in interrogations2 me-na g-g-mu1 8,when shall one restore it810 ,,be4 #cj1 #ab1 #b4 a-ba ku-ul-la-ba1 8,who shall restrain810 ,ni4 #dfaj1 r4 #a4 a-na an-na-ab-ta-ni1 8,what shall ,i add to thee810 ,,genouillac1 ,drehem1 #a1 #ab4 ,variant ,,sbp4 #aad1 #cb zag-na ab-z-em-e4 #cjc ,var4 ,,sbh4 #dc1 #ce ur-ra-ge4 #cjd ,parallel passages do not mention the 8queen of the city0 but only the ordinary mother who rejects her children1 ,,sbh4 #aca1 #eh-fa2 ,,bl4 #gd1 #aj4 ,the phrase refers obviously to the mother goddess4 8,her son0 must be interpreted figuratively in the sense that the mother goddess is the protector of all human creatures4 #cje ,this title gaan-sun or nin-sun1 really means beltu rimtu1 8the wild-cow queen10 and characterizes the ancient mother goddess as patroness of cattle4 ,the title usually refers to the married type ,gula or ,bau1 as in ,,sbp4 #bhd1 #ai1 and note that ,ninsun1 mother of ,gilgamish1 is frequently called ri-mat1 ,,poebel1 ,,olz1 #aiad1 #d4 ,the title also applies to the virgin type ,innini in ,,kl4 #abc r4 ,,ii #g4 #cjf mu-lu imme also ,,be4 #cj1 #i ,i #b bl li7871 8,man of wailing40 ,the late version replaces this line by te-e-m da-ga-a-ta dumu-ni1 8,how long shall the wife of the strong man reject her son801 ,,sbp4 #aad1 #cg4 dagta dam-guu1 ,,sbh4 #aca1 #fj4 #cjg ,probably a title of ,ekur4 egalla title of the temple in ,kullab1 ,,kl4 #c ,,ii #bj4 ,the late version rejects this line since its local reference was not suited to general use4 #cjh ,here this line begins an ,enlil melody within the body of a series4 ,originally a-gal-gal el-su-su was a ,nergal melody and a series based upon it is catalogued in ,,iv ,r4 #ec;a #cc of which ,k4 #fi is the first tablet4 ,see also ,b,,llenr,,cher1 ,nergal1 ,no4 #f4 #cji ,the late redaction of this melody revises this litany with the new liturgical movement ursaggal--elimma placed before alternate lines4 ,when this scheme is employed all feminine deities are omitted4 ,see ,,sbp4 #aad4 ,note #e p4 #aae ibid4 is to be suppressed4 #caj ,lines #g-aj conjecturally restored from ,sumerian ,liturgical ,texts #afe1 #h-aa4 #caa ,lines #aa-ag restored from ,,sbp4 #aaf1 #af ff4 #cab ,meaning and restoration uncertain4 #cac ,first line on ,,zimmern1 ,no4 #aa ,col4 ,,ii4 #cad ,see note on line #bg above4 #cae ,usually p ek1 canal1 is used in this title of ,zarpanit4 ,she is originally a patroness of irrigation and ultimately identical with ,nin4 #caf ab-su ab-zu1 sea8 ,cf4 ab-zu-bil-la1 the shining ocean1 ,,kl4 #a ,rev4 ,i #ai f4 #cag ,,sbp4 #aaf1 #bg d-en-kr-e4 #cah ,var4 u-mi-a1 ,,sbp4 #aaf1 #cc4 #cai ,line #bi is false and to be corrected after the late text ,,sbp4 p4 #aah1 #ce f4 which has two lines4 ,read ki an dr-ru-na- d,a-nun-na gar-ma-an-z-en1 where ,anu sits let the ,anunnaki hasten4 #cbj ,cf4 ,,sbh4 #dd1 #cg4 #cba ilu ra'imu4 #cbb napar mti1 cf4 ,,iv ,r4 #bc;b #ae4 #cbc ,it is not certain that this melody ended here4 ,possibly all the titles in lines #ai-bg followed here with the refrain am-ma-ab-tg-e4 ,at any rate the traces of a last line on ,,sbh4 #dd are those of the last line of this melody4 ,there is not space enough on ,,sbh4 #dd after line #cg for more than the lines #ca-dj supplied above for we must make some allowance for the interlinear ,semitic translations in the break on ,,sbh4 #dd4 #cbd ubat piriti4 ,this sanctuary at ,nippur is mentioned in ,,be4 #bi ,no4 #e ,obv4 #aa2 d-sag in ,,kl4 #fd ,,ii #d and ,,iii #f4 #cbe ,end of the sixth melody4 #cbf ,heart is used here in the sense 8wrath40 #cbg ,cf4 ,,sbp4 #ih1 #dj f4 #cbh ,cf4 ,,sbp4 #ih1 #dd2 #abd1 #ai4 #cbi ,cf4 ,,sbp4 #ch1 #ac4 #ccj ,cf4 ibid4 #ih1 #dh4 #cca ,in case the tablet possessed five columns like ,,kl4 #be then this column is ,rev4 ,,iii4 ,i know of no four column tablets of similar kind4 #ccb sag began a refrain which followed the titles of ,enlil1 ,ea1 etc4 and ended with this line4 ,see ,obv4 ,i #ba-ca1 etc4 #ccc ,cf4 ,,sbp4 #hb1 #dg4 #ccd ,a title of ,egalmah in ,isin1 ,,sbh4 #id1 #bi ,,sbp4 #ahf1 #bi4 #cce ,either ,,dam or ,,sal ,,ku 7sister7 must be expected1 since we have obviously a reference to ,aruru here4 #ccf ,sic6 ,an error for en-ne8 ,see ,,sbp4 #abj1 #a4 ,perhaps d te1 8where80 strengthened by en adi4 #ccg ,the following melody has been restored from the late variant ,,sbp4 p4 #abj4 #cch ,glossed g-da4 #cci ,semitic lu-uk-mi-is-su1 glossed kam4 kam1 8to bind10 is the natural rendering of lal4 ,the ,semitic should perhaps be neglected as faulty and the ,sumerian rendered1 8,like a wild ox by the mighty one ,i am hobbled40 #cdj ,lines #ba-bf may not have stood in the ancient liturgy4 #cda ,here begins variant #ha-g-bg1 #bjc ,,ba4 ,x #hg4 #cdb ,nippur4 #cdc ,beginning of a melody of a weeping mother series1 ,,bl4 p4 #id1 #ab4 ,it is not certain that this melody stood in the ancient text4 ,see for the text #ha-g-bh1 #bjc 7 #ghbci7 in this volume4 #cdd ,cf4 ,,sbh4 #acb1 #bg4 #cde ,the duplicate1 ,,meek1 ,,no4 #aa1 has here another melody not a titular litany4 ,this text does not belong to the e-lum gud-sun series4 #cdf ,this title of ,uraa remains unexplained4 ,in all other examples d,uraa ki-e-gu-nu-ra1 ,,sbp4 #aej1 #f2 #ij1 #bj2 ,k4 #cica ,rev4 #bi2 ,,kl4 #ag ,rev4 ,,ii #f4 ,perhaps also ,gudea1 ,cyl4 ,b #ai1 #ac is to be restored ki-e-gu-nu-ra4 #cdg ,father-mother names of ,enlil1 ,,iv ,raw4 #a;b #ag f4 #cdh ,enlil names1 ,,ct4 #bd1 #d1 #bd f4 #cdi ,enlil1 ,,ct4 #bd1 #d1 #bj4 #cej ,usually me-r-ra4 ,enlil name1 ,,ct4 #bd1 #d1 #bf4 ,not originally associated with ,nergal4 ,see ,historical and ,religious ,texts1 p4 #ce4 #cea ,here both titles of ,ninlil4 ,variant nin-zd-an-na1 ,,psba4 #aiaa1 #bcc n4 #ci4 #ceb ,see previous footnote4 #cec ,originally title of ,enlil1 ,,ct4 #bd1 #be1 #ig #ac1 #db4 ,usually ,marduk as ,jupiter4 #ced ,two other readings of this title of ,ninlil as mother goddess are known2 de-en-tr1 ,,sbp4 #aej n4 #e1 l4 #aa and de-en-tur1 ,,king1 ,supplement to ,,bezold',s ,catalogue1 p4 #aj1 ,no4 #ea1 #h where she is identified with ,nintud dblit4 #cee ,in ,,za4 ,,vi #bdb1 #ba their mother is ,ihara1 another title of the same mother goddess4 ,for the seven gods see ,,iv ,raw4 #ba ,no4 #a ,b4 #cef ,perhaps si-gal1 title of ,ninurta1 ,,sbh4 #acb1 #bf2 ,,bl4 #ib1 #g4 ,,ct4 #bd1 #g1 #ab4 #ceg ,usually title of ,ninlil as here1 ,,sbh4 #acb1 #bc2 ,,sbp4 #aej n4 #e1 #ac4 ,but consort of ,ninurta1 ,,ct4 #bd1 #g1 #ab4 #ceh ,var4 d,nappasi4 #cei ,the entire ideogram was read zir zirru1 ,,smith1 ,miscel4 ,texts #be1 #af4 #cfj ,a legendary king who had received apotheosis1 and was placed in the court of ,enlil1 ,,ct4 #bd1 #f1 #bj #h ,col4 ,,iii #a4 ,the variant ,,sbp4 #aeb1 #ae inserts another deified king ,ur-,sin4 ,see also ,,genouillac1 ,drehem1 #eeja ,,ii #ba2 ,babylonian ,liturgies1 #ib ,rev4 #aj2 ,,ct4 #bd1 #f1 #ba4 #cfa ,or gi-ur-sag4 ,the ,semitic is a edi-i-a arradat4 ,on ,innini queen of heaven1 see ,tammuz and ,ishtar1 #hh4 #cfb ,i4 e41 ,gilgamish4 #cfc ,see ,tammuz and ,ishtar #eg1 n4 #b4 #cfd ,on this title of the weeping mother1 see ,sumerian ,liturgical ,texts #agc4 #cfe ,a title of ,immer the thunder god4 #cff ,zagin-na to zaggira1 see ,sumerian ,grammar1 #dg4 #cfg ,aja goddess of light and battle1 ,babylonian ,liturgies #adc4 #cfh ,,zimmern1 ,,azag an error8 #cfi ,cf4 ,k4 #gade1 #g in ,,ct4 #bi1 #dg4 #cgj d,lum-ma or umma1 ,,ct4 #bd1 #f1 #ah one of two utukku of ,ekur4 ,duplicate #bd1 #bb1 #aag4 ,often in names of the early period1 ,,scheil1 ,textes ,elamites-,semitiques1 p4 #d and in name of ancient patesi of ,umma1 ,ur-lum-ma1 see ,,thureau-,,dangin1 ,,sak4 #bgc4 ,,scheil1 ,i4 c4 #d1 says that ,lum1 um is an ,elamitic god4 ,the title gaan-dig-ga indicates a female deity4 ,note the variant gaan-sa-lum-ma1 ,,sbp4 #aeh1 #ef4 ,an underworld deity4 #cga ,br4 ,no4 #iji4 ,var4 ,,sbp4 #aeh1 #eg ,v ,raw4 #eb ,,ii #bg1 has unugal4 #cgb ,var4 of idu4 #cgc ,sign ,,nita4 ,see ,var4 ir-ra1 ,sumerian ,liturgical ,texts1 p4 #agd1 #g4 #cgd ,for gud--nu-g-a1 ox that turns not back his might4 ,see ,i4 c4 #agc n4 #c4 ,for g to s see ,sum4 ,gr4 #dj b4 #cge ,spirit of the lower world1 ,,ct4 #bd1 #h1 #ac4 #cgf ,vars4 un1 or en ,,sbp4 #aeh1 #fa2 ,,ct4 #bd1 #bc1 #bd4 ,hence ,u 7muen7 has also the value en or un4 ,see on lines #i f4 ,sumerian ,liturgical ,texts #agd n4 #e4 #cgg ,for kul4 #cgh ,gunu of ,u4 ,var4 ,,nu-,,nunuz-ki-a1 see ,,sbp4 #aeh1 #fb ,,ct4 #bd1 #aj1 #b4 #cgi ,var4 ,a-m-m4 ,ma-ma1 ,ma-mi1 ,m-m1 ,a-m ,bau1 ,nintud4 #chj ,for en-me bl pari4 ,var4 umun me4 ,here certainly a male deity as d,nin-n ,almu1 form of ,nergal in ,v ,raw4 #ba1 #be4 ,for ,nin-n in the early period see ,,allotte ,,de ,,la ,,fu,e1 ,,dp4 #abh ,,ii #c4 ,but ,nin-n ,nin-n-mal ,alamu1 form of ,allat sister ,ninlil1 ,,ct4 #bd1 #aj1 #c1 cf4 ,v ,r4 #ba1 #bf4 #cha ,variant ,,sbp4 #aeh1 #fc ,,sbh4 #hf1 #fc reads anga-ma abzu-ge4 ,for the writing of anga1 see ,babylonian ,liturgies1 p4 ,,xxii n4 #b4 #chb ,on variants ,duru-sug1 ,dr-ru-si-ga1 see ,sum4 ,lit4 ,texts #agd1 #i4 #chc ,sic6 ,perhaps error for a-mun4 ,see also ,,ct4 #bd1 #i1 #dj da-mun-sal787-sal84 ,,sbp4 #aeh1 #fd4 #chd ,title of ,shamash1 ,,ct4 #be1 #be1 #aa4 #che ,title of ,shamash here4 ,variant d,su-ud-m ,aja1 ,,ct4 #be1 #i1 #be4 #chf ,i4 e4 ,aja4 #chg ,so6 ,var4 mu-galam1 8of skilful name40 #chh ,see ,var4 ,sum4 ,lit4 ,texts #age1 #aj4 #chi ,so ,var4 l4 c4 ,i4 #aa4 ,see above1 line #f4 #cij ,certainly these two underworld deities are intended in this line4 ,they occur together also in ,,ct4 #be1 #e1 #fj-fd4 ,see also #be1 #h1 #ad where read ,nin-n-da4 #cia ,two lines not on any variant4 #cib ,gula of ,isin4 #cic ,see for reading1 ,sum4 ,lit4 ,texts #agf1 #e4 #cid ,see ,babylonian ,liturgies #if n4 #a4 #cie ,for variants1 see ,sum4 ,lit4 ,texts #agg1 #h4 #cif ,variant ,,sbp4 #afj1 #af has another text4 ,other variants omit the line altogether1 ,,kl4 #h ,,iv #h2 ,sum4 ,lit4 ,texts1 #agg4 #cig ,cf4 ,,sbp4 #gd1 #ai and #fh1 #e4 #cih ,for this sign ,,rec4 #df1 see now ,k4,l41 #be ,,iii #ae4 ,the two signs balag and dup are distinguished clearly on this tablet2 see ,obv4 #i for dup4 ,on the distinction of two original signs in ,br4 #gjbd1 see ,,thureau-,,dangin1 ,,za4 #ae1 #afg2 ,chicago ,syllabary #bjh f41 and ,,pbs4 #ab ,no4 #aa ,obv4 ,col4 ,,ii #de and #df and page #ac4 ,syl4 ,b distinguishes the two signs4 #cii ,see ,,ra4 #aa1 #de n4 #e4 #djj ,all father-mother names of ,enlil1 ,,ct4 #cd1 #c1 #bi ff4 #dja ,this ,semitic rubric is unique in the published literature of ,sumerian liturgies4 ,it indicates that the choristers should here complete the long titular litany by reciting the titles of the deities named in the litany given in full on the ,berlin tablet2 see the preceding edition of ,k4 ,l4 #aa ,rev4 ,,iv #a ff4 #djb ,for this rubric1 see ,,pbs4 ,x #aea note #a4 #djc ,for ,enlil connected with the idea of light1 see ,,pbs4 ,x #aeh n4 #a4 #djd ,the pronoun refers apparently to uru in line #ae4 #dje ,text na-an6 #djf ,the moon god was held to be the son of ,enlil1 ,,sbp4 #bif1 #e4 #djg ,cf4 ,,bl4 #dh1 #bc4 #djh ,text ,,di4 #dji ,same phrase in ,ni4 #adjje1 #bd4 ,see ,le ,pome ,sumrien du ,paradis1 p4 #adj4 #daj ,for the interpretation1 see ,,ra4 #ab1 #bg n4 #e4 #daa ,see for readings ,,bl4 #ch1 #i4 #dab ,see also ,tablet ,virolleaud1 ,rev4 end4 #dac ,also ,opis was sometimes called ,ke1 see ,,ct4 #af1 #cf1 #c1 ki-e-i1 gloss on the ideogram for ,opis4 #dad ,for ,ninharsag at ,ke1 see also ,,sak4 #ad ,,xviii #f4 ,another title of the goddess at ,ke is ,ninmah1 ,,sak4 #bcg;e4 #dae ,here the god of ,opis is given as ,igidu1 a form of ,nergal4 ,in this late text ,opis on the ,tigris at ,seleucia is probably intended4 ,the southern ,ke and ,opis were imitated in ,akkad1 at any rate in later times1 and ,ke was apparently confused with ,ki which gave rise to a second ,ki in ,akkad4 ,the ancient and historical ,ki at ,oheimer on the canal of the ,euphrates should not be confused with ,ki corruption for the new ,ke near ,seleucia4 #daf ,the god ,igi-du of ,ke is identified with ,ninurta as were most of the male satellites of the mother goddesses in various cities4 ,,ct4 #be1 #bd ,k4 #hbai1 #ag,k4 #gfbj1 #ah1 d,igi-du d,nin-urta4 ,according to ,,ct4 #be1 #ab1 #ag it is one of the titles of ,ninurta in ,elam4 ,but in ,,ct4 #bd1 #cf1 #eb d,igi-du is a form of ,nergal1 and in the omen text1 ,,boissier1 ,,da4 #bch1 #aj he is explained as d4,meslamtaa1 a form of ,nergal4 #dag ,or perhaps ,negun4 ,see below4 #dah ,,bl4 #gb1 #ad4 ,here ,ke or ,kisa is written with the ideogram for ,opis4 #dai ,,ct4 #be1 #ab1 #bc4 ,see ,,sbp4 #aef1 #ci4 #dbj ,,sak4 #aah ,,xxvii #b4 #dba ,a temple -an-za-kar is assigned to ,opis in ,,poebel1 ,,pbs4 ,v #aeg1 #h and ,,zimmern1 ,,kl4 #aii ,rev4 ,i #cg 7here without 74 ,this temple can hardly be the one which forms the subject of the liturgy on the ,ashmolean ,prism4 #dbb ,published by ,,barton1 ,miscellaneous ,religious ,texts4 #dbc ,a new copy of the ,ashmolean ,prism is published in the ,revue d',assyriologie1 ,vol4 ,,xvi4 #dbd ,cf4 ,,ba4 ,v #gjg1 #g4 #dbe ,probably for gud-,,nindabru1 mru4 #dbf ,var4 na4 #dbg ,some verb seems to be missing here4 ,the construction is obscure4 #dbh ,so the prism4 #dbi ,var4 ni4 #dcj ,variant ,constple4 omits ki4 #dca ,cf4 ki-gim rib-ba kima iritim tuat1 ,,delitzsch1 ,,al#c #acd1 #e4 ,,kal 7ri-ib7 tuu1 ,chicago ,syllabar #bhg2 rib utuu1 ,,ct4 #ai1 #aa1 #ab2 nam-kalag-ga-ni rib-ba dannussu tuat1 ,,iv ,raw4 #bd;a #dh2 ana-gim ki-gim rib-ba-zu-ne a kima am u iritim tugata1 ,,sbp4 #bej1 #f4 ,see also ,,ebeling1 ,,kta4 #cb1 #e1 rib-ba u-tu-u4 #dcb ,the meaning is obscure4 ,for the suggested rendering cf4 en me-a tm-ma1 the lord who cares for the decrees1 ,,sak4 #bjd1 #f4 #dcc ,for this emphatic verbal prefix cf4 ,,delitzsch1 ,,al#c1 #acd1 #e2 ,,zimmern1 ,,kl4 #fh ,rev4 #bd4 #dcd ,i4 e4 ,nintud4 ,for ummu in the sense of 8mother goddess0 note ,,ct4 #af1 #cf1 #a-i where the various mothers of ,eridu1 ,kullab1 ,ke1 ,lagash and uruppak are invoked4 ,the reference here is undoubtedly to ,ninlil as the mother of ,negun1 ,,sbp4 #aef1 #ci4 #dce a-ba arka1 and then4 ,the same phrase in ,,be4 #ca1 #b1 #g and for aba1 see especially ,sum4 ,gr4 #bda4 er-du77 probably variant of er-du dammu4 #dcf ,ni4 #adjca in ,,pbs4 ,x ,no4 #bb has as the verb the sign dug written five times1 as also the prism4 #dcg ,restored from the variant ,cstple4 ,rev4 ,i #aj4 #dch ,so8 kur napu1 better than my former rendering of this passage4 #dci idim eg1 nadru 7cf4 ,,thompson1 ,reports #hb1 #f with #ajh1 #e71 refers to the rumbling of the great gates of the temple4 #ddj ,br4 #bgbi8 ,cf4 ,r 7si-gi7 aabu1 ,,ct4 #ah1 #di1 #d4 #dda ,same phrase in ,,clay1 ,miscel4 #ca1 #cc4 #ddb ni nu2 cf4 ,,sbp4 #ach1 #bb1 ni-ku-2 ,,poebel1 ,,pbs4 ,v #bf1 #aj4 #ddc ,so on ,var4 ,cstple4 ,,ii #f4 #ddd ,first example of the verb zu strengthened by augment a2 cf4 a-ru1 a-sil in ,babyloniaca ,,ii #if4 #dde ,cf4 ,gudea1 ,cyl4 ,a #aj1 #ah4 #ddf ,semitic nu8 ,cf4 ,,ebeling1 ,,kta4 ,no4 #d ,rev4 #ac4 #ddg ,var4 ,cstple4 an4 #ddh ,read ge-ne8 ,ni4 #hchd ge787-e-ne4 #ddi ,ni4 #hchd dam4 #dej ,so on #hchd4 #dea ,var4 ,cstple4 4 ,see below line #ba and ,,bl4 #hh n4 #d4 #deb ,fifth section on ,ni4 #hchd4 #dec ,first sign on ,ni4 #hchd ,rev4 #a4 #ded ,ni4 #hchd g #dee ,same sign on ,var4 ,cstple4 ,but ,ni4 #hchd has a sign apparently related to the difficult sign which ,i assimilated to ,br4 #dicj in ,,ajsl4 #cc1 #dh4 ,the sign on ,ni4 #hchd recurs in ,,zimmern1 ,,kl4 #ce ,,ii #e4 #def ,var4 ,ni4 #hchd gal-e2 ,var4 ,cstple4 gal-la4 ,according to ,,ct4 #bd1 #aj1 #h the throne bearer of ,enlil1 but in #bd1 #bf1 #abd a ligir-gal in the attendance of the mother goddess4 #deg ,ni4 #hchd edin-na2 ,var4 ,cstple4 edin4 #deh ,both variants add e4 #dei ,var4 of g-gar puuru4 ,see ,,bl4 #aj1 #cj4 #dfj ,vars4 omit gim4 #dfa ,ni4 #hchd omits ra4 #dfb ,sixth on ,ni4 #hchd4 #dfc ,lines #bi-;,,iv #d are partially restored from ,ni4 #adjca4 #dfd ,first signs on ,,radau1 ,miscel4 ,no4 #h ,ni4 #aahgf4 #dfe ,so ,ni4 #aahgf4 #dff ,so apparently ,ni4 #aahgf4 #dfg ,text certain4 ,not ,,nun4 #dfh ,see last footnote4 #dfi ,var4 ,cstple4 en4 #dgj ,radau's copy has ,,in4 #dga ,var4 a-an4 #dgb ,ni4 #aahgf has ll-e ki-azag-ga nam-mi-in-,,ku8 #dgc ,ni4 #aahgf omits e4 ,this text proves that in the ideogram ,br4 #abjb the gloss isimu belongs properly to the first two signs only and that the original reading was isimu-abkal4 ,see especially ,,ct4 #ab1 #af1 #cd 7i-si-mu7 ,,pap-sg usm4 ,in the later period abkal was apparently not pronounced and the whole ideogram was rendered by isimu4 #dgd ,this line is not on the prism4 #dge ,ni4 #aahgf ga-a-an4 ,cstple4 ,var4 gig simply4 #dgf ,or g4 #dgg ,i edited this tablet in ,,sbp4 #abj-abc where ,i erroneously assigned it to the ,enlil series ame baranara4 ,the tablet has been partially restored from ,,meek1 ,no4 #aa4 ,the first two melodies of elume didara are used in the ,enlil liturgy elum gudsun near the end just before the titular litany and have been re-edited above pp4 #cjj-b in the edition of the elum gudsun series4 #dgh ,,meek1 ,no4 #aa in ,,ba4 ,x pt4 #a4 #dgi ,,sbp4 #bif4 #dhj ,,sbp4 #bcf4 #dha ,,sbp4 #adj4 #dhb ,,sbp4 #bbf,,sbh4 ,no4 #ah4 #dhc ,the first line1 together with its ,semitic translation1 is identical with the first line of the third tablet of the series muten nu-nunuz-gim1 see ,,sbp4 #adj4 ,otherwise the melodies differ4 #dhd ,the refrain -li-li apparently provides an incomplete sentence4 #dhe ,cf4 ,,sbh4 ,no4 #hd1 #ac1 there a title of the river goddess4 #dhf ,lines #aj-ac form a duplicate of ,,sbh4 ,no4 #be1 ,rev4 #b-e ,,sbp4 #abb4 #dhg si-m1 literally karnnu1 the horned1 referring to the new-moon4 ,the variant ,,sbp4 #bif1 #a has m-gr1 the crescent boat4 ,undoubtedly m-gr should be rendered by nannaru in this passage4 #dhh ,see ,,bl4 p4 #acb4 #dhi ,i4 e4 ,sin himself is the author of ,nippur's sorrows4 #dij ,glossed ki4 #dia ,,la2 transcription and interpretation uncertain4 #dib ,hereby is established the reading pa7g7-d mdu1 kapdu4 ,probably a kind of augurer4 #dic ,probably tautological writing for lalla itabbulu1 ,voc4 ,hittite #geji4 #did ,cf4 the first melody of the ,ninurta series g-ud nim kur-ra2 see ,,sbp4 #bbf2 ,,bl4 ,no4 #i and ,,sbh4 #dj4 #die ,similar passages have -r-ra 7,,sbp4 #bbf1 #h2 ,,sbh4 #dj1 #h7 chapel of ,ninlil in ,ekur 7,,sbp4 #bba n4 #g74 #dif ,temple of ,ninurta in ,nippur4 ,a syllabary recently published by ,,scheil 7,,ra4 #ad1 #agd ,i4 #g7 explains the name by bit gi-mir par-i hammu1 ,temple which executes the totality of decrees4 ,note1 however1 the epithet i-d-ila bit ni n1 ,house of the lifting of the eyes1 ,,sbp4 #bjh1 #aa4 #dig ,in any case an epithet of the temple of ,urta in ,dilbat1 ,ibe-ilu,anum4 ,for this reading ,i-be see vars4 ,i-bi1 ,im-bi1 ,,bl4 p4 #acd4 ,the word ibi is probably ,sumerian for igi1 and shows that the phonetic rendering i-de is erroneous4 ,the dialectic pronunciation of igi was ibe and despite the ,semitic variant imbi the name is apparently ,sumerian ,ibe-,anu1 ,temple of the eye of ,anu4 ,here u-gd is an epithet for ,anu1 i4 e4 the lofty4 #dih ,see also ,,sbh4 #acb1 #df2 ,,bl4 ,no4 #ef ,rev4 #ca2 ,,craig1 ,,rt4 #bj1 #cj4 ,this text has a variant a for di4 #dii ,probably part of the great city ,isin1 see ,,sbp4 #afj n4 #g4 #ejj ,probably variant of -dr adur1 kapru1 village1 city1 ,,poebel1 ,,pbs4 ,v #ajf ,,iv #cj2 see also ,,ii ,raw4 #eb1 #fa f4 ,note the similar title of the city of ,bau uru-azag-ga in ,,sak4 #bgd2 ,,bl4 #adg4 ,here the title refers to ,isin not ,lagash4 #eja ,cf4 ,,craig1 ,,rt4 ,,ii #af1 #ah d,ama-,u-,,al-,,bi-ta4 #ejb ,cf4 ,,ct4 #ab1 #c;a #bi2 ina ar-tu la uteir-u u ina me-ri-tum la i-kal-li1 8,by fraud he has not translated it and with wilful readings has he not published it40 ,for uteuru1 8to translate or edit a tablet10 see ,,lehmann1 ,shamash-shum-ukn1 ,taf4 ,,xxxiv #ag akkad ana uteuri1 8to translate into ,akkadian40 ,on this difficult passage concerning the education of ,aurbanipal see ,sumerian ,grammar1 p4 #c and corrections by ,,ungnad in ,,za4 #ca1 #da4 ikalli probably for ukallim2 note the variant ubi upi4 #ejc ,only in a loose sense4 ,from ,tammuz to ,kislev is the period of death1 from ,kislev to ,tammuz the period of revivification of nature4 ,see on the meaning of this passage ,,kugler1 ,im ,bannkreis ,babels #fb-e4 #ejd ,temple of ,marduk in ,babylon4 #eje ,temple of ,nebo in ,barsippa4 #ejf ma-dmuknitu4 #ejg arahitum4 #ejh ,see ,tammuz and ,ishtar1 p4 #aea4 ,arat or the western ,ashtoreth usually had the title blit ri1 8,lady of the plains0 and was identified with the ,babylonian ,getinanna and ,nidaba4 ,hence ,blit-ri is duparrat iritm1 scribe of the lower world1 ,k4,b4 ,,vi #aij1dg2 cf4 ,,iv ,r4 #bg ,b #bi4 #eji ,see lines #ea-d of this tablet4 ,nergal descends into the earth on the #ahth of ,tammuz and remains until the #bhth of ,kislev4 #eaj ilatarrat4 #eaa ,here epitomized4 ,it will be found transcribed and translated by ,,zimmern in his ,zum ,babylonischen ,neujahrfest1 p4 #abi4 #eab ,,ma4 ,see below ,col4 ,,ii #ae1 gypsum is ,ninurta1 the god of war1 primarily a god of light4 ,gypsum1 ,sum4 im-bar1 8radiant clay10 became symbolic of ,ninurta because of its light transparent color4 #eac ,so1 because gypsum1 lime and pitch are smeared on the door of the house and the god of light 7,ninurta7 tramples upon the demon of darkness4 #ead ,two inferior deities related to ,nergal1 god of the lower world4 ,their images placed at the enclosure of a house prevent the demons1 ,,zimmern1 ,rt4 #afh1 #ba f4 ,the image of ,lugalgirra designed on a wall prevents the devils1 ibid4 #aff1ab4 ,he binds the evil ones1 ,,iv ,r4 #ba99 ,c ,,iii #bf4 ,the two are placed at the right and left of a door to forbid the devils to enter4 ,maklu ,,vi #abd4 #eae ,the great trinity3 heaven1 earth and sea4 #eaf ,in any case a cult utensil on which a noise was made1 ,,ct4 #af1 #bd1 #cb4 #eag ,see the ,chicago ,syllabar #bcj where she is identified with ,nidaba4 #eah ,cf4 ,,za4 #af1 #agh1 #bg2 ,,ba4 ,v #fdi1 #c2 ,shurpu ,,viii #aj4 #eai ,so ,a4 ,b4 ,,cook1 ,zeus1 #fcb4 ,i would1 however1 entertain doubts concerning this explanation of silver as the emblem of the ,asiatic ,zeus and of ,jupiter ,dolichenus4 ,the identification of this metal with the sky god in ,babylonia and ,kommagene surely reposes upon a more subtle idea4 ,for the explanation of silver ,anu and gold ,enlil1 see p4 #cdb4 #ebj ,the ,sabeans1 a pagan ,aramaic sect of ,mesopotamia at ,harran1 are said to have assigned a metal to each planet4 ,since a considerable part of their religion was derived from ,babylonia we may consider this direct evidence for the ,babylonian origin of the entire tradition4 ,for an account of the metals assigned to the planets by the ,babylonians1 ,persians1 ,greeks and ,sabeans1 see ,bousset in ,archiv fr ,religionswissenschaft #aija1 article on 8,die ,himmelreise der ,seele40 ,the order of the planets1 taken from the ,byzantine list above1 is based upon their relative distances from the sun4 #eba ,restoration from ,zim4 ,rt4 #bg4 #ebb ,conjectural restoration from ,,askt4 #if1 #ba4 ,,zimmern1 ,rt4 #bg ,i #c-d has a longer description of ,ninabursildu a-a-lat d ,a-gub-ba blit m787 a nri7874 #ebc ,this deity appears in incantations as the queen of the holy waters blit egubb1 ,,iv ,r4 #bh99;b #af2 ,bab4 ,,iii #bh1 ,sm4 #dia1 #c4 ,although placed in the court of ,enlil the earth god as sister of ,enlil by the theologians1 ,,ct4 #bd1 #aa1 #dj #bd1 #eb1 where she is associated with a special deity of holy water1 d,a-gub-ba1 yet by function and character she belongs to the water cult of ,eridu4 ,her symbol is the holy water jar 7duk7 agubba and the deity d,agubba is u-lu lg-lg-ga ,erida-ge1 ,purifying handwasher of ,eridu1 ,,ct4 #bd1 #aa1 #da #bd1 #ec4 ,the river goddess d,i is also blit agubb1 ,,ct4 #af1 #g1 #bee where in l4 #bed ,ninabursildu is aat d,a-gub-ba1 sister of ,agubba1 and the river goddess is mother of ,enki1 or ,ea1 god of the sea1 ,,ct4 #bd1 #a1 #be4 ,the reading abur for ,a-,a is most probable1 and the cognate or dialectic form ubur is a name for the mysterious sea that surrounds the world4 ,see ,,bl4 #aae n4 #b4 ,the holy water over which she presides is taken from the apsu or nether sea1 which issues from springs1 hence egubb is spring water1 ,,ct4 #ag1 #e ,,iii #a4 ,the name1 then1 really means 8,queen of the lower world river1 she that walks 7du7 the streets 7sil740 ,the ,semitic scribe of ,,ct4 #be1 #di1 #f renders the name in a loose way by blit tlilti blit likat sul rapti1 ,queen of lustration1 queen that walks the wide streets 7of the lower world74 ,for the title blit tlilt1 see ,,ct4 #bf1 #db ,i #ad4 ,for a parallel to the description of her walking the streets of inferno1 cf4 d ,kal-g-ga sil-dagal-la edin-na1 ,lady of purity who 7walks7 the wide streets of the plain 7of inferno71 consort of ,irragal1 god of the lower world1 ,,sbp4 #aeh1 #ei4 ,a variant1 ,,kl4 #af ,,iii #h has sil-gig-edin-na1 the dark street1 etc4 #ebd ,variant of kn-tr1 ,v ,raw4 #db1 #ci4 #ebe ,in ,k4 #afe ,rev4 #h f4 the tamarisk and date palm are said to be created in heaven 7gi an-na -t7 and the same is said of them in ,gudea1 ,cyl4 ,b #d1 #aj1 gi-inig gi-ea 7i4 e4 ig giimmaru7 an -tud-da4 ,this plant appears frequently in magic rituals1 ,,iv ,r4 #ei;b #d iu bi-ni 7,semitic71 ,,iv ,r4 #af;b #ca1 ,shurpu ,,ix #a-h1 and also in medical texts4 bnu has been identified with ,syriac bn1 tamarisk4 ,if this identification be correct1 a comparison with the ,hebrew legend of the manna 7bread of heaven in ,psalms #aje1dj71 said to have been the exudation of the tamarisk1 is possible4 #ebf ,semitic uuru1 ,aramaic r1 see ,,meissner1 ,,mvag4 #aiac1 #b p4 #dj and ,,be4 #ca1 #fi n4 #b4 ,used both in medicine and magic4 #ebg ,passim in rituals and medicine4 ,see ,,be4 #ca1 #fi1 #bg2 #gb1 #bi2 ,,king1 ,magic #aa1 #dd2 ,,meissner1 ,,sai4 #bhje4 #ebh ,in ,shurpu ,,viii #gj mentioned with allu4 ,a magic ointment made of the ,el and matakal1 ,,ct4 #cd1 #i1 #da4 ,see also ,,ebeling1 ,,kta4 #ij rev4 #ag2 ,,king1 ,magic #cj1 #be4 ,perhaps identical in name with the stone arzallu1 ,,sai4 #hede4 ,on a ,dublin tablet often gi ,,el4 ,cf4 -ig-el-ar mu1 onion4 #ebi ,for the correct reading ni-n-a1 see ,,ajsl4 ,,xxxiii #aid1 #aei4 #ecj ,here a wood employed in magic1 cf4 ,,be4 #ca1 #fj1 #fae4 ,in syllabars gi-,,bur giburru1 gikirru1 indicates a weapon or an utensil4 #eca ,,nita-,,du1 fire god1 title of ,nergal as fire god and identical with d gr ,nergal4 #ecb ,here certainly ,anu1 heaven god1 followed by ,earth and ,sea gods4 ,note also d,gu-la in liturgies passim as title of ,anu1 ,,bl4 #acf4 ,anu ,sin1 see p4 #cdb4 #ecc ,title of ,enlil1 lord of the totality of decrees4 ,enlil ama4 #ecd ,originally title of the great unmarried mother goddess blit ilni1 but often a title of the virgin types ,innini and ,nin1 ,,bl4 #ada2 of ,gula ibid4 ,also somewhat frequently she is ,damkina1 consort of ,ea1 ,,iv ,r4 #ed;b #dg2 ,,ct4 #cc1 #c1 #ba her star beside that of ,ea4 ,here she is the mother goddess and the same order1 ,heaven1 ,earth1 ,sea1 ,mother ,goddess in ,shurpu ,,iv #db1 where ,nin-ma has the ,var4 ,nin-tud1 ,,ebeling1 ,,kta4 p4 #aba1 #aa4 ,symbols of these four deities on boundary stones in same register1 ,,hinke1 ,a ,new ,boundary ,stone1 p4 #bh second register1 et passim4 #ece ,possibly a metal stood here1 identified with d,,ma1 a star in ,orion 7,kaksidi ,beteigeuze71 ,,ct4 #cc1 #b1 #f2 ,,king1 ,magic #ej1 #bi4 #ecf ,possibly the constellation ,ursa ,major4 ,margidda1 the ,wagon is intended1 identified with ,ninlil on a ,berlin text1 ,,weidner1 ,handbuch #gi1 #aj4 ,see also ,,bezold in ,,deimel1 ,pantheon ,babylonicum #bae4 #ecg ,from the context certainly a title of ,marduk4 ,,zim4 #bg ,i #ai omits ,,lu-,,tu4 #ech ,or ,bl-arbe1 title of ,nergal1 v4 ,,vab4 ,,iv #agj1 #fg4 ,between lines #ag and #ah the variant inserts two lines4 #eci ,but ,mars in ,amos #e1 #bf4 ,i accept here the later identifications1 ,nergal-,mars1 ,ninurta-,saturn4 ,the identifications in the earlier period of ,babylonian astronomy appear to have been ,ninurta-,mars and ,nergal-,saturn4 #edj ,probably the astronomical form of ,nusku as god of the new moon1 ,,iv ,r4 #bc;a #d4 ,his character as fire god is symbolized by the torch1 ,,za4 ,,vi #bdb1 #bd4 ,in ,,ii #aj supply ,gibil after ,,zimmern ,,rt4 #bg1 #e4 ,as fire god he is messenger of ,enlil4 #eda ,papsukal1 messenger of ,zamama1 god of ,ki1 a form of ,ninurta4 ,he also like ,nusku derives his messenger character from his connection with light1 ,papsukal a e-ir-ti1 ,papsukal of the morning light1 ,,ct4 #bd1 #dj1 #ec4 ,since ,ninurta is identified with ,alpha of ,orion1 ,pap-sukal is identified with one of the stars in ,orion1 ,,ct4 #cc1 #b ,,ii #b2 mulsib-zi-an-na d,pap-sukal sukal d,anim ,itar restored from ,,virolleaud1 ,supplement ,,lxvii #aj4 ,here he is messenger of heaven and of ,ishtar as ,venus1 queen of heaven1 that is1 he is a messenger of the powers of celestial light4 ,nusku and ,pap-sukal often occur together in magic texts1 ,shurpu ,,viii #aj4 #edb ,here probably ,sakkut as lord of light and justice1 god of ,isin1 in his normal capacity4 ,see ,,bl4 #abj n4 #f4 ,his emblem is something made of date palm1 g1 giimmar4 ,this deity is unknown in magic texts except in ,,zimmern1 ,rt4 #gj1 #h4 #edc ,ishtar of ,erech is ,venus as evening star1 the effeminate ,venus of ,erech1 see ,tammuz and ,ishtar1 #ed and #ahj n4 #d4 #edd ,venus as morning star4 ,the ,ishtar of ,agade was the type of war goddess1 see op4 cit4 p4 #ajj2 hence ,venus as morning star is sometimes called the ,bow ,star1 ,,kugler1 ,sternkunde ,,ii #aih4 #ede ,western title of ,getinanna1 sister of ,ishtar4 ,here perhaps the constellation ,virgo4 #edf ,the seven gods are the ,pleiades1 ,,ct4 #cc1 #b1 #dd4 ,since they are followed by ,enmesharra perhaps here to be identified with the seven sons of ,enmesharra 7see ,,be4 #ca1 #ce74 ,in ,,za4 ,,vi #bdb1 #bj gi-uru-gal-me1 8the great reed spears0 are symbols of the seven great gods1 sons of ,ihara4 ,but traces of the last sign are not those of ,,me here4 #edg ,in astronomy a form of ,nin-urta ,saturn1 but by character allied to ,nergal a lower world deity4 ,see line #aa above4 ,for ,e4 as ,saturn note ,v ,raw4 #df;a #ba1 his star ,,udu-,,lim and ,,ii ,r4 #dh1 #eb the same star is d,,udu-,,bad-sag-u kaimnu1 ,saturn4 ,see also ,,be4 #ca1 #ce n4 #d line #ab1 kaimnu title of ,enmesharra4 #edh imeal employed in medical texts1 see ,,sai4 #cegd and ,,jastrow1 ,medical ,text ,rev4 #e4 ,here also without gi4 ,,holma1 ,beitrge zum assyrischen ,lexicon1 p4 #he1 identified it with ,syr4 amr1 ,persian and ,arabic imar4 #edi ,passim in medical and incantation texts1 ,,ct4 #bc1 #de1 #i2 ,,ra4 #ad1 #hh1 #f2 ,,ebeling1 ,,kta4 #bf ,r4 #bj2 ,,iv ,r4 #ee ,no4 #b1 #ah41 etc4 #eej ,here variant ,,zim4 ,rt4 #bg ,obv4 ,,ii begins4 #eea ,written sg dar-a4 #eeb ,the name of this deity is not legible in ,,zimmern',s variant and the first sign of the name on the ,nippur text is doubtful but apparently the eig and gunu of ,galu1 that is ,,rec4 #ajj later ,,rab,,gan1 7v4 ,,sai4 p4 #aee note #a74 ,after this sign ,,zimmern and ,i have seen a sign ,,ku or ,u4 ,labartu is usually written ,,rab,,gan-,,me4 ,here we may have to do with some new ideogram for this deity4 ,she is the daughter of ,anu1 ,,haupt1 ,,askt4 #id1 #ei4 ,a prayer to the daughter of ,anu is ,,king1 ,magic ,no4 #fa1 #e-ba4 #eec ,,zim4 ,,su4 #eed ,but in ,,za4 ,,vi #bdb1 #bc symbol of ,azagsud4 #eee ,but ,,za4 ,,vi #bdb1 #bd ,nusku1 fire god in ,nippur pantheon4 #eef ,see ,,muss-,,arnolt1 p4 #idj4 ,also note niknakku a u-ta-ri1 censer of incense1 ,,ct4 #bi1 #ej1 #i2 utari a ipti1 incense pertaining to the ritual of the incantation1 ibid4 #bj4 utari is a plural form employed to denote several acts of fumigation4 #eeg ,reading established by ,rev4 ,,ii #h4 ,but see ,,meek1 ,,ajsl #ca1 #bhg1 li-si to ne-su7n7 gloss on the star ,ne-sn2 son of ,ninlil1 hence a star in ,ninlil's constellation ,ursa ,major1 ,,virolleaud1 ,sin ,,xiii #bb4 #eeh ,perhaps igi-sig-sig2 cf4 ,,ct4 #bd1 #c1 #be4 #eei ,in ,,za4 ,,vi #bdb1 #ai1 symbol of ,enlil4 ,but ,,ct4 #af1 #bd1 #be hero of ,anu4 ,in rituals generally with kugugal4 #efj ,sword bearer 7n patri7 of ,enlil1 ,,ct4 #bd1 #aj1 #af4 #efa ,symbol of ,anu in ,,za4 ,,vi #bdb1 #ai4 #efb ,priest of ,enlil1 ,,ct4 #bd1 #aj1 #ac4 ,cf4 ,,gud-,,ninda mru1 young ox1 ,,sbc4 #ai1 #ad4 #efc ,,za4 ,,vi #bdb1 #ae gypsum is d,,ma4 #efd ,but ,,za4 ,,vi #bdb1 #ae bitumen is the asakku demon4 #efe ,a pest demon son of ,anu1 ,,iii ,r4 #fi1 #gj4 ,on the other hand1 ,,za4 ,,vi #bdf1 #bb the scapegoat represents the patron of flocks ,ninamaazag who supplies the goat4 ,when sin is transferred to the goat it falls under the protection of ,kushu4 ,see ,rev4 ,i #f4 #eff ,cf4 d,en-udu-til-la1 ,,sbp4 #aej n4 #e ,i4 #h4 #efg ,patron of flocks and fire god4 #efh ,that is burnt offering4 #efi ,i4 e4 ,ea as the god of potters4 ,nunurra is paaru rab of ,anu1 ,,meek ,,ba4 ,x pt4 #a p4 #db1 #ad4 ,note ,,ct4 #bd1 #ad1 #da1 d,nun-r-ra7duk7 a-gaz4 #egj ,sic6 ,semitic4 #ega ,cf4 ,,iv ,r4 #bh99 ,no4 #d ,rev4 #c4 ,the symbols in lines #bd-f are obscure4 #egb ,lugalgirra and ,meslamtaea4 #egc ,the temple of ,gula and ,ungal of ,nippur1 ,,clay1 ,,be4 ,,xv #cd1 #b4 ,ungal tnisti1 population4 ,god of the people of ,nippur4 #egd ,see previous footnote4 #ege ,a form of ,enki as patron of metallurgy4 ,see ,,ra4 #ab1 #hc n4 #e4 #egf sun probable reading for ,,bad in this sense4 ,offerings to the gi-sun1 ,,genouillac1 ,drehem1 #eeje ,obv4 ,,ii #ae4 #egg ,sign a confusion of ,,nigi and ,,kakgi1 see ,,ra4 #ac1 #c4 #egh ,z1 the eagle1 bird of the blazing sun1 ,ninurta1 ,ningirsu1 is the only emblematic animal that figures as a deity4 ,the myth of his conflict with the serpent in the story of ,etana dramatizes the old legend of the conflict between sun and clouds4 ,he appears in magic here for the first time4 #egi ,see ,vab4 ,,iv #aed1 #dd and note4 #ehj u here for a1 feminine4 ,the form should be dual4 #eha ,gunu of ,,ma tittu2 ,sumerian pe1 value also assigned to ,,ma tittu in the ,chicago ,syllabar1 #aae f4 #ehb ku1 compensation for kiu4 ,see also ,,strassmaier1 ,nabonidus #fii1 #bd1 ki-u4 ,note that the ulduppu 7probably an image of a scapegoat7 symbol of ,kui is placed opposite the door in ,,zim4 ,rt4 p4 #afh1 #bi4 #ehc ,,clay1 ,personal ,names of the ,cassite ,period1 mentions a deity ,si-lak-ku-ku7874 ,in any case a ,cassite deity not mentioned in ,babylonian lists and texts4 #ehd ,otherwise unknown4 ,a ,cassite deity7874 #ehe ,probably same as ,abagal1 ,,deimel1 ,pantheon1 p4 #dc4 #ehf ,cf4 ,,zimmern1 #bg ,r4 #ad-ag4 #ehg ,written ,,nu4 ,cf4 ,,zimmern1 #bg ,rev4 ,i #ai4 #ehh ,cf4 ibid4 #ba4 #ehi ,sign is ,u-gunu an error for ,,si-gunu4 ,only the latter sign has the values bright1 burn4 ,line #h proves that the sign is based on ,,si4 #eij nn-mu4 ,the sign ,e has the value mu4 ,note ,,sai4 #bfbi the gloss ga-an-,e and variant ,chicago ,syllabar #bab ga-an-mu4 ,see also ,,jras4 #aije1 #ha-d-bh l4 #ad4 ,for mu ban cf4 ,,sai4 #aiaf4 #eia ,this is a real library note and is clear evidence for assuming that the temple of ,nippur possessed a library1 at least in the ,cassite period4 ,for similar library notes on the tablets from ,aur1 see ,,ra4 #ac1 #ii4 ,note also the ,smith ,esagila tablet published by ,,scheil1 ,memoires de l',academie des ,inscriptions et ,belles ,lettres ,,xxxix1 ,rev4 #g1 md md likallim la md ul immar an p duppi gabri ,barsip-ki air-ma ,,ub-,u ba-ri4 ,for an pi 7,,ka71 see ,,ra4 #ac1 #ib4