UNIVERSITY OF PENNSYLVANIA

THE UNIVERSITY MUSEUM

PUBLICATIONS OF THE BABYLONIAN

SECTION

VOLUME X

STEPHEN LANGDON

Number 1. Sumerian Epic op Paradise, the Flood and the Fall of Man

Number 2. Sumerian Liturgical Texts

Number 3. The Epic op Gilgamish

Number 4. Sumerian Liturgies and Psalms

INTRODUCTION....................... 5

Synopsis............................... 6

Dilmun................................. 8

The End of Paradise......... 13

The Poem on the Creation and the Flood................................................ 14

The References to the Creation of Man.............................................................. 16

Marduk Associated with Aruru 22

Her Connection with the Story of the Decapitation of Marduk..... 23

The Eridu Tradition........ 26

Relation of the Two Sumerian Poems to these

Traditions............................. 27

The Greek Tradition Concerning Prometheus.. 29

The Egyptian View......... 34

The Biblical Form of the Assistance of the

Mother Goddess............ 35

The Eridu Version of the Fall of Man.............................................................. 38

The Nippurian Version of the Fall of Man on

the Tablet in the University Museum .......................................................... 49

The Hebrew Tradition... 56

(3)

The Babylonian Tradition Concerning the Pre-

diluvian Period.............. 62

The Meaning of the Name Tagtug ........................................................... 66

TRANSLITERATION AND TRANSLATION ........................................................... 69

Note on Obverse III, II..... 8$

FRAGMENT OF A LEGEND CONCERNING ZI-

UD-SUD-DU, HERO OF THE FLOOD 88

DESCRIPTION OF PLATES. 91

INDEX...................................... 92

ABBREVIATIONS................... 98

AUTOGRAPH PLATES......... i-iva

PHOTOGRAPHIC PLATES.. v-vi

THE SUMERIAN EPIC OF PARADISE, THE FLOOD AND THE FALL OF MAN

INTRODUCTION

In the autumn of 1912 the author copied, among about fifty others, a triangular fragment of a tablet in the Nippur collection in the Museum. This fragment, which had been numbered 4561, can be distinguished clearly in the right upper corner of the obverse and right lower corner of the reverse of the restored tablet shown in Plates V and VI which show the tablet in its natural size. The contents of this fragment were first mentioned by my colleague, Professor Sayce, at the June meeting of the Society of Biblical Archaeology in London, at which our lamented friend, Professor R. F. Harper, was present and contributed memorable remarks. An epitome soon afterwards appeared in the London Times. Later the Museum authorities found other portions of this remarkable text which obviously contains a Sumerian version of the Flood and the Fall of Man, antedating by at least a thousand years the version in Hebrew. The photograph will show how well the Museum authorities have succeeded. To my original fragment they have added one large fragment and one small one which practically restores this large six column tablet. This edition has been made from my copy of the original fragment and photographs of the later joins.

The composition is of an epical nature and probably represents more nearly than any production yet discovered the national epic of the religious and cultured Sumerian people. The theme is too humanitarian and universal to be called national, but in those days, and in that part of the world, Sumerian culture was synonymous with world culture and her great religious traditions became universal traditions, adopted by the Semitic peoples who subsequently came upon the scene of history. The colophon describes the composition as a "hymn of praise."

Synopsis

The theme which inspired this epic is the Fall of Man, and it will be generally admitted that this theme suggests the most profound ideas and inspires the deepest emotions of man. Enki the water god and his consort Ninella or Damkina ruled over mankind in paradise, which the epic places in Dilmun. In that land there was no infirmity, no sin and man grew not old. No beasts of prey disturbed the flocks, and storms raged not. In a long address to her consort, Ninella glorifies the land of Dilmun, praising its peace and bliss. And all things were so.

But for some reason which is all too briefly defined Enki the god of wisdom became dissatisfied with man and decided to overwhelm him with his waters. This plan he revealed to Nintud the earth mother goddess, who with the help of Enlil the earth god had created man. According to Col. 11 32 Nintud under the title Ninharsag assisted in the destruction of humanity. For nine months the flood endured and man dissolved in the waters like tallow and fat. But Nintud had planned to save the king and certain pious ones. These she summoned to the river's bank where they embarked in a boat. After the flood Nintud is represented in conversation with the hero who had escaped. He is here called Tagtug and dignified by the title of a god. He becomes a gardener for whom Nintud intercedes with Enki and explains to this god how Tagtug escaped his plan of universal destruction. This at any rate is the natural inference to be made from the broken passage at the end of Col. IIIof the obverse and the beginning of Col. I of the reverse. Enki became reconciled with the gardener, called him to his temple and revealed to him secrets. After a break we find Tagtug instructed in regard to plants and trees whose fruit the gods permitted him to eat. But it seems that Nintud had forbidden him to eat of the cassia. Of this he took and ate, whereupon Ninharsag afflicted him with bodily weakness. Life, that is good health in the Babylonian idiom, he should no longer see. He loses the longevity of the prediluvian age.

Such in the Sumerian epic is the conception of the fall of man. His great loss consists in being deprived of extreme longevity and good health. The fall from primeval sinlessness is not mentioned here. But we infer from column two that sin had already entered into the souls of men before the flood and caused Enki to send that great catastrophe. In a real sense, therefore, our epic contains both the fall from purity and the fall from longevity. The latter is brought about by eating of the tree, and this was considered the greater disaster. We now find that man is fallen on toil and disease. Wherefore the gods send him patrons of healing, of plants, and various arts to comfort him and aid him in his struggle for existence.

Dilmun

Tablet No. 4561 locates Paradise in Dilmun and apparently Tagtug the gardener dwelled here after the flood. Also the epical fragment of Creation and the Flood published by Dr. Poebel says that Ziudgiddu, the king who survived the deluge, received eternal life and lived in the mountain of Dilmun. This land is frequently mentioned in the inscriptions of all periods as an important province in the extreme south of Babylonia. Sargon the ancient speaks of Dilmun in connection with the Sea Land, after which he turned his attention to Der a city in Ashnunnak on the Elamitic border.

Magan (Arabia), Meluhha (Egypt), Gubi and the mountain of Dilmun are mentioned together by Gudea, and the boats of Dilmun, Magan and Meluhha occur together in a lexicographical list. The copper of Dilmun, Magan and Meluhha is mentioned in another text. Geographical lists also connect Eridu and Dilmun, a fact of special interest, since Eridu, on the Euphrates near the head of the Persian Gulf, is the most famous center of the cult of Enki the water god. Our text affords abundant proof that Enki was also connected with the religious traditions of Dilmun. Nebo, the city god of Barsippa and also connected with the Enki water cult, has at least eleven Sumerian titles as a god in Dilmun, whence we may suppose that Barsippa derived this deity from Dilmun. Also Zarpanit, consort of Marduk, son of Enki, has seven Sumerian titles as a deity of Dilmun. Thus Dilmun was associated with the water god in the earliest Sumerian traditions and in Babylonian theology.

Still more noteworthy is the constant association of Dilmun with Elam and Ansan. Zarpanit of Dilmun is followed by the Zarpanit of Elam in a theological list of gods. Astrological texts also reflect the ancient importance of Dilmun and its association with Elam, in that eclipses occurring in the third month (Sivan) portend the ruin of the king of Dilmun, and those occurring in the second month (Ajar) portend the ruin of the king of Elam.

Delitzsch many years ago identified Dilmun with the island Bahrein; although that scholar does not expressly defend this identification, yet this inference has been accepted and generally adopted. The identification with the largest of the Bahrein islands has been suggested to scholars by passages in the inscriptions of Sargon, who in describing his invasion of Bit-Jakin (the seacoast land at the head of the Persian Gulf) and Elam says, "Upiri king of Dilmun, who had made an abode in the midst of the sea towards the East, like a fish a distance of 30 kasgid heard of the might of my royal power and brought tribute." If this passage be taken literally we must infer that an island is intended, or as Delitzsch says, "at any rate a peninsula." But we now know that in Assyrian historical inscriptions the kasgid or hour's march was 5346 meters or 3.3218 English miles. If we suppose that Sargon intended to state the distance from the innermost shore of the Persian Gulf as it was in his day, that is 15 or more miles further inland than at present, we assume that Dilmun lay about 100 miles from that point, say a degree and a half south of modern Basra. Of course Dilmun, if it designated a province on the Elamitic side of the Persian Gulf in the region of modern Laristan, may have included all the small islands off that coast such as Shaikh Shuaib, Kais and Kishm. All of these are considerably more than 100 miles from Basra, but Sargon may be using some point farther south as his place of reckoning. Dilmun cannot be an island in another passage of this same Sargon who says, "The land Bit-Jakin which lies on the shore of the salt stream as far as the boundaries of Dilmun as one land I ruled." Here Dilmun and Bit-Jakin form a contiguous territory. On the whole the identification with a strip of land from about the twenty-ninth degree of latitude southward along the eastern coast of the Persian Gulf including the islands off the coast perhaps as far as the strait of Ormuz and the Arabian Sea will satisfy all the known references concerning Dilmun. The expression of Sargon, "in the midst of the sea," will then refer to one of the small islands of the province to which the king Upiri fled.

This location of the Sumerian Paradise will explain also the curious geographical boundary given in the Hebrew tradition concerning the Garden of Eden. In Chapter II 10-14 of Genesis the Hebrew preserves a geographical description which is obviously derived from Sumero-Babylonian cosmology and can be understood only by comparing the description with a Babylonian map of the world as they understood it. Fortunately such a map for early Babylonian and Assyrian cosmology exists. Here Babylon is the center of a flat circular surface, with the land of Aslur located to the right. On the upper edge the draughtsman indicates mountains, probably the highlands of Armenia. In the right lower corner is the city Dir and at the left bottom Bit-Jakinu or the seacoast lands. Beyond this to the south appear canals (e-ku) and marshes (apparu). In the upper left corner, i. e., in the northwest, the scribe places the Hittites (ba-at-tim). Around this circular world flows the naru mar- ra-tum, the bitter river, which is the Babylonian name for the Persian Gulf. Beyond this stream lie at least five regions or countries of whose existence the geographers had a vague monition.

Let us suppose that the ancient Sumerians held the same conceptions in regard to Paradise. Around it flowed the "Bitter Stream", or the Persian Gulf, upon whose eastern bank tradition located Paradise in the land of Dilmun. Into this stream on the north flow the Tigris and Euphrates. In the far southeast the Indus flows into the Arabian Sea, which the Sumerians probably regarded as a continuation of the world encircling bitter stream and in the far southwest flows the Nile from Ethiopia into the Mediterranean Sea in which they saw the western segment of the same bitter stream. Now all this agrees admirably with the Biblical account. "And a river issued from Eden to water the garden and thence it divided itself and became four branches." This river issuing forth from Eden is the Persian Gulf and the encircling bitter stream as Sayce first saw. In Hebrew and Assyrian idiom res nari, "head of a stream," or "head," when applied to streams means the mouth of the river, as De- litzsch Paradise has long since emphasized. The four branches are rivers which flow into the stream which constantly encircles Paradise. "The name of the first is Pishon; this is the one that surrounds all the land of Havilah where there is gold." The Pishon I would identify with the Indus which would lead us to assume that Havilah here indicates India or in a vague manner the far east. "And the name of the second river is Gihon; this is the one that surrounds all the land of Ethiopia." Jewish and Christian tradition identified this river with the Nile and the identification follows both from the connection with Ethiopia and from Babylonian cosmology. "And the name of the third river is Hiddekel, which is the one flowing before Assur." The city Assur, which lay on the eastern bank of the Tigris below the greater Zab, appears to have been unknown to Sumerian rulers as late as the era of Dungi (circa 2400 B.C.). The city itself was a Mitanni or Hittite foundation and not until shortly before Sumuabu, founder of the first Babylonian dynasty (circa 2232-2218 B.C.), do we hear of Semitic rulers at Assur. But cities in northern Mesopotamia such as Assur and Karkemish according to recent excavations at low levels on those sites are shown to be extremely old, perhaps even older than the more famous cities of Sumer which surpassed them in culture and fame. In any case we cannot suppose that Assur was unknown to the early Sumerians at least in a vague way and consequently the mention of Assur here does not imply that the source Gen. II 10-14 is of later origin than the other portions of the Hebrew story of Creation, Paradise and the Fall of Man in Gen. II 4-III 24. Genesis II 14 states finally that the fourth branch of the encircling stream is the Euphrates. The Biblical statement is, therefore, perfectly intelligible when the passage has been interpreted on the basis of Babylonian cosmology.

The End of Paradise

Our poem omits the primitive history of the Creation and prediluvian kings, for its motive is to describe the Fall of Man. It begins, therefore, with a description of the blissful state of man as it existed immediately before the Flood. In all the land of Sumer men and animals dwelled together in peace; sin and disease had not yet afflicted humanity. And in this land lay an especially favored garden in Dilmun. Dilmun has two designations which are indicated by two ways of writing the name, dilmun-ki, "the city of Dilmun", and kur-dilmun, "the mountain of Dilmun", or more accurately "the Dilmunian mountain". This is the method employed in our tablet and in Poebel, Cr. VI 12. Ordinarily, however, kur-dilmun-ki is employed for “the mountain of Dilmun”. According to Sumerian grammar kur prefixed to a name indicates the land of which the city in question is the capital. Strictly speaking we should render kur-dilmun by the "Land or Province of Dilmun". But kur means both mountain and land. In case of those provinces which were mountainous the Sumerians and Babylonians spoke of it as the "Mountain of X," and not the "Land of X." An interlinear text has pu kur-dilmun-ki-ka = ina bur-ti sa-di-i dil-mun, “At the well of the Mountain of Dilmun (Ishtar washed her head)”. The reader will, therefore, understand that dilmun-ki means the city, kur dilmun, the province or land which is here rendered by "Mountain of Dilmun."

Since after the Flood the king Tagtug becomes a gardener and a garden is expressly mentioned, and since after the curse Dilmun is mentioned as under the protection of one of the patron genii, we infer that the Sumerians regarded the Land of Dilmun as the garden of Paradise and the religious center of Sumer. Of its city Dilmun, where Enki the water god ruled mankind and in whose temple he revealed secrets to Tagtug, our epic says, “His city was the home which assembles the Land (of Sumer)”. Sumer or the land of the Sumerians is related to the land of Dilmun in the same way as in the Hebrew, “A garden in Eden”," Eden or the plain of southern Mesopotamia is related to the garden.

According to the Hebrew version the first of mankind Adam and his consort forfeited the blessings of Paradise almost immediately after the Creation. On the other hand, the Sumerian version allows us to infer that mankind enjoyed this blissful state until the Flood. In the days of one Tagtug who is mentioned as a king, and probably the king of Dilmun, man became sinful and so Enki⁴ ended the Utopian age with the Deluge.

The Poem on the Creation and the Flood

A poem on the Creation and the Flood, likewise in six columns and in the same script as the one under discussion and also found in the Museum collections (No. 10673), belongs to the same cycle of epical literature concerning the origin and fall of man. This composition, which has been published by Dr. Poebel in Vols. IV and V, is unfortunately much more fragmentary than the text of No. 4561. The styles of the two poems are strikingly similar. The tablet previously published is devoted entirely, so far as the fragment permits us to infer, to the period from the Creation to and including the Flood. It appears to have described somewhat minutely the creation of man and the political affairs of Sumer before the Flood. Also the Flood is minutely described, but the portion of the fragment which gave the reason why Enki destroyed mankind is not preserved. At the end we learn that the gods caused the king Ziudsuddu, who escaped, to dwell in Dilmun. Evidently the postdiluvian history of man did not form part of the theme of this epic as it does in our own. Moreover, it agrees with the Semitic Babylonian account in two vital matters. The name of the royal hero of the Flood, Zi-ud-sud-du, is obviously identical with Zi-ud, the Sumerian original of Uta-napishtim, Semitic name of this hero in the eleventh book of the Epic of Gilgamish, where the Semitic Babylonian version is given at great length. The element suddu, which means “to be long”, had been omitted before the name was translated into Semitic. And like the Semitic Babylonian version this hero is transferred to the island of the blessed. For in Poebel’s tablet we must assume that Dilmun still retains after the Flood its ancient character of a land of the blessed. Sumerian tradition probably rehearsed the story of this hero’s translation to one of the islands off the coast of Dilmun the ancient land of Paradise. And the Semitic version says that Utanapishtim was made like the gods and taken by them to a far-away place at the mouth of rivers. This probably refers to Dilmun, the traditional Paradise into whose encircling stream poured the four great rivers of the primitive cosmos. This tradition of the translation of the hero of the Flood to the blessed isle must have been widely spread among ancient peoples and it is curious that it has not survived in Hebrew tradition. Berossus, as reported by Polyhistor, says that this hero, whom he calls Xisuthrus, disappeared in the air and was seen no more, and Abydenus reports Berossus to have written that “The gods translated him from among men”.

The References to the Creation of Man

As we have seen, our poem refers to the creation of man only incidentally. According to Babylonian tradition, as reported in Berossus, ten kings ruled from the creation of man until the Flood and these reigns covered a period of 432,000 years. Our composition in regard to this long period during which there was no sin and men grew not old, makes no reference to these ten kings, but begins with the last of the kings who ruled in prediluvian times. In the description of the Flood, however, our text says that “Nintud mother of the Land (of Sumer) had begotten mankind”. The verb employed here means ordinarily “to beget, give birth to”, and another passage is still more explicit. The mother goddess under the title Ninharsag says to the Earth God Enlil, “I have begotten thee children”. And Enlil is also called “the begetter”, or “father begetter”, the same verb being employed as in the case of Ninharsag. All these references to the direct descent of man from the Earth God and the Earth Goddess we must interpret figuratively. Sumerian, Babylonian and Hebrew tradition agree in regarding man as a creature fashioned in some mysterious manner by the hands of the gods or a god. Undoubtedly the Sumerians, whose greatest and most ancient deity was mother earth, attributed the creation of human kind exclusively to this virgin goddess, a rôle which became attached to that type of mother goddess who presided over childbirth. In the evolution of this religion the earth god, primarily the brother of the mother goddess, became associated with her in the creation of man; the Sumerian Epic of the Creation and the Deluge speaks also of Anu the heaven god and Enki the water god as deities who assisted the earth goddess and the earth god in fashioning the “Dark-headed people”, and the creatures of the field. But the references to the creation of man in Sumerian and Babylonian poetry generally agree in describing the mother goddess, under the titles Aruru and Mami, as the deity who made man from clay. In the poem ofAtarhasis and Ea, Mami the mother goddess restores men upon the earth by creating them from clay.

“When she had recited her incantation and had cast it upon her clay, fourteen pieces she pinched off. Seven pieces on the right she placed, and seven pieces on the left she placed. Between them she put a brick ... she opened. She ... the wise wives, seven and seven mother wombs; seven create males and seven create females. The mother womb creatress of fate caused them to complete, yea these she caused to complete (their offspring) in her own likeness. The designs of men Mami designed”. A religious text of the late Assyrian period in form of an acrostic has the line, “The workmanship of the hand of Aruru are the things with the breath of life altogether”.

Not only did the Sumerians and Babylonians retain this tradition concerning the creation of man from clay at the hand of Aruru, but they believed her capable of thus creating a human being at any time and for any necessity. In the first book of the Epic of Gilgamish, the people of Erech call upon her to create a being capable of protecting them from the violence of Gilgamish.

''Unto the mighty Aruru they called. 'Thou O Aruru hast created [Gilgamish], and now create his likeness. Like unto the spirit of his heart may his spirit be. May they strive with each other and may Erech repose/^[1] When Aruru heard this she formed a likeness of the god Anu in her mind. Aruru washed her hands; clay she pinched off and cast it upon the field . . . Enkidu she fashioned, the hero. "

The only important Sumerian hymn to Aruru as the creatress of men is the interesting but badly damaged liturgy to her in eight sections inscribed on a prismatic prayer wheel now in the Ashmolean Museum. Although this important text has been partially restored from two duplicates we are still unable to fully understand its general import. It is clear that the liturgists intended to compose a chant in eight sections to Nintud the creatress to be sung in her temple at KeS. Since each section ends with the mournful refrain, "Who shall utter lamentation", and the seventh section speaks of calamities which befell the city we may suppose that, like all other Sumerian liturgies, our text was written as a lamentation concerning some local calamity. But in the composition of this liturgy the scribes have given more than ordinary attention to the legends which concerned the cult in question. At the end of each section they have added a refrain in four lines which obviously refers to the creation of man in the image of Ninib (assirigi) and of woman in the image of the mother goddess Nintud.

I would now render this refrain in the following manner:

"In accordance with the incantation of the earth

design a form may man bear.

Their strong one like Ninib (assirgi) in form

may a mother beget.

Their lady like Nintud in form shall be”

Marduk Associated with Aruru

Thus beyond all doubt the Nippurian school of Sumerian theology originally regarded man as having been created from clay by the great mother goddess. But later tradition tended to associate Enlil with Nintud or Aruru in the creation of man. We have no reference to such a tradition concerning Enlil, but Semitic tradition repeatedly associates Marduk with Aruru in this act and even goes to the extent of regarding him as alone having created man. This evolution of the tradition concerning Marduk is, I venture to think, based upon an earlier one concerning Enki. In any case this association of a great god in the act of creation cannot be earlier than the Hammurapi period, for in our text (Rev. II 44) Enlil accuses Ninharsag of having herself created two creatures. Nevertheless, following a tendency to regard Marduk the god of Babylon as the chief actor in the ancient Sumerian tradition, a tendency which is repeated later by the Assyrians with their god ASur, the Babylonians ascribe the creation of the ordered world, its cities, its rivers, its vegetation and the beasts of the field to Marduk. And in reciting the various orders of creation by Marduk they tell us that he also "built" mankind. In this act Aruru assists him; "Aruru built with him the first men." The text from which this description has been taken belongs to the period of the first Babylonian dynasty. Like many other important literary documents it forms part of an incantation, and in this case an incantation for the dedication of a temple.³ Sumerian and Semitic sources seem to agree in bringing the mother goddess into connection with the creation of man only. She has apparently, in all the known sources, no clear connection with the creation of the world, or its animate and inanimate nature.

Her Connection with the Story of the Decapitation of Marduk

On the whole the theology and traditions concerning Nintud or Aruru belong to the Nippurian school which taught that the earth god Enlil created the universe and assisted the mother goddess in creating man. Over against the teaching of this school we have constantly to keep in mind the teaching of the Eridu or southern group of theologians who taught that Enki or Ea not only created the universe but mankind as well. It is, therefore, not surprising that we find the great Babylonian Epic of Creation teaching that Marduk the son of Enki created man from blood and bone. A grammatical commentary on this epic says that Marduk created the dark-headed people. The description of this act occurs at the beginning of the sixth book as restored by Dr. L. W. King and runs as follows:

"When Marduk heard the discourse of the gods,

His heart prompts him as he devises a clever thing.

As his mouth is opened he speaks unto Ea.

That which he conceives in his heart he imparts unto him.

My blood I will fix together, bone I will fashion.

I will cause man to stand forth, verily man shall be . . .

I will build man, the dweller of the earth.

Verily let the cults of the gods be established and may these occupy their shrines."

This well-known passage has been properly elucidated by King, who compares the statement of Berossus:—“And Belus seeing a land deserted but fruitful commanded one of the gods to take off his head and to mix earth with the blood that flowed therefrom, and to fashion men and animals capable of bearing the air”." An earlier source detected by Zimmern in a tablet of the first Babylonian dynasty shows that this idea of creating man from earth mingled with the blood of a god belongs originally to the Eridu school. This tradition taught that Mami at the instigation of Enki and other gods fashioned man from clay and the blood of a slain god. At least such conclusions force themselves upon us from the few words which we can decipher upon this tablet.

A form of a creature of life may man bear.

A goddess they called, they

"Oh help of the gods, wise Mami,

Thou art a mother-womb,

Creatress of mankind.

Build a virile figure, let him bear the yoke.

The yoke let him bear

A form of a creature of life let man bear

The mighty maid opened her mouth,

Speaking unto the great gods.

With me a form shall you

With his shape shall there be.

He shall all things.

Of clay shall he of blood shall he "

Enki opened his mouth,

Speaking unto the great gods.

In the wide highways and the

Cleansing of the land

One god let them slay.

Let the gods

With his flesh and his blood,

May Ninharsag mix clay."

The Eridu Tradition

In the tradition concerning the creation of man by Marduk we have apparently to do with a Babylonian transformation of the Eridu view which taught that Enki or Ea the water god created man from clay, which the Nippurian schools taught concerning Aruru, In the so-called bilingual Babylonian version which associates Mami with Marduk in this act we have a composite tradition made by the Babylonians from two Sumerian sources. And in the Babylonian source just discussed the Eridu view of the origin of man from a mixture of clay with the blood of a god has been associated with the Nippurian teaching concerning Mami. An Assyrian fragment, however, shows that the Semites retained the pure Eridu tradition in some quarters. According to this source "the gods" created the heavens and the earth, the cattle and creeping things, after which Enki created "two little ones" A tablet from Babylon of the late period but doubtlessly resting upon a much earlier text says that Enki pinched clay from the sea and built the various minor deities, patrons of the arts, of agriculture, etc., after Which "he created the king to care for the temples and men to care for the cults." We have, therefore, evidence for a tradition which taught that Enki had created mankind from clay.

Relation of the Two Sumerian Poems to These Traditions

The poem of Creation and the Flood appears to have completely confounded these traditions for here both Enki and Ninharsag create mankind, but Enki alone brings the "cattle and fourfooted beasts of the field" into being, and causes cities to be built. Obviously the later bilingual account discussed above depends upon this poem. This Sumerian poem also agrees with the Babylonian bilingual account on one other vital point in that it speaks of the origin of mankind as "the seed of mankind," or the first men. The fragments of this poem permit us to infer that the god Enki of Eridu is here regarded as ruling over mankind in prediluvian times. The Poem of Paradise, the Flood and the Fall of Man agrees entirely upon this latter point. Both poems incorporate fully the Eridu tradition of paradise the organization of an Utopian society by the creator Enki and the destruction of mankind by this same water god. Both agree also in describing the mother goddess Nintud as weeping for mankind whom she had created and planning to save them. Our poem, however, retains the Nippurian point of view regarding the creation of men, for here Nintud is consistently described as having created them. It will be seen, however, that already in the Sumerian period of great creative literature and theological speculation, a strong tendency had arisen to accept the Eridu tradition and that the creation of man from clay at the hands of a mother goddess began to lose prominence in the teachings of the Nippurian school who moulded the views of succeeding Semitic theology. The Eridu point of view is the one accepted in Hebrew tradition, borrowed no doubt from the Babylonians of the first dynasty, and imbedded in one of the oldest Hebrew sources, "And God fashioned man of the dust from the ground." The problem of giving animal vitality to this creation of clay does not appear in the earlier Sumerian sources. In fact the Babylonian sources speak of animal vitality, napisti, generally in connection with animals only. In any case they have not suggested an origin for the inception of vitality and intelligence into the creature whom Aruru or Enki had moulded, other than the late tradition that the blood and flesh of a god gave vitality and a soul to the creature of clay. The Biblical statement, "And he blew into his nostrils the breath of life² and the man became a living being," has, so far as our material goes, no equivalent in any Sumerian or Babylonian source.

The Greek Tradition Concerning Prometheus

Among the Greeks the same tradition of the creation of man from clay became current in the late period, when it obviously filtered into Oriental Greek writers from Berossus and other Babylonian sources. The Greeks attached this story to their god Prometheus, who in a general way corresponds to Enki in Sumero-Babylonian religion. Both are the principal patrons of industrial arts in their respective pantheons, particularly of the arts of pottery and metallurgy. The classical description of the character of and legends concerning Prometheus have been preserved in the Theogony of Hesiod 510-607 and the Protagoras of Plato 320 D, but the moulding of man from clay does not yet appear in these authors. Apollodorus, who wrote at Athens in the early part of the second century B.C., and who knew the works of Berossus well, appears to be the first Greek writer to mention Prometheus in this connection. "Prometheus having moulded man from water and earth gave them also fire, having concealed it in a hollow stalk unbeknown to Zeus." Lucian, who wrote in the second century of our era and who was himself an oriental, states in his Prometheus that Athena aided Prometheus in the creation of men. Athena in the Greek religion corresponds here to Aruru of the Babylonians who assisted Marduk in moulding men from clay. Lucian's statement which he puts into the mouth of Prometheus himself is, "And now according to poetic diction 'earth with water having mixed' and having made it pliable I fashioned men, having also then summoned Athena to aid me in the work." This story is referred to by Horace in the well-known lines: "It is said that Prometheus, having been ordered to add to the primeval clay a bit severed from everywhere, placed in our hearts the passion of a mad lion." The same story is told by Hyginus a Latin author of the first century B. C.: "Prometheus son of Japetus was the first to fashion men from clay; and afterwards Vulcan by the command of Jove made the figure of a woman from clay unto which Minerva gave a soul."

Classical scholars seem to be agreed in assuming that the legend of the fashioning of man by Prometheus came into Greek mythology in the Alexandrian period; several drawings of this mythological event are known from the late period, in which Prometheus fashions several youths from clay. In one of these scenes Athena or Minerva presents to these clay figures a dove, by which the artist intended to indicate that Athena gave to men their souls. Orelli, however, remarks upon the sixteenth ode of Horace: "The legend concerning the creation of men from clay by Prometheus was unknown to Homer and Hesiod, and was first mentioned by Erinna." Now Erinna, a Greek poetess and contemporary of Sappho, seems to refer to this story in the following lines:

"Out of tender hands (came) the pictures, oh most agreeable Prometheus!

And men are like unto thee in wisdom."

It would appear, therefore, that the story began to invade Greek mythology as early as the seventh century. We have then no conclusive evidence for assuming that it was borrowed from Babylon, but the rapid propagation of the myth after the works of oriental writers like Berossus and Lucian became widely known tends to confirm the writer in this belief. The Greek traveler Democritus says that he was at Babylon, and Clement of Alexandria states that Democritus translated the story of Ahifcar into Greek. This proves that Babylonian influence was already exerting itself in Greece in the fifth century.

More authentic in classical Greek tradition is the myth of the fashioning of Pandora, the first woman, and the cause of all human sorrows. So well known was her creation by the potters that Sophocles devoted a tragedy to the subject called "Pandora or the Forgers." Only a few fragments remain, one of which has become well known and taken to refer to the myth of Prometheus and the creation of men:

"And to knead the first primeval clay with the hands."

If this passage refers to the creation of men and not of Pandora, then the poet surely referred to the fashioning of the latter in some lost passage. He apparently knew of her creation at the hands of several divine potters, for he says in verses ascribed to this tragedy by Hermann:

"Go ye on the way now, all ye skillful people,

Who the grim-eyed Ergane of Zeus with standing

Winnowing fans beseech, ye who beside the anvils

Fashioned with hands soulless matter,

Obedient to the heavy hammer and the blows."

Thus Sophocles already exhibits traces of an early belief in the assistance of Athena who was said to have given life to the creature of clay. "Pandora, whom the gods moulded as the first woman," says Apollodorus, and Hesiod says that Vulcan made Pandora from clay. Others tell of the origin of men from the semen of Ouranos the heaven god, a doctrine taught also in Orphic literature:

“(I have sung) the birth of powerful Brimo, and also

the unhallowed deeds

Of the earth-born giants, who spilt from Heaven the dread

Seminal fluid, the primeval, whence was generated

The race of mortals who dwell upon the boundless earth forever”.

This Professor Gilbert Murray tells me is good Orphic doctrine and he cites another line from their teachings:

"Child of earth am I and of the starry Heaven."

A schola cited in Anthologiae Palatinae p. 270 says that Prometheus made men from clay and put into them a voice and a soul. A similar teaching from the Orphic collection is: "And man, says Orpheus, was moulded by God himself from earth and received from him a reasonable soul, even as the all-wise Moses has revealed these things."

Thus we see that the Greeks first explained the inception of life and soul to the assistance of the mother goddess. This assistance permeates the whole Babylonian tradition, but there she confines her work to assisting in moulding the clay. We seem to be here in the presence of a tradition in Greece which although strangely like the Babylonian is nevertheless either wholly independent or a borrowing modified by Greek thought. The origin of the soul and life was explained in Babylonia by the fact that the creatress mingled the blood of a god with the clay. This view seems to survive in Greece only in the story of Dionysus Zagreus; for they said of him that man's soul came from his blood and that the body had been made from the ashes of the blighted Titans.

The Egyptian View

The Egyptians have nearly the same story regarding the creation of man. Here the river god Khnum, who is frequently called the potter, is represented in the same rdle of Enki the water god of Eridu. And like Enki in Babylonian symbolical mythology he has the head of a ram in Egyptian representations of him. Unfortunately we possess no details of this legend in Egypt; our argument is based solely upon the inferences which we draw from the sculptures of Deir el Bahari and Luxor. The former represents Khnum in the act of moulding the embryonic figure of the future queen Hatshepsut from clay on a potter’s wheel. The frog-headed goddess Heket extends the ank, sign of life, to the nostrils of the clay figure, in order to give it life. The sculptures of Luxor represent in the same manner the ram-headed Khnum moulding the figure of the future king Amonhotep III. Here, however, it is Hathor who extends the symbol of life to the moulded clay. These scenes, which are contemporary with the Cassite period in Babylonia, are much later than the Sumero-Babylonian legends. Whether these ideas are based upon an earlier Egyptian tradition or not I am unable to say. The similarity of ideas and details is striking and a borrowing from Sumer seems to me probable. The theme of a life-giving mother evidently runs through the whole fabric of ancient mythology and has been embedded in Hebrew tradition in the story of Eve.

The Biblical Form of the Assistance of the Mother Goddess

In Genesis 3, 20 we have a tradition that the name of the first woman was Hawwa, a name which probably represents a survival of an ancient west Semitic mother goddess. Like all other peoples the western Semites must have worshipped the earth mother goddess and considered her as the creatress of men. Hawwa has probably survived as the first woman in Hebrew tradition after this people had become thoroughly imbued with Babylonian ideas. She yields her place as the creatress in the native tradition to the Babylonian teachings of Eridu which represents a god as creator assisted by Nintud-Aruru-Mami the great goddess of childbirth. Under the influence of this myth which they seem to have borrowed in its entirety the Hebrews transformed Hawwa into the mother goddess who assists in the creation of man. As wife of the first man she gives natural birth to the first human child, but the phraseology used by the Hebrew in describing the birth of Cain is taken directly from the bilingual poem of the creation of man by Marduk and Aruru. For, as we have seen, in that version "Aruru fashioned the seed of mankind with him." And the Hebrew says of the birth of Cain, "And she conceived and bore Cain and she said, 'I have created a man with Jahweh.' " The word used for "with" in each language is philologically the same and the form of expression shows clearly enough the survival of the Babylonian myth.

Hawwa like the Sumerian earth goddess was connected with serpent worship in prehistoric times. Scholars have long since connected her name with the Aramaic word for serpent hawwe. That hawwa really was an ancient ophidian goddess is proven by the fact that the name hawwat has been found in Phoenician with the title of a goddess. This important inscription, which preserves the only reference to this lost deity, was found in a necropolis at Carthage and belongs to a late period. A devotee addresses a curse against his enemies to her as, "Queen Hawwat, goddess and queen." Since the imprecator placed the sheet of lead on which he wrote the curse in a sepulchre, we have generally inferred hawwat to have been an underworld deity. This argument and these facts are all accepted views of Biblical criticism, but the arguments from Babylonian sources have not been used by Old Testament scholars. The author has collected material in the chapter on the ophidian and oracular deities in Tammui and Ishtar to indicate how important was the serpent character of the Babylonian mother goddess. In fact the first sign used to write her name probably represents a serpent coiling about a staff. Curiously the type of mother goddess who became the special patron of childbirth retains special connection with this ophidian character. A mythological text says that Nintud, "From her girdle to the soles of her feet appears with scales like a serpent." The Babylonians identified Nintud with Serpens or Hydra in their mythology. Although none of her titles which we shall presently discuss reveals any ophidian connection, nevertheless, the major mother type Innini or Ishtar, especially the local type KA-DI at Dir retains distinct titles of an ophidian character and the facts adduced above complete the argument. Thus Aruru-Nintud-Mami, the Babylonian mother goddess who assisted Marduk in the creation of man, was clearly connected with serpent worship; this fact probably hastened her identification with the western tfawwa.

The Eridu Version of the Fall of Man.

Since the fashioning of the first human pair by the god of Eridu is evidently the source of that general Babylonian tradition which passed to the Hebrews and the Greeks, we should expect to find an Eridu version of the Fall of Man which agrees more or less with that of the Hebrew. The view taken of this great problem in the text of tablet No. 4561 is evidently the one taught by the theologians of Nippur. As we have seen, they do not raise the problem of the origin of sin as does the Hebrew version, but they attempted to explain the origin of disease, mortality, the hostility of nature to mankind, and his subjection to endless toil. This side of the problem found its way also into the Hebrew. But there it is the first man Adam whose disobedience brought about this infinite woe. On the other hand, the Nippurian theology, as represented in our tablet, attaches this disobedience to the survivor of the Flood. Had the Sumerians any body of speculation which regarded the first man as having been culpable? We have as yet no Sumerian source to confirm this suggestion, but several Semitic fragments of a long poem known as the "Legend of Adapa" obviously support an Eridu teaching on this subject.

This poem begins by describing how the god Ea (i. e., Enki) created Adapa in the sea; whereupon he became mighty, his build became well developed, his growth was extensive. He became skilled in navigating the seas by aid of the winds. Ea had equipped him carefully, and he was exalted much in fame. The fragment refers to his great wisdom, his four eyes and his lips. The Scheil fragment goes on here with the description of his wisdom. Like Adam of the Biblical account he possessed that infinite knowledge which enabled him to give names to all things with the breath of life.

"I caused him to be equipped with a vast intelligence to reveal the forms of the land."

usurat mati, the forms of the lands, means in Babylonian theology the divine concepts of things, which exist in the world, as well as their outward material forms. The idea which God has of a thing constitutes its reality, fixes its fate; its outward form is the result of this divine idea. To design the usurtu of a thing is to fix its fate (simtu) and to give it a name (sumu). The Hebrew says that whatsoever Adam called each living thing of the field and each bird of the sky that was its name. Philologically the Babylonian word for "name," sumu and the Hebrew cognate sem, have no connection with the word for "fate," Simtu, but the Babylonians regarded the name of a thing as its reality. The names of things define the divine concept of them, and to name a thing practically means in their theology to determine its essence. The Hebrew statement really coincides with the Babylonian statement concerning Adapa.

Ea, says our poem further, gave unto Adapa wisdom but not eternal life. Ea created him like a sage among men. The Anunnaki, sons of the water god and divine spirits of the waters of the lower world, gave him his name. The Biblical account also represents Adam as a seer of great wisdom who defined the names of living things. The kind of wisdom which he did not have seems to have consisted in the knowledge of right and wrong, the consciousness of the distinction between purity and impurity, modesty and obscenity. But this limitation should not obscure the important fact that the wisdom of Adapa is also in a large measure attributed also to Adam. And the Hebrew like the Eridu version regards this hero as mortal. The Babylonian poem describes Adapa as one clean of hands, a priest who anoints, who studies the divine instructions. He joined with the bakers in preparing food for Eridu. He prepared the sacred table for the cult of Enki and removed it. He sailed on the Persian Gulf to catch fish, the trade of Eridu. The Scheil Fragment breaks off with the description of how Adapa sailed out to sea with a fair wind, guiding his ship with an oar. The south wind, however, blew furiously and threw him into the sea. Whereupon in rage he broke the wings of the south wind, who for seven days ceased to blow. Anu the heaven god sends his messenger to investigate, who reports that Adapa broke the wings of the south wind. Upon hearing this Anu rose from his throne and cried, "Bring him to me." And so Ea knew that which the heaven god said and he took Adapa, and caused him to have boils and clothed him in a coarse mourner's garment. Before his departure to appear before the heaven god Ea gives him the following advice:

" Adapa before Anu the king thou shalt go,

[When thou takest the way of heaven],^[2] when unto heaven

Thou ascendest, when to the gate of Anu thou drawest nigh,

At the gate of Anu, Tammuz and Giszida will stand.

They will see thee, they will question thee. 'Oh man

For whom are thou become so? Adapa for whom a

mourner's garment dost thou wear?' 'In our land two

gods have disappeared.

Therefore I am thus become.' 'Who are the two gods

who from the land have disappeared?'

'They are Tammuz and Giszida.'

These shall look at each other, and cry aloud.

These a favorable address unto Anu shall speak.

The beaming face of Anu they shall cause thee to behold.

When before Anu thou standest,

food of death they will hold out to thee;

not shalt thou eat. Water of death they will hold out to thee;

not shalt thou drink. Clothing they will hold out to thee;

clothe thyself. Oil they will holdout to thee; anoint thyself.

The advice that I gave thee not shalt thou neglect.

The injunction that I said to thee mayest thou hold fast."

Provided with this ruse to obtain the intercession of the guards of heaven's gate, Adapa ascends to heaven. In the guise of a mortal attending the wailings for the dying gods he excites the compassion of these ascended deities who present him to Anu. Without affording these divine patrons the opportunity of interceding Anu demands of this mortal his reason for breaking the wings of the south wind. He explains how this wind upset his boat and threw him into the sea. Here Tammuz and Giszida stand beside Adapa and intercede for him. It is evident from what follows that Tammuz and Giszida explained to Anu that Ea had revealed wisdom unto this man and had initiated him into magic so that he was able to control the winds by his curse. He had also taught him modesty and given him fame. This revelation of wisdom had thus brought him into conflict with the go.ds for he now possessed power to oppose them. Anger had entered into his heart also and had caused him to be violent. And so Anu pardons this mortal and utters the following remarkable words:

"Why has Ea to mankind impure the matters of heaven

and earth revealed, and a coy heart

created in him and made him a name?"

The gods do not appear to envy man the wisdom of understanding the realities of things but the knowledge of good and evil, the sense of decency and consciousness of imperfections.

The Eridu version claims that man obtained this knowledge by revelation from his creator the wise Ea and that Anu discovered it in the way described above. The Hebrew version does not represent the possession of philosophical insight into the meaning of things as dangerous to man. Only the consciousness of indecency do the gods envy him and this he obtained by eating of the tree of the knowledge of good and evil. In the main Hebrew version this results in the loss of Paradise and the entering into the world of toil and sorrow. And in the issue of his disobedience this threat is fulfilled: "By the sweat of thy brow thou shalt eat bread until thou returnest to the ground, for from it thou wast taken; because thou art dust and unto dust thou shalt return."

The Eridu version makes man mortal from the beginning, or at any rate credits him only with extreme longevity. When the father of the gods at the gates of heaven discovered that a certain kind of knowledge had been given unto him he expressed concerning this revelation words from which we may perhaps infer that this wisdom would bring woe to mankind. Obviously the Eridu teaching and the teaching of the main Hebrew source are independent theological masterpieces, both attempting to explain the loss of Paradise, but both developing an explanation upon similar independent lines.

The Nippurian version in our tablet undoubtedly starts with the supposition that man in Paradise is originally a perfectly moral being but the problem as to his ejection is obscure. I shall attempt to state the argument of this version and its relation to the Eridu and Hebrew versions subsequently.

The Legend of Adapa has now a curious denouement. As in the Bible so here the principle motive is to explain how mankind lost his boundless happiness. After Anu's expression of astonishment at the revelation of knowledge to man he decides to complete his likeness to the gods by bestowing upon him immortality;

"Now what shall we do for him? Bread of life

offer to him, let him eat." Bread of life

they offered to him; not did he eat. Water of life

they offered unto him; not did he drink. Clothing

they offered him and he clothed himself. Oil

they offered him and he anointed himself.

Anu beheld him and cried in astonishment at him,

"Come, oh Adapa, why hast thou not eaten, not drunk?

Not shalt thou remain alive."

And so Adapa is dismissed from the courts of heaven and brought back to earth. For the further events in this version of the Fall of Man we must depend upon a fragment of the Assyrian copy which does not permit us to obtain a very clear idea of the issue. The fragment belongs to the obverse of a rather large tablet, consequently we know nothing about the last fifty or more lines of this poem. The first lines contain a somewhat different phraseology of the scene in heaven. In fact K. 8214 is a duplicate of the last lines of the Amarna or Canaanitish version but the phraseology differs so greatly that scholars have failed to detect this fact.

1 and he

2. Oil he commanded for him and he anointed himself.

3. Clothing he commanded for him and he clothed himself.
4 Anu because of the deed of Ea cried loudly saying,

5. "Of the gods of heaven and earth as many as there be who verily would have commanded thus?

6. Who makes his command to sur pass the command of Anu?"

7 Adapa from the horizon of heaven to the zenith of heaven

j8 looked and saw its grandeur.

9. Then Anu, as regards Adapa, upon him placed

10. Of the city of Ea he instituted sacerdotal rights for him.

11 his priesthood to glorify unto far away days as a destiny he fixed.

12. At the time when Adapa the seed of mankind

13. with bis cruelly broke the wings of the south wind,

14. and ascended to heaven, this verily so

15. is issued. And whatsoever of ill this man has brought upon men

16. and the disease he has brought upon the bodies of men,

17. the goddess Ninkarrak will allay it.

18. May illness depart, may sickness turn aside.

19. Upon this man may his horror fall

20. sweet sleep not shall heenjoy.

joy of heart of men.

Unfortunately this fragment allows no decision concerning the loss of eternal life in the Assyrian version. However, we may assume that it contained essentially the same story of Adapa’s rejection of the bread and water. Nevertheless, the text preserves a few precious lines which show that Anu, father of the gods, places a curse upon humanity because of Adapa. As to whether these human sorrows were brought into the world because Adapa had surreptitiously received the revelation of the knowledge of good and evil or because he had refused the offer of immortality, our text remains equivocal. The story of the breaking of the wings of the south wind is a motive incomparably less effective than the scene of the temptation in the Hebrew story. The Eridu version both in the Assyrian and Canaanitish redaction leaves little opportunity for any wilful disobedience on the part of man. Yet his sin is equally fatal, for he attained forbidden knowledge and lost for humanity eternal life; through the jealous designs of the water god it is true, and not by his own choice, nevertheless the same penalty follows. Adapa brought woe and disease upon men, and his own sorrows became the most horrible of all. But the gods send a patroness of medicine to heal mankind; Gula or Ninkarrak in fact is the goddess of healing par excellence in Sumero-Babylonian religion. On the analogy of the Nippur version of the text we may suppose that this Eridu version ended by describing the mission of other patrons of civilization sent by the great gods to console humanity.

The Nippurian Version of the Fall of Man on the Tablet in the University Museum

In handling the different teachings concerning the loss of Paradise we must, in order not to fall into grievous error, regard each body of teaching as the result of independent speculation in different theological centers. At Eridu the catastrophe results almost wholly through intrigues of a god. Man is here not a free agent, but the pawn of the higher powers.¹ All the versions start with the supposition that when man was created he enjoyed perfect happiness in paradise, oblivious to the existence of indecency, to the knowledge of right and wrong and possessed of perfect health. The major Hebrew version also concedes him great wisdom if 1 rightly understand it. The Nippurian school allows that men inhabited Paradise until the Flood which seems to have been brought about by the creator god Enki because men did not show respect unto him. However this may be, the problem of the origin of sorrow is not propounded in the teachings of this school until after the Flood. We hear nothing of any famous forbear at the beginning of things who possessed vast intelligence. Only after the Flood does Enki begin to reveal wisdom unto Tag- tug the gardener. And the statement in regard to this revelation must be taken with caution for the text is obscure. It is clear, however, that after the Flood Enki becomes intimate with this gardener. Our tablet is obscure regarding the original state of man in respect to immortality. I infer, however, that, like the theologians of Eridu, it also assumes that man did not possess immortal life. In the Flood they dissolve like tallow, says our text, and there seems to be no reference here to even a lost opportunity of attaining this infinite boon.

Enki's conversation with Tagtug in the secret chamber of the temple is broken by a damaged portion of the tablet at the top of the second column of the reverse; but shortly after we read of various plants which grew in the garden, and that the mother goddess commanded Tagtug to take and eat from all except the cassia. We must assume that the goddess had placed this plant in a special category after the list of plants from which she allowed mankind to eat. For when we reach the name of the cassia the phraseology used in connection with the previous plants changes, and it is called the plant whose fate Ninharsag had determined. This goddess had obviously forbidden Tagtug to eat from the cassia, for immediately after he takes and eats he is cursed with human frailty. The Anunnaki, who as children of Enki were the special friends of the newly created men,³ sat in the dust to weep over this direful calamity. Ninharsag in rage regrets that she had created mankind. In a broken passage at the top of Rev. III which follows the story of the Fall we find Ninharsag and the earth god Enlil planning to send divine patrons to assist fallen humanity. Of this latter motif we have a trace in the Eridu version where Ninkarrak, i. e., Gula, is sent to heal disease which entered into the world because Enki had revealed knowledge unto Adapa. The Nippurian text names eight divine patrons; over against these I here place the patrons of civilization in the Hebrew (J) narrative.

1. Abu, patron of pastures, and flocks.

2. NitUulla, patroness of cattle.

3. Nin-KA[3]uiud patroness?) of

health.

4. Nittkasi, patroness of the vine

and of drinking.

5. Na{i, patroness of ?

6. Dafitna, patroness of ?

7. Nintil, patroness of femininity.

8. Enlagmi, patron of wisdom.

Hebrew.

1. Abel, patron of flocks.

2. Cain, patron of agriculture.^[4]

3. Enoch, patron of city life.

4. 'Irad.³

5. Mlbijja'el,^[5] patron of health.

6. MHbusbalab.^[6]

7. Lantech* patron of psalmody.

8. Jabdl, patron of tents and flocks.

9. Jubal, patron of music.

10. Tubal-Cain,² patron of smiths.^[7]

The Hebrew regards these patrons as direct descendants of the first man, whereas the Sumerians say that they are of divine origin. The Hebrew list like the Sumerian follows directly upon the story of the Fall. When we consider that the Nippur version also agrees with the Hebrew in making the eating of a plant or tree the direct cause of the Fall of Man, it becomes evident that the Hebrew has been greatly influenced by the doctrines of the Nippur school.

Our text describes the curse only in one line: "The face of life until he dies not shall he see." "Life" in Sumerian means "good health," and we can hardly be wrong in understanding this passage to mean that the great sorrow caused by the Fall is bodily weakness and rapid decay. In Adapa's fall we read only of the bodily miseries which entered the world. The Hebrew too mentions the pain of woman in childbirth as the first of human woes. Neither the Nippur nor the Adapa version mentions the ejection from Paradise. Perhaps this part of the story is peculiar to the Hebrew. Human sorrow, toil and misery surely afflicted men in the land of Dilmun which the Sumerians and Babylonians knew so well. The ejection at all events points no moral to the tale.

The Nippur text represents the Fall as following directly upon eating of the cassia. No revelation of the knowledge of good and evil is mentioned. The curse of Ninharsag seems to be caused by disobedience and this is the sole motif we can read into this the earliest of all doctrines on the Fall of Man. The plant in question if connected with either of the two trees mentioned in the composite narrative of the Bible must be identified with the tree of life. Our text has am-ga-ru before which the determinative for plant (u) must be supplied. This is clearly identical with am-ga-ra, or Semitic kasii, cassia, the most important of all medical plants in antiquity. It is, however, not necessary to assume that the pundits of Nippur, or the myth makers of early Sumer regarded the cassia as a plant capable of bestowing eternal life upon those who ate its fruit or chewed its leaves. The Hebrew undoubtedly knew of such a plant and the same legend appears in the Assyrian Epic of Gilgamish. Since Tagtug actually ate from the cassia and consequently brought disease into the world, the plant could not have been regarded as a "tree of life," in the sense of the later Assyrian and Hebrew legends. Undoubtedly the Sumerians regarded the cassia as having marvelous healthgiving properties, but I do not believe that we have here any theory concerning a plant capable of bestowing immortality. The theory taught by the early Sumerian sages seems to be as follows: Man in Paradise had perfect health, extreme longevity, and lived peacefully without toil. For some reason not explained to us he failed to show respect to Enki his creator, and hence all but a few pious were destroyed. In this universal deluge Paradise also disappears and thereafter man must live by toil. Wherefore after the deluge Tagtug becomes a gardener, a human raised to the station of a god, for he has now this title. The problem of the origin of sin does not concern them. They put forward no theory in regard to it, their only teaching in this regard is that sin is a purely religious matter. It consists in disrespect toward the gods and in nothing more or less. But the Flood eliminates all the wicked. After the deluge Tagtug, and we presume his pious mariners, continued a different life in Paradise.² The earth had now become hostile, wherefore the survivor of the deluge became a tiller of the soil. Such was the explanation of the loss of Paradise. But a more serious misfortune was now to follow, namely the entrance of disease and abbreviated mortality. To explain this the sages of Nippur taught that the mother goddess had forbidden man to eat from the cassia. This command he disobeyed and lost, as we have seen, pre-diluvian longevity. They do not appear to have held any views concerning mystic powers which this plant might bestow, so that the interdiction of the cassia is wholly arbitrary. As our text stands the only reason for this injunction seems to be that of testing the obedience of man. I fail to find any other meaning here. In a sense the mother goddess is the temptress who caused this great disobedience.

Have we here the origin of the temptation of Adam by his wife Eve? We know that Eve like Ninharsag was originally an ophidian mother goddess. Has this led further to the Hebrew story concerning the serpent? In Hebrew mythology the ophidian as well as the goddess character of Eve seems to have been lost sight of. Perhaps her serpent origin is retained in the peculiar form in which we know it there. Suppose that the general tradition obtained that a serpent goddess placed this daring temptation before man. Suppose that by the involved crossing of ideas in the evolution of this legend the goddess became the consort of this sorely tried ancestor of man. Evidently the serpent alone would be left to figure as the tempter. Such seems to be the probable construction we must place upon this story. Here it has a doctrinal aspect. The sages of Nippur solve these problems with the minimum of mythological structure. The temptation does not appear in their sacred books. But obviously imaginative folklore sought at once to restore the old motifs, if in fact they had ever given them up. It is conceivable that to these expounders of Sumerian theology the story of a goddess temptress was current mythology. In any case their theories about the origin of toil, the hostility of nature on the one hand, and the origin of bodily weakness on the other are based upon views wholly different from those taught in the legend of Adapa. They place the whole guilt upon man as a free agent. They do not represent the gods as envying him knowledge of any kind. Here man from the beginning passed from catastrophe to catastrophe because he himself failed to have the inflexible will to obey the gods.

The Hebrew Tradition

The oldest Hebrew document which traces the history of man from his creation to the days of Terah and Abraham, or the mythological and theological reconstruction of their history when analyzed will be found to be another product evolved from the Babylonian doctrines. Here the loss of Paradise and the entrance into the world of disease together with the hostility of nature to man follow shortly after his creation. He appears to have enjoyed the peace of Paradise for only a brief period. For in his Paradise the creator God had placed a tree called the "Tree of the knowledge of good and evil." But Adam like Adapa was initiated into the most profound philosophical knowledge. In wisdom he lacked only the awareness of indecency. Otherwise his knowledge equaled that of the gods. This kind of knowledge could be obtained by eating from this tree, a fact which he did not know. And his creator added the threat that in the day of his eating thereof he would fall a victim to disease. Then a woman is created for his consort to whom a serpent reveals the true meaning of the forbidden tree. She ate and she gave also to her husband, whereupon their eyes were opened and they lost their innocence. Whereupon woman is afflicted with the pangs of childbirth and subserviency to man. And for man God cursed the earth, whereby he henceforth lived only by toil. Both are expelled from Paradise.

Theologically this story is a masterly combination of the Eridu doctrine, known to us only in the Semitic legend of Adapa, and the doctrines of our Nippur tablet. The Adapa legend has influenced the Hebrew particularly in causing the Fall to be placed at the beginning of civilization and in attributing the origin of disease to the forbidden possession of the knowledge of good and evil. In Adapa's case temptation does not figure in the problem. On the other hand, the Nippur teaching has given them the idea of a tree, which under influence of the Eridu school they construct into a tree of knowledge. For given on the one hand the doctrine that man of his own wilful disobedience ate of the fruit of a tree, and on the other that his fall was due to the revelation of knowledge, the ancients inevitably formed a legend regarding a tree of knowledge. Moreover, the idea of temptation latent, and innocently so in the Nippur doctrine, here becomes an important factor. The sin is explained not alone as a wilful act but as the act of a will overcome by the cajolery of woman. This factor is original in Hebrew. The idea of a woman tempter in Sumerian is wholly different. Here she is the ophidian mother goddess who places temptation before man only in that she forbids him to eat to test his obedience. But as we have seen the Nippurian doctrine based probably upon a richer and more concrete mythology easily gave rise to the serpent tempter and the woman in Hebrew.

In the ultimate analysis of the origin of human suffering the Hebrew like the tablet No. 4561 traces its cause to man's own frailty. His wavering will fails to comply with the plain injunctions of deity. We have in neither document any trace of divine jealousy, nor any erroneous action whose cause could be traced to superior instigation as in the Adapa teaching.

On the other hand, we seem to have an equally ancient Hebrew document embedded in the text of Genesis 2 and 3 which incorporated more clearly the teachings of Eridu. Here in a gloss in verse 9 of chapter 2 we hear of a tree of life.

And at the end of chapter 2 we again come upon traces of this document which knows of the same tree forbidden in Paradise. "And Jahweh Elohim said, 'Lo, man has become like one of us in knowing good and evil and now lest he put forth his hand and take¹ from the tree of life and eat and live forever.' And so he drove out the man and caused him to dwell east of the Garden of Eden, and he stationed the cherubim, the flaming sword which revolves to guard the way of the tree of life."

This document probably adopted the Eridu teaching concerning the acquisition of knowledge, attributing it to a surreptitious revelation by a god. Here too the gods envy man this knowledge and take steps at once to prevent his attaining immortality. The Eridu school also raise the problem of man's loss of immortality in connection with his acquisition of knowledge. It is, therefore, reasonable to suppose that a Hebrew document which depended upon that source, would raise the same problem. Now this teaching regarding eternal life for man is late in Babylonia. Such a thing could not occur as possible in the Sumerian schools whose whole attitude toward man regarded him as dust of the earth to which he must inevitably return. But a longing after this priceless boon gave rise to that widespread belief that after all the gods possess bread and water which bestow eternal life, or that in some far away Paradise grows an herb of healing to infuse mortals with immortality. In Babylonian tradition this plant was well known, and the same idea traveled westward to the Hebrews. They too adopted this same theory that man lost immortality through the jealousy of the gods; here by being expelled from Eden before they proceeded to eat from the tree of life, there because a jealous god had advised his protege not to partake of the bread of life.

The story of early Hebrew origins as told by the priests of a later age speaks of no Paradise and mentions no sin until the days of Noah.¹ We may infer, ex silentio, however, that this document supposed that in the long ages ruled over by the ten patriarchs men lived in a sinless state enjoying extreme longevity. According to this narrative, in the days of the tenth patriarch the world became full of violence, wherefore God destroyed all but this patriarch and his family in the deluge. This scheme of the priestly writer agrees with the theologians of Nippur. That Hebrew narrative makes the Flood begin on the 17th day of the second month, the text of tablet No. 4561 on the 1st of the first month. There it rises five months² and recedes until the 27th of the second month of the next year, in all one year and ten days; here the flood endures eight months and nine days. Thus the priestly narrative approximately agrees with the tablet No. 4561 in the chronology of the Flood. On the other hand, the older Hebrew story makes the waters rise 40 days and recede 21 days, a much shorter period. This chronology agrees more closely with that of the Semitic Babylonian story where the waters increase six days and cease the seventh. At a distance of twelve double hours march³ UtanapiStim sees the top of a mountain. The time taken to reach it is not given, but after the landing he waits seven days to send forth a dove. Since he sends two other birds at intervals we suppose that seven days separated these, so that we have the same story as that of the ancient (J) narrative in Genesis 8, 6-12, where Noah sends three birds at intervals of seven days each. Hence we have on the one hand the long chronology of the Sumerian account and the priestly Hebrew narrative, and on the other the short chronology of the Babylonian version and the ancient Hebrew document. In a sense the revelation of wisdom to Tagtug the gardener in the tablet No. 4561 is parallel to instructions which God reveals to Noah in the priestly document.¹ Both conversations follow immediately after the Flood. If the priest's narrative in Hebrew knew of any further story of the disobedience and loss of continued good health which should follow here he has left us no trace of it. Nevertheless his close adherence to the theories of the Nippur school is clear enough. After the Flood he fills in the history from that event to the age of Abraham by a genealogy of nine patriarchs, whose lives are of considerable length.² Nevertheless even here we have a rapid decline in longevity and the ages of these are on the whole less by half than those of the ten patriarchs before the deluge. The Babylonians also told of the incredible ages of the heroes before this catastrophe. We are, I believe, on safe grounds in assuming that in agreement with the sages who wrote our epic of the Fall of Man there was in Babylonia a deeply rooted tradition that the greatest of all catastrophes, the loss of long life, overtook mankind only after he had lived in Paradise for many ages. Such I believe to have been the doctrine adopted by the scribe to whom we owe the priestly narrative in

Hebrew. He surely pursued his investigations beyond the Semitic poems of Babylonia, rehearsed by the Canaanites before the Hebrew occupation. He must have come under the influence of the great Babylonian renaissance which set in, in the middle of the seventh century; an age when the scholars of Babylon studied the theological systems of their remote past. The theologians of Nippur particularly attracted them as we know from their corpus of temple liturgies.¹ The tablet which forms the subject of this volume proves the profundity of their thinking in the region of ethics and philosophy. We venture to think that no document has yet been recovered from the ruins of the past to which such a volume of influence can be traced from our own civilization for the immense period of four thousand years. The great Hebrew documents, which propound the harassing problem of the origin of human sorrows, would have been impossible without the pious and scholarly teaching of these pre-Semitic poets of Nippur. And we all realize, perhaps too little, the incalculable influence which these Hebrew masterpieces have exercised upon the ethical and religious mentality of a considerable portion of the human race.

The Babylonian Tradition Concerning the Pre-diluvian Period

Old Testament critics speak of Gen. '4, 16-23 (J ) ^as the Cainite genealogy,² and the ten patriarchs of Gen. 5 (P.) as the Sethite genealogy. The earlier list of the J. document with its seven patriarchs is obviously based upon the Sumero-

Babylonian tradition of divine patrons of industries. The early Hebrew legend constructed these into a genealogy. The Sethite genealogy of the later P. document although employing all of the seven earlier patron names, except for obvious reasons Abel, in more or less modified forms and in slightly different order has, as is well known, attempted to reproduce the Babylonian scheme of ten legendary kings who ruled during the 432,000 years before the Flood. The Babylonian kings in this legend were not all divine patrons but some were famous mythological rulers who belong to that period of longevity before the Fall of Man. The Hebrew in both documents has thoroughly transformed the Babylonian sources. The list in Gen. 5 reproduces, it is true, the spirit of the Babylonian legend of the ten kings, in that it holds them to be rulers in a long dynasty and largely misunderstands those who had a connection with the arts.¹ In fact this genealogy has largely replaced the names of the Babylonian by the names of Hebrew patrons of civilization, whose meanings were clear to J., but wholly misunderstood by the authors of P. This Babylonian list which is preserved only in the fragments of Berossus² seems to contain both Sumerian and Semitic names. I translate so far as possible in order to show that they are not all based upon the idea of patrons of the arts;

1. Alorus, of Babylon, a Chaldean. Source unknown. Reigned 36,000 years.

2. Alaparus. Probably for Adaparus, Adapa, a Sumerian, a sage. Reigned 10,800 years.

3. Amelon, of Pantibiblus (i. Sippar?). This name is Semitic, Babylonian amelu, "man." Reigned 46,800 years.

4. Ammenon, the Chaldean. This name is probably from ummanu, "skilled workman," and is the only name in this list which clearly suggests connection with divine patrons of culture. Reigned 43,200 years.

5. Megalapos, of Pantibiblus. Reigned 64,800 years.

6. Daonus, a shepherd of Pantibiblus, Reigned 36,000 years. The Greek calls him a shepherd, which suggests perhaps that the Babylonians have preserved here the name of a patron of flocks, like Abu of our text or Abel of the Hebrew. The shorter form of the word Daos, preserved in Abydenus may perhaps stand for Acuk, we have already assumed a confusion of this kind in Adapa(d) = Alaparus. Laos by interchange of liquids l>r might revert to an older Raos; there would then be no difficulty in seeing in this name the Babylonian re'u, Hebrew rd'e "shepherd."

7. EvcSw/xzxo?, Euedorachus of Pantibiblus.² Doubtlessly identical with the Sumerian mythical sage Enmeduranki, king of Sippar, to whom the oracular gods Shamash and Adad revealed the mysteries of divination; said to have been created by Ninharsag herself.^[8] The name is pure Sumerian, and means "Lord of the decrees of the totality of heaven and earth." Reigned 64,800 years.

8. 'Afm^fwi>os, Amempsinus, a Chaldean from Laranchae, i. e., Larak.⁴ Reigned 36,000 years. Generally regarded as Semitic for Amel-Sin, "Man of Sin,"⁶ but I doubt this. The name must be of great antiquity and, originating in a Sumerian center, should be Sumerian. Sin, the name of the moon god, is also a somewhat late Sumerian contraction for the earlier Iu-en. However, no better suggestion has been made.⁶

9. 'Hirapriys, Opartes,⁷ a Chaldean of Laranchae. Reigned 28,800 years. Berossus makes Opartes the father of Xisuthrus, hero of the Flood. According to the Babylonian version the father of Uta-napiStim^[9] was Ubar-^dTu-Tu* moreover Uta- napiStim is said to have been a "Man of Suruppak," and Laranchae and Suruppak were probably names of adjacent quarters of the great city Isin. Hence both Opartes and Ubar-^dTutu belong to the same city.

10. BfoovBpos, Xisuthrus, son Opartes. Reigned 64,800 years. The Greek is based upon the Semitic title of Uta- napiStim, atra-kasisu>basis-atra, "The supremely wise."³

In this list all those names designated as Chaldean are probably Sumerian. In fact Berossus appears to employ the word "Chaldean" in the sense of "Sumerian" here. It is curious that the only names certainly Semitic, Nos. 3, 6, are from Pantibiblus. Even here we have in No. 7 a Sumerian ruler. On the whole this list is preponderatingly Sumerian.

The Meaning of the Name Tagtug

1 have already defended in print a possible connection of the Sumerian name Tagtug with the Hebrew Noah.^[10] The argument to which I have nothing new to add is as follows.

Since we know that the Babylonians did not employ the Sumerian name of the hero of the Sumerian epic of the Creation and the Flood, viz., Zi-ud-sud-du, but translated it into Semitic by Uta-napiHim, we may expect that the Babylonians who preferred the Nippur epic would likewise render Tagtug by its Semitic translation. Although no Babylonian version has been found based upon the Nippurian, yet Hebrew mythology was obviously much indebted to it. The problem is, then, to translate tag-tug and if possible to justify a translation from which the Hebrew Noah (nlJ) might be derived. Both words tag and tug are derived from the Sumerian stem ^ t-g, whose general meaning is "to rest, repose." The form of the root tug is regularly rendered by nahu, "to repose." As for the form with internal vowel a, tag, we know that it can be rendered by laba$u, a word usually taken to mean "cast down;" the ordinary meaning of the root tag is the active of the idea generally expressed by tug, i. e., "to cause to rest, to suppress, to beat down violently." These two ideas are connected and we need not hesitate to suppose that the intransitive idea of "repose, to come to an end," was expressed by the active root tag also. laba$u is probably the same root as raba$u, "to lie down;" it is true that the verb laba$u is explained by tag in a syllabar where it occurs between iu'unu, "to fashion skillfully," and maha$u Sa mimma, "to hammer something," and the verb has undoubtedly the same active idea here.^[11] Also in the only other passage where laba$u occurs it is given the same active sense "to cast down."² Naturally this persistent use of laba$u in the sense of "cast down, smite," may exclude a connection with rabasu,¹ and render the whole argument so far as this word is concerned ineffective. Nevertheless the possibility of the root tag having this meaning need not depend upon evidence so fragile. The cognate dag means both aSabu, "to sit," and lubtu, "abode, place of repose."^[12] The form with internal vowel e, teg, is one of the ordinary words in Sumerian for paSafcu and ndfcu, "to rest," as well as the variant ten * Also tug has the variant tub, a word which is repeatedly employed for ndbu. This evidence would under ordinary circumstances induce a Sumerologist acquainted with the tendency of the language to use the stems of roots with various internal vowel inflections all in the same sense to expect a root tag, "to rest, repose." A reduplicated stem like tag-tug would ordinarily have an active sense, and be rendered by the piel in Semitic. Granting that we have here such a reduplicated stem for ndhu, tag-tug, should be rendered by ndfcu, "to cause to repose," and the permansive singular would be nu-u}j, "he is appeased," i. e., "God is appeased," "God's wrath is made to repose." Such was the theory by which 1 connected this name with the Hebrew Noal). In its favor we can also urge the appropriateness of this name for the hero who survived the deluge, by which the anger of the gods against sinful men was appeased.

Against this theory we may adduce the fact that no direct evidence for the meaning "to rest," for tag has been adduced. And much more serious than this will be the objection that, when Sumerian wished to express intense action and causation, they double the same form of the root, not different
forms of it. We should expect for this idea tug-tug, or tag-tag, like gar-gar, mal-mal, etc. I am unable to find any examples of the reduplication of a stem in which two vowels not of the same kind are employed. On the whole we must regard this interpretation as doubtful. To say impossible, would be to allow too little scope for future discoveries. To accept it as proven would lead to uncertain conclusions.

TRANSLITERATION AND TRANSLATION Obverse I

1. They that slept, they that slept are ye.

2. [In mountain of] Dilmun which is an holy place,

3. [In the holy place] they that slept are ye.

4 the mountain of Dilmun which is an holy place.

5. The mountain of Dilmun which is an holy place, the mountain of Dilmun is pure.

6. The mountain of Dilmun is pure, the mountain of Dilmun is clean.

7. Alone in Dilmun they lay down;

8. Where Enki with his consort lay,

9. That place is pure, that place is clean.

10. Alone in Dilmun they lay down.

11. Where Enki with the pure divine queen lay down,

12. That place is pure, that place is clean.

13. In Dilmun the raven^[13] shrieked not.

14. The kite⁷ shrieked not, kitelike.

15. The lion⁸ slew not.

16. The wolf plundered not the lambs.

17. The dog approached not the kids in repose.

18. The mother (goat) as it fed on grain he disturbed not.

19.

14. The (ewes) impregnate their

foetus

15. The birds of heaven their young

[forsook] not.

16. The doves were not put to

flight.

17. "Oh disease of the eyes thou

art the 'Sick Eye,'" one said not.⁴

18. "Oh head ache thou art the

' Head Ache/ " one said not.

19. As to the old woman, "thou

art an old woman" one said not.

20. As to the old man, "thou art

an old man" one said not.

21. A pure place where water was

not poured for cleansing in the city one inhabited not.

22. "A man has changed a canal,"

one said not.

23. A prince his wisdom withheld

not.^[14]

24. "A deceiver deceives," one said

not.

25. "The counsellor of a city

," one said not.

26. Ninella to Enki her^[15] father

spoke.

32. "A city thou hast founded, a

city thou hast founded and a fate thou hast given.

33. In Dilmun a city thou hast

founded, a city (thou hast founded and a fate thou hast given).

34 thou hast founded a

city (thou hast founded and a fate hast given).

35 (which) a canal has not.

36. [ ] thou hast founded, a

city (thou hast founded and a fate thou hast given).

.da

37.

About seven lines broken away.

Obverse ii

In thy greatmay waters flow.

Thy city may drink water in abundance.

Dilmun may drink water in abundance.

Thy pools of bitter waters as a pool of sweet waters may flow.

Let thy city be the home which assembles the Land of Sumer.

Let Dilmun be the home which assembles the Land of Sumer.

Now oh Sun-god shine forth.

Oh Sun-god in heaven stand.

He that marches from his place. the Moon-god

From the mouth of the earth walking forth, with sweet waters of the earth he comes unto thee."

In his great waters went up.

His city drank water in abundance.

Dilmun drank water in abundance.

His pool of bitter waters was (a pool of) sweet water.

The low-lands

His city was the home which assembles the Land (of Sumer).

Dilmun was the home which assembles the Land (of Sumer).

Now oh Sun-god shine forth. Verily it was so.

He the renderer of decision, the possessor of wisdom,

To Nintud the mother of the Land of Sumer,

Enki the possessor of wisdom,

Even unto Nintud (the mother of the Land of Sumer)

His counsel in the temple revealed.

25. His revelation in the reed-bouse as a decision he rendered unto her.

26. His counsel in secret grandly and beneficently to her he affirmed.

27. He spoke. " Unto me man enters not."

28. Enki spoke,

29. By heaven he swore.

30. "Cause him to sleep^[16] for me,

cause him to sleep for me," was his word.

31. Enki the father of Damgal-

nunna uttered his word.

32. Ninharsag the fields ⁶

33. The fields received the waters of

Enki.

34. It was the first day whose

month is the first,

35. It was the second day whose

month is the third.

36. It was the third day whose

month is the third.

37. It was the fourth day whose

month is the fourth.

38. It was the fifth day [whose

month is the fifth].

39. It was the sixth day [whose

month is the sixth].

13. It was the seventh day [whose

month is the seventh].

14. It was the eighth day [whose

month is the eighth].

15. It was the ninth day whose

month is the ninth; month of the cessation of the waters.

16. Like fat, like fat, like tallow.

17. Nintud mother of the Land,

18. [Even Ninkurra],

19. had created them.

Obverse III

1. Nintud to the bank of the j river summoned.

2. "Enki (for me) they are reck- ! oned, yea are reckoned/'

I 3. Her herald the divine anointed ones^[17] called.

4. The sons of men who were , pious she was not wroth

against.

5. Nintud against the pious was

not wroth. ! 6. Her herald the divine anointed I ones caused to return.

, 7. The sons of men who were pious she was not wroth against.

8. Nintud against the pious was

not wroth.

9. My king, who was filled with

fear, yea was filled with fear,

10. His foot alone upon the boat

set.

11. Two "bumbles'⁹ as watchmen

he placed on guard.

12. Doubly be caulked ibe ship;

torches he lighted.⁶

13. Enki devastated the fields.

14. The fields received the waters

of Enki.

15. It was the first day, whose

month is the first.

16. It was the second day, whose

month is the second.

17. It was the ninth day, whose

month is the ninth; the month of the cessation of the waters.

su-te

¹ This title of Nintud does not occur in the great list. CT. 24, 12 and 24,25 but has the same import as the title Ninharsag, "lady of the mountains." Both names reflect the ancient home of a mountain dwelling people who spoke of their great mother goddess in this way. In fact the great list does apply this name to the major type of mother goddess Innini, CT. 25, 30, Obv. 5. This aspect common to both branches of the unmarried goddess is seen in ^dNintud ama-ntal k&r-k&r-ra-ge, "Nintud, great mother, she of the mountains/' Babyl. Liturgies No. 102 II. 3 and 7. In later texts Ninkurra developed into a patroness of stonecutters and quite an independent deity, II R. 58, 68; VR 61 IV 17; Zimmern, Beitrage, 142, 15; ibid., Col. 1116; also No. 38, 20; Weissbach, Miscel., XII 31; CT. 26, VI 77; Meissner-Rost, Senecberib, p. 19, 1. 20.

32. ^den-ki-ge alag ba-ni-in-rig

I 18. Like fat, like fat, like

19. Ninkurra¹ (like) fat, | 20. Nintud [mother of the Land]

had created them. ¹ 21. Ninkurra [to the shore of the river had summoned].

22. "Enki, for me they are reck

oned, yea they are reckoned."

23. Her herald the divine anointed

ones had called.

24. The pious sons of men she was

not wroth against.

25. Ninkurra against the pious sons

of men was not wroth. 1 26. Her herald caused the divine I anointed ones to turn unto

her.

, 27. The pious sons of men ! she

28. Ninkurra the pious

29. My king the terror filled, the

terror filled,

30. His foot alone on the ship had

set.

¹ 31. Two "humbles" as watchmen

i ^j

on guard he had placed.

Doubly he bad caulked the ship;

torches he had lighted.

Enki devastated the fields.

. revealed secrets [caused] to

13.

14.

see.

34. alag-ga su-ba-ni-in-ti a ^den-ki-	34-	The fields received the waters
ga-ka		of Enki.
35. ud-al-dm iii al-a-ni	35.	It was the first day whose
		month is the first.
36. ud-elim-dm iti elim-a-ni iti nam-	36.	It was the ninth day whose
sal-a-ka		month is the ninth; the
		month of the cessation of the
		waters.
37. {d-lum-gim jd-lum-gim \a-dug-	37-	Like fat, like fat, like tallow,
nun-na-gim
38. ^dnin-kur-ra {a-lum	38.	Ninkurra (like) fat [had created
		them].
39. ^dtag-ttig sal-ni-dtm in-	39-	To the divine Tagtug she re
		vealed secrets....
40. ^dnin-tud-ri ^dtag~iug-[ra]	40.	Nintud to the divine Tagtug
gu-mu-na-de-e		spoke.
41. na-ga-e^l-rig na-rig-mu	41.	"Verily I will purge thee^2; my
		purging
42. gu-ga-ra-dug{?) enim-enim-mu	42.	I will tell thee; my words--------
43. galu-al-dm ma-ra im-da-lal-[-e-	43-	Oh thou one man, for me [they
ne im-da-lal-e-ne]		were reckoned, yea were reck
		oned].
44. ^den-ki-ge mh-ra im-[da-lal-e-ne	44.	Enki, for me has reckoned [has
im-da-lal-e-ne]		reckoned].
45. igi-im-?-e-	45.

One line broken from the end of this column.

Reverse I

About twelve lines broken away before the first traces of lines in this column.

13 sal-ni-dtm igi-im^[18]....

14

15 a-na

16 lag gil-lar a

17

18. [i-bara-gu-ul-du-]-ba DU-um

19. e-rab-ga-ra-an-ba DU-um

20. e-a tug-su-nun-tug-tud^[19]-mu ge-

dur

21. ^den-ki-ge tug-su-nun-iug-tud-mu

ge-ne-in-dur

22. 2 gu-ma a-si-si-^[20]da-ni

23 .eg a-be-in-si

24. pa a-bi-in-si

26. nu-gil-lar a~na NE...

27. gu-ial^K gu-da im-li-in-...........

28. a-ba me-en gil-lar.........

29. ^den-ki-ge nu-gil-lar [ra......

Here four lines are broken away.

26

27

25. kislag a-be-in-?^[21]

15 .

16 in the garden

17

18. [In Ebaraguldu] stand.

19. In Erabgaran stand.

20. In the temple may my guide

dwell,

21. May Enki my guide dwell.

22. Two "humbles" who fill with

water,

23. The water course filled with

water.

24. The canal they filled with water.

25. The barren land they irri

gated(?)....

The gardener

A secret

28, Who art thou? the garden

29. Enki to the gardener

34 -im-ma- ....

35. e-bara-gu-ul-du-ba im-ma-na-an-

gub

36. e-rab-ga-ra-an-ba⁶ im-ma-na-an-

gub ur-ra-ni be-in-mal-e

he

37. ^den-ki-ge igi-ni-im-ma-an-sig-

sig⁶ mudur lu-be-in-du&

34

35. In E-baraguldu he stood.

36. In E-rabgaran he stood.

His seat he took.

37. Enki beheld him.

A scepter in his hand grasped.

38. ^den-ki-ge ^dTag-iug-ra gir-im-ma-

an-gub

39. e-na al-de-de-e gdl-kid gdl-kid

40. a-ba tne-en {a-e me-en

41. md-e nu-gil-lar gul-si git-ma¹...

42. X-dingir-lu ga-mu-ra-ab-sig

43. ^d Tag-tug lag-gul-la-ni-ta e-e gdl-

ba-an-kid

44. ^den-ki-ge ^dTag-tug-ra sal-ni-dim

45. gul-dl gar-ra-na ba-na-ab-sum-

mu

46. i-bara-gu-ul-du-ba ba-na-ab-sum-

mu

47. e-rab-ga-ra-an-ba ba-na-ab-sum-

mu

48. ^dTag-iug sal-ni-dim gub-tnu-na-

Reverse 11

Here about six lines are obliterated.

7.			7-
8.	[A....	.... im-ma-]an-m&	8.	[The plant.	] grew.
9-	[A....	... im-ma-]an-md	9-	[The plant.	] grew.
10.	[A....	. . im-ma-] an-md	1 10.	[The plant.	] grew.
ii.		. . im-] ma-an-md	11.	[The plant.	] grew.
12.	[it....	]	12.	[The plant.	] grew.
>3-	[«....	i	13.	[The plant.	] grew.
14.	*[...	] im-ma-an-m&	' 14.	The plant. .	grew.
'5-	^den-ki-	■ge ma-ra im-da-lal-e-ne	1	" Enki, for	me they are reck-
	im-da-lal-e-ne			oned, they are reckoned."
16.	sukkal-a-ni dingir-guda-ne gu-		16.	Her herald the divine anointed

mu-na-de-e ones called.

¹ gil-ma is the ordinary ideogram for tittu, fig.

ab-{i lu-mu-na-sig-gi

38. Enki for Tagtug waited

39. In his temple he cried, "Open

the door, open the door.

40. Who is it that thou art?"

41. "lama gardener joyful "

42 1 will cause to be given

unto thee.

43. The divine Tagtug with glad

heart opened the temple's door.

44. Enki unto the divine Tagtug

revealed secrets.

45. His he gave unto him

joyously.

46. In E-baraguldu he gave unto

him.

47. In Erabgaran he gave unto him.

48. The divine Tagtug was con

fided; the left hand he raised; the (right) hand he composed.

17. H rnd-e nam-bi li-be-sd

18. a-na-dm be-e a-na-dm bi-e

19. sukkcd-a-ni dingir-guda-ne mu-

na-ni-gi-gt

20. [lugal\-mu H-gil^[22] mu^na-ab-bi

21. mu-na*-kud-di ba-kur-e

22. lugal-mu u-gurun mu-na-ab-bi

23.. mu-na-sir-ri ba-kur-e

24. lugal-mu H- mu

25. mu-na-kud-di ba

26. lugal-mu u-a-gug mu

27. mu-na-sir-ri ba-kur-e

28. [lugal-mu] H?-tu-tu mu

29. [mu-wa-fcttJ-^] ba

30. [lugal-mu u ] mu

31. [mtirnarsir-ti ba

32. [lugal-mu u *wu

33. [mu-na-kud-de] ba '

34. [lugal-mu u]- am-fca-ru mu-na- 1

ab-teg

35. [mu-ma-sir-]ri ba-kur-e

36 £ nam-bi be-in-tar l&b- ]

ba ba-wi-in-di !

17. As for the plants, their fates I

have determined forever,

18. Something it is; something it is.

19. Her herald caused the divine

anointed ones to return unto her.

20. My king as to the woody plants

she commanded:

21. " He shall cut off; he shall eat."

22. My king as to the fruit bearing

plants, she commanded:

23. "He shall pluck; he shall eat/'

24. My king as to the plants,

she commanded:

25. "He shall cut off; he shall

eat."

26. My king as to the prickly

plants, she commanded:

27. "He shall pluck; he shall eat."

28. My king as to the plants

she commanded:

29. "[He shall cut off;] he shall

eat."

30. [My king as to the plants ]

she commanded:

31. "[He shall pluck; he shall

eat]."

32. [My king as to the plants

she commanded]:

33. "[He shall cut off; he shall

eat.]"

34. [My king] the cassia plant ap

proached.

35. He plucked; he ate.

36 the plant, its fate she had

determined; therein she came upon it.³

37. ^dnin-£ar-sag-g&-ge mu ^den-ki

nam-erim ba-an-kud

38. i-d£ na-dm-ti-la en-na ba-dlg-gi-a

i-di-ba-ra-an-bar-ri-en

39. ^da-mun-na-ge-ne sagar-ta im-tni-

in-dur-dur-ru-ne-el

40. ^den-lil-ra mu-na-ra-ab-bi

41. ma-e ^dnin-gar-sag-ga mu-e-h-du-

mu-un a-ma-dm nig-ba-mu

42. ^den-lil iud mu-na-ni-ib-

t'Hi

43. ia-e ^dnin-£ar-sag-gd mu-e-du-mu-

un-nam

44. uru-md 2 gil-mal^[23] ga-ri-du mu-{u

fce-pad-di

45. elim? sag-ni dl-drri^[24] itn-ma-an-

pll-pll*

46. [glr?]-ni dl-dm im-ma-an-bur-

bur

47. igi-ni al-dm gibil-be-in-gar

37. Ninharsag in the name of Enki

uttered a curse.

38. "The face of life until he dies

not shall he see."⁴

39. The Anunnaki in the dust sat

down (to weep).^[25]

40. Angrily unto Enlil she spoke.

41. "I Ninharsag begat thee chil

dren and what is my reward?"⁶

42. Enlil the begetter angrily re

plied;

43. Thou oh Ninharsag hast be

gotten children, (therefore)

44. "In my city two creatures I

will make for thee," shall thy name be called.

45. The renowned—his bead as a

prototype she had moulded.

46. His foot as a prototype she had

designed.

47. His eyes as a prototype she had

made luminous.

Reverse III About five lines are broken away.

6 ne en ^den-lil

7 ne en-\i

8. ... lu mu-du-ne en dingir.

9 lu mu-du-ne en....

10. ? ? ni-me-a ii(?)mu-mu ? ? mu

11

12. ^dnin-&ar-sag-ga-ge ? im-

■3

14

15

16

17 teg ba-an...

18. ^dnin-gar-sag-dg-ge e ? ka$-im-ma~

an-

19. ^den-lil lu-ga-ni ba-an-tub-

bi-el

20. li-im-ra -an-ag-el

21. nam-im^ma-an-tar-el

22. fo-Zi im-ra-an-bur-ru-ul

23. ^dnin-gar-sag-gd-ge /a-na

ba-ni-in-tub

24. lel-mu a-na-^u a-ra-gig

25. utul-?-mu ma-gig

26. im-ma-ra-an-tu-ud

27. lel-mu a-na-^u a-ra-gig

28. tul-mu ma-gig

29. ^dnin-tul4cP im-ma-ra-an-tu-ud

the lord Enlil

the lord

8. To they went, the lord,

god

9. To....they went, the lord of

the gods....

10

11

12. Ninharsag

«3

14

15

16

>7

18. Ninharsag

19. Of Enlil, in his they reposed.

20

2_#i. Fates they declared.

22. Destiny they fixed.

23. Ninharsag in her reposed.

24. "My brother what of thee is

ill?"

25. "My pastures are distressed/'

26. "Abu 1 have created for thee/'

27. " My brother what of thee is ill?"

28. " My flocks are distressed."

29. "The queen of the flocks I have

created for thee."

30. lel-mu a-na-^u a-ra-\u KA mu

ma-gig

31. ^dNin-KA 6-tud im-ma-ra-an-tu-

ud

32. lel^mu a-na-^u a-ra-gig ka mu

ma-gig

33. ^dnin-ka-si^[26] im-ma-ra-an-tu-ud

34. lel-mu a-na-{u a-ra-gig [ mu

ma-gig|

35. ^dna-{i² im-ma^z-ra-[an-tu~ud)

36. lel-mu a-na-iu a-ra-gig da-fy-mu

ma-gig]

37. ^dDa-{i-m&-a im-ma-ra-[an-tu-ud\

38. sel-mu a-na-iu a-ra-gig iilr[mu

ma-gig]

39. ^dnin-til^[27] im-ma-ra-an-[tu-ud]

40. lel-mu a-na-iu a-ra-gig m2-mu

[ma-gig]

41. ^den-ldg-tn2 im-ma-ra-an-[tu-ud]

42. tHl-tul-ld-ba^h iu-ne-en-na-dl gar-

ra-[ne-en-na-dl]

43. ^dab-u lugal & &e-a

44. ^dnin-tul-la en md-gan-na &e-a

30. "My brother what of thee is

ill?" " My is ill/'

31. " Nin-KA-u-tud I have created

for thee."

32. "My brother what of thee is

ill?" "My mouth is distressed/'

33. "The queen who fills the mouth

(with wine) I have created for thee."

34. "Mv brother what of thee is

ill?" "My .... is ill."

35. "The goddess Na^i I have

created for thee."

36. "My brother what of thee is

ill?" "My .... is ill."

37. "The goddess DazimS I have

created for thee."

38. "My brother what of thee is

ill?" "My health is ill."

39. "The queen of life I have

created for thee."

40. "My brother what of thee is

ill?" "My understanding is distressed."

41. "The Lord who renders the

understanding good I have created for thee."

42. Since grandly were they born,

(grandly) they do,^[28]

43. Abu lord of vegetation let be.

44. Nintulla lord^[29] of Magan let be.

45. ^dnin-KA-u-tud ^dnin-a-{u fca-ba-

an-tuk-tuk

46. ^dnin-ka-$i nig-lag-st ge-a

47. ^dna-i% u-*nu~un-dar-a &a-ba-an-

tuk-tuk

48. ^dda~ii-m&-a {i-im ga-ba-an-

tuk-tuk

49. ^dnitir[til\ nin-iti-e fce-a

50. [^den-idg-m2] en Dilmun-na &e-a

51. {ag-sal^[30]

45. May Nin-KA-u-tud Ninazu pos

sess.⁸

46. May Ninkasi be she that fills

the heart.

47. May Nazi the lord of

possess.¹

48. May Dazima possess.

49. May Nintil be the mistress of

the month.

50. May EnSagme be lord of Dil

mun.

51. Praise!

Note on Obverse III, n

The two watchmen correspond to the boatman of Uta- napiltim in the Gilgamish Epic story. In that legend we have considerable warrant for supposing that on the ship UtanapiStim really had two boatmen also, for there is great confusion regarding the name of the boatman. In Col. X his name occurs six times as Ur-Nimin^[31] and in the same manner seven times in Col. XI. Since Nimin or "forty/' is the sacred number for the god Ea, this name should probably be rendered Ur-Ea. On the other hand, the same name occurs twice in Col. XI as Ur-Ninnu, where Ninnu or "fifty," is the sacred number of Enlil. In the Journal of the American Oriental Society, Vol. 23, 48-50, the author concluded that the original name was Ur-Enlil or Ur-Ninnu; but in XI 95 this same boatman is named Pu-{u-ur-^UuKurgal, which I take to be a Semitic view of the meaning of the Sumerian name Ur-Enlil. If this be true then we have only one boatman in this story. If, however, Pu^ur-^iluKurgal represents originally another person then this story also mentioned two boatmen. In favor of regarding Pu{ur-^UuKurgal as identical with Ur-Enlil is first of all the fact that ^UuKiir-gal in this poem, which was composed in the period of the first Babylonian dynasty, obviously refers to Enlil; see for this meaning of kiir-gal, SB P. 220, 1; 280, 13; IV Raw. 23 A 29. The reading Pu^ur-^Amurru^[32]is certainly false, for kiir-gal became a title of the western Adad or ^UuAmurru, only in the late period; see Clay, BE. X 7 ff, and Tallquist, Natnenbuch 233. Even here kur-gal probably refers to Enlil in most cases. Pu^ur-^iluKurgal, or Puiur-^UuEnlil, means, "The secret of Enlil," a name the Semites may have devised to replace Ur-Enlil, since by the craft of Ea, the secret plan of Enlil was revealed to Uta-napiStim. Then again the Sumerian Ur may possibly have the meaning pu^ru, "secret." Note that the Sumerian for pu^ru is gi-ra, CT. 12, 2B 15. It is possible that UR also had a value gir. Both UR and NIT AH have the meaning ardu, "male," and NIT AH has the value gir as is proven by ^UuNITAH-ra = gi-ra, in Messerschmidt, KTA. 26, 12. Also gir-ra=gasru, "strong," IV R. 9A 36, a title of the moon-god and glr-glr-ni=mugdalru, "the powerful," IV R. 21B rev., 14; gir-ra glossed ga-al-ru, K. 69, obv. 6=SBH. 19, 42. But the ordinary meaning of both NITA& and UR is, "virile, strong, manly," hence UR may well have the value gir. Supposing this to be true this sign would readily be used for writing the word gira(=pu^ru) also. Pu-{u-ur- ^UuKurgal, may be a Semitic translation of Ur-^UuKurgal, or Ur- ^luEnlil. Any of these theories may account for the various forms of this name and we have probably to assume but one boatman in the Babylonian account. Nevertheless the suggestion of two names which may have been confused is possible in view of the fact that the Nippurian version has two pilots or watchmen.

FRAGMENT OF A LEGEND CONCERNING ZI-UD-SUD-DU, HERO OF THE FLOOD

This single column tablet (No. 4611) probably belongs to still another epic on the Flood and the Fall of Man, which in this case was redacted on a series of small tablets. The portion here preserved consists of twenty-one consecutive lines from the end of the obverse and top of the reverse of a- tablet now numbered 4611 in the University Museum Collection. In these lines a divinity which is almost certainly the mother goddess Nintud instructs the survivor of the Flood in religious and political matters. The same situation occurs in both the Epics which have been already published from the Museum Collection. After the Flood Nintud begins an address to the royal survivors at the end of Col. Ill in the Epic of the Fall of Man (No. 4561). The hero is there called Tagtug. This address is almost wholly lost on that tablet, but the succeeding address to Tagtug by Enki and also another by the mother goddess have been preserved there. The Epic of Creation and the Flood (No. 10673) Col. IV also contains an address to this hero who there bears the same name, as in fragment No. 4611. Here Nintud^[33] warns her prot£g£ concerning the catastrophe and provides for his escape in a ship precisely as in the Epic of the Fall. But the fragmentary lines at the end of the sixth column of the Epic of Creation and the Flood (No. 10673) have led us to infer that according to this version Zi-ud-sud-du (or Zi-ud-gid-du) was translated to a blessed land or isle. On the contrary, the Epic of the Fall makes him (Tagtug) a gardener and like the Biblical account of Noah he continues his life among men.

From the fragment 4611 it is obvious that this third version held the same view of the survivor of the Flood. Zi-ud-sud-du continues his earthly career and under the guidance of the gods teaches men the proper worship of the gods and establishes justice and mercy among men. We shall with further investigation of the Nippur Collection recover other portions of this legend and the instructions revealed to the hero of the Flood for the regulation of human society. We may also expect sooner or later to recover portions of these post-diluvian instructions and revelations which correspond to those delivered to Noah in both the J^[34] and P^[35] documents.

The information derived from fragment 4611 throws doubt upon our interpretation of the last lines of No. 10673, in which Zi-ud-sud-du is supposed to have been translated from among men.³ This assumption was based more upon the Babylonian statements concerning Utanapishtim and those of Berossus concerning Xisuthrus than upon anything in the text of No. 10673. Nevertheless the fragmentary lines do point to this conclusion and we must assume that the Sumerians held conflicting views about the post-diluvian history of Zi-ud-sud-du or Tagtug. They also applied two epithets to this hero and the fragment which is edited on the following page shows that Zi-ud-sud-du and Tag-tug denote the same person.

461 I

Obverse

1 ga-

2. 1i-ud-sud-du¹ enim ga-[ra-ab

dug-dug]

3. na-ri-ga-mu^[36] lu-\i-di [ga-mu-

nariga]

4. dug-dug-ga mu-na-ab-te(g) 1

2. Oh Zi-udsuddu a command

"[I will speak to thee]^s

3. My purification faithfully [will

I accomplish]'⁹

4. Words to him she spoke

Reverse

1 TDD na-an-gai lag (?) e?

2 na-an-gai-gai \ag irtgar e-

[gai-gai?]

3 e-gal na-an-gai-gai \ag

4. sag-kur-ra⁴ kitr-bi-el-la e-

5. galu ki-nu-iu-a-ni la-u-um...

6. dumu-mu ki ^dbabbar l-a

7. a fcu-mu-ra-an-de-e igi-^u-M ge

8. i-nu-tuk i-a-ni tUl-la-ba

9. uru^nu-tuk uru-ni tiil-la-ba

10. la-ba-da-dug-li e-la-li?

11. [dumu-]mu ki ^dbabbar-h-[a] 12 na-an-ni

1. In not shall be sacri

ficed; beside the

2. In not shall be sacrificed;

beside the brick wall shalt thou [sacrifice]

3. In.. .of the palace not shall be

sacrificed; beside the

[shalt thou sacrifice]

4. The slave from a strange land,

to his land thou shalt [cause to return]

5. Him that knows no place (home)

shalt thou cause to [ ]

6. My son where the sun goes up,

7. Shall he be thy water libator,

before thee shall he

8. Of him that has no house, his

house enlarge.

9. Of him that has no city, his

city enlarge.

10. Him that is not happy, with

joy [enthuse].

11. My [son] where the sun goes up, 12

DESCRIPTION OF PLATES

plate

I, II Light brown tablet. Baked. Built up from three fragments.

Nearly complete. Three columns on obverse, and three on reverse. Measurements in centimeters, 19.7X 13.6X3. Sumerian epic of Paradise, the Flood and the Fall of Man. C.B.S. 4561. Period of the Isin Dynasty.

Ill, IV Light brown tablet. Unbaked. Large fragment from right

edge of a three column tablet containing a Semitic poem on the creation of mankind. Formerly published by Dr. T. G. Pinches, Cuneiform Tablets of the British Museum, Vol. VI., pi. 6. Measurements in centimeters, 14X13X2,5. Bu. 91-5-9, 269; in the British Museum. Period of First Babylonian Dynasty. See page 25.

IV Slate-colored fragment from right edge of a baked tablet belong-

ing to the ASurbanipal Library. Not more than half the column is preserved in width and only a slight portion of the column in length. The text belongs to the Assyrian redaction of the Eridu version of the Fall of Man and is a variant of part of the obverse of a large tablet found at Amarna, which contains the central portion of the Canaanitish Version. See Knudtzon, Die El-Amarna Tafeln, No. 356. K. 8743; in the British Museum. See page 42.

IV A Light brown. Baked. End of obverse and top of reverse of

a single column tablet. Measurements in centimeters, 7X5.1X2.5. C.B.S. 4611. See page 90.

Digitized by Google #

INDEX

Abel, patron of flocks, 52; corresponds to Abu in Sumerian. Abu (ilu), god of vegetation and

flocks, 52; 83,26; 88,43. Adam, in Hebrew version a sage, 57. Not philologically connected with Adapa, 64 n. 1. Adapa, 22 n. 4. Story of, in Eridu version, 38 ff. Fisherman, 41 n. 2. Rejects immortality, 45. Brings disease upon mankind, 46; 47; 53. Derivation of name, 64 n. 1. Abikar, 32. Alaparus, Adapa, 64. Alorus, 63.

Allotie de la Fuye, 21; 25. /fwtf, title of Nintud at

Agade, see Mami. A melon, 64. Amempsinus, 65. Ammenon, 64.

Www (*7w), assists in creating man,

17.

Anunnaki (ilu), 82, 39. /fos, Greek for Ea, 14. Apolodorus, 30 n. 1; 33. /4nirii title of mother goddess as creatress. The word contains the root Vru = ban&, "to build." Sister of Enlil, 17 n. 3. Fashions man from clay, 17; 18; 19; 22. Creates animals (?), 23 n. 4. As a potter, 29 n. 1. Belongs to Nippur pantheon, 23. A late title of Nintud, Ninharsag, Mami; not found

before I sin period and never in n. pra. nin-ma& ^dA-ru~ru, KL. 23, 5. In a list found by Scheil at Sippar she occurs with ^dNintud and ^dNinmag, Recueil de Travaux (ed. Mas- pero), XVII 32. CT. 24, 12, 22 [^dA-]ru-ru is one of the titles of Belit-ilani, i.e., Nintud (1. 13), NinJjarsag (1. 3). Cf. 24, 25, 86. She is connected with Adab in SB P. 24, 4 [Adab-] bu-ra-ge and 26, 5 she is the great goddess mother of Adab-bu-ra-ge. Cf. BL. 72, 1. In BL. No. 102 she is connected with KeS. A hymn to Aruru, KL. 173 Rev. 10. She is also the mother goddess type in Sippar, PSBA. 1911 PI. XI 9. A penitential psalm to Aruru as nin-mag, IV R. 53 111 40. On boundary stones she has the same symbol as Ninharsag, Zimmern in Frank, Bilder 34 ft. [There identified with the falcon but Bab. VI 220 identifies the falcon with Nidaba.] For her symbol see Ninharsag.

Alhrgi (ilu), title of Ninib. Man made in his image, 21.

Allwr, city, 12.

Atarfcasis, poem of, 18. See Xisu- thrus.

Athena, aids Prometheus in creating man, 30.

Babbar (ilu), 72, 7; 73, 19.

Babylonian map of the world, 11. Berossus, his pre-diluvian genealogies, 63 f. Boatmen, two boatmen, 76,11. Connected with Puzur-Enlil, 85 ff. Cain, 52.

Campbell, Colin, 35 n. 3. Canaanitisb transformation of Baby-

Ionian sources, 46 n. 2. Cassia, eaten by Tagtug, 51; 54;

81, 34-

C/ay, 7., 65; 86. Clermont-Ganneau, 36 n. 4. Clothing, of Adapa, 46; of Adam,

46 n. 1. Cooke, G. 36 n. 4. Craig, J. A., 18.

Creation of man from clay. In Babylonia, 16 ff. 18. Blood and bone, 23; blood and clay, 25. In image of Ninib, 21. In Greek mythology, 29 ff. In Egyptian mythology, 34 f. Animal vitality, 28. Creation bi-lingual tablet an incantation, 23; 27. Creation and Flood Epic, published by Poebel, its contents and relation to the Epic of Paradise, 14ft. Its relation to Nippurian theology, 27. Damgalnunna (ilat), 74, 31. Dadnus, 64.

Daiima (ilu), 52; 84, 37; 85, 48. Delitfscb, Friedrich, 9; 12. Democritus, 32.

Dilmun, land and city, 13. Sumerian Paradise, 14; 69; 70; 72; 73 85, 50. Location of, 8 ff. Ideograms for, 8 n. 1. Dionysus Zagreus, 34.

Dborme, 18; 19; 22; 23; 26; 28;

40; 42; 51; 66; 85. Ebaraguldu, 79, 18; 80, 46. Eden, 14.

£nJfei (*7u), water god, assists in creating man, 17. Creates minor deities, 22 n. 1. In Eridu theology he creates man, 23;

26 ff. Creates cattle, 27. Rules in Paradise, 27 f. As potter,

27 n. 1. In Nippur Epic of Fall, 70; 71; 73; 74; 75; 76;

77; 78; 79- Enkidu_t 19.

Enlil (ilu), as begetter of man, 16 f. Assists Aruru, 23. Brother of Aruru, 17 n. 3; 82, 40; 83, 19. Enoch, translated, 16 n. 1; 52. Enlagml {ilu), 52; 84, 41; 85, 50. Erabgaran, 79, 19, 36; 80, 47. Erinna, Greek writer, 31. Eridu, its version of the Fall> 38 ff.

Rejects free will, 48. Euedoracbus, 65. Farnell, L. /?., 31 n. 2. Flood, epic of, 15. Its duration in

various sources, 60. Fra\er, Sir James, 52. Four rivers of Genesis 2, p. 11. Garden, in Nippur epic after the

Flood, 14. Gardener, Tagtug, 79, 26, 29; 80, 41;

50. In Hebrew Noah, 50 n. 1. Good and evil, revealed to Adapa

and Adam, 44. Harper, R. F., 5; 19. Hathor, 35.

Hawwa, Phoenician serpent goddess, 35; assists as Eve in creation of man, 36. Heket, 35.

Hesiod, 33.

Hontmel, Friti, 64.

Horace, 30 n. 4; 32 n. 3.

Hyginus, 30 n. 5.

Immortality, withheld from Adapa, 40; Adam, 41; 50. Idea of late, 59.

/rarf, 52.

J document in Hebrew, depends upon both Eridu and Nippur systems, 56 ff. Secondary J containing tree of life and in its lost portions attributing the Fall of man to revelation by a jealous God, 59. Genealogy in J, 62 f.

Jabal, Jubal, Tubal-Cain, 52.

Jastrow, Morris, 9.

Jealousy of God, 43; 49; 49 n. 1. A late mystic doctrine, 56 n. i. Not in Hebrew J, 58. In secondary J source, 58 f.

Jensen, P., 19.

Jeremias, Alfred, 18; 23; 24.

/fa, in Egyptian religion, 34 n. 3.

Khnum, 34; 35.

/fmg, L. W., 8; 24; 25.

Knudtfon, 38 n. 2.

Lantech, 52 n. 6.

Laranchae, 65. Part of lsin, 66 n. 2.

Lidsbarski, 36 n. 4.

Lucian, 30 n. 2; 30.

lugal-mu, "My king," 76, 9; 77, 29; 81, 20, 22, 24, 26, 28, 30, 3*, 34.

A/tf^ic anJ divination, revealed to man, 43; 44; 48.

Afawtf see Mami.

Mami (ilat), title of mother goddess as creatress, 17 f. Creates man from blood and clay, 25. In great theological list, CT. 24,

13, 41=25, 96. Same name as earlier ^dMa-ma, root ^mal= banH, "to build, create." Mama does not occur before Sargon the ancient, but the title is earlier than Aruru. Without dingir in n. pr. at Agade; Gimil- ma-ma, St&le of ManiStusu, 8, 22: at Ur also without dingir; A mar-ma-ma, Ur-ma-ma, Legrain, Les Rois d'Ur, 331, 7. Cf. Ur-ma-mi, Thureau-Dan- gin, Recueil de Textes Chal- deens, 353 1 3, but Ur-^dMa-mi, 398114; Bur-^dMa-mi, DeClercq Catalogue, 209. In Hammurapi period, Utul-^dMa-mi, and Ma-mi-5arrat, Ranke, Personal Names, 201. See alsoThureau- Dangin, Lettres et Contrats, 63. Hymn in Semitic to Ma-ma, CT. 15, 1 f. In proper names of Cassite period ^dMa-ma; see Clay, Personal Names of the Cassite Period, 206. Disappears after Cassite period. In theological list, CT. 24, 13, 40 = 25, 96. The title A-ma and A-ma (MAL) is connected with Mama, and is the ordinary title of the mother goddess Nintud at Agade. Sargalisarri built her temple at Babylon (SAK. 225c), in Neo-Babylonian period called Emah of Ninmah, see VAB. IV, Index. For this temple to A-mk in Babylon see RTC. 118 Rev. 5. In n. pr. ^dA-m&-iSdagal, St£le ManiStu- su, C. XIII 24; XIX 28. The priest of A-mi, ibid. A. XV
19. ManiStusu is Sakkanak of ^dA-m£, RA. 9,92, 11. UrumuS mentions her with Shamash as deity in Agade, RA. 8, 138 Col. I. Also in a letter of the Hammurapi period, CT. 29, 43, 25+40. [Source unknown.] At Dir, a city in ASnunnak, mentioned in the Sargon Stone, dated in the nth year of Sargon of Assyria and written in Babylonian, Col. IV 27, a man is langu of ^ila'A-md. In Neo-Babylonian period the title survives. ^tluAnim ^tluEnlil u ^ilatA-md arrassu marrutu li-i-ru- ur, "May Anu, Enlil and Ama each curse him with his (her) bitter curse," Strassmaier, Cyrus, 277, 17. The title has been read falsely A-£(= mar biti) in n. pra. of the late period, Tallqu 1 st, Neu-babyloniscbes Namtnbuch, 226. Not to be confused with DUMU-£ = mar biti. A marble slab from Agade, OBI pi. VII Col. V4has ^dA-mA (Hinke, Boundary Stones, 220). On the other hand, ^dA-£ = mar biti — Nebo, is certain in Vorderasiatiscbe Schriftdenk- maler, I 2761+3, ^ilaiNand u ^iluA-£ (Kudurru of NabuSum iSkun). Cf. ibid. I 17 ^iluA-& kardu mugdalru and Nana is birat ^ilHNabu in 1. 5, hence A- £ = mar btti= Nabu is certain from ninth century. When the signs MAL and £ are confused the rendering must be settled by the context in the late

period. In theological list, CT. 24, 13, 39 = 25, 95.

Marduk (ilu)_t assists Aruru in making man, 22. In Creation Epic, 23 f. In Berossus, 24.

Martin, Fr., 18.

malkim, 76, n; 77, 31.

Megalarus, 64.

Mebijja-el, 52.

Meissner, B., 24.

Methusbalab, 52.

Minerva, 30.

Murray, Sir Gilbert, 33.

Muss-Arnolt, W._t 70.

nam, emphatic verbal prefix, 76 n. 4-

Nannar (ilu), 73, 10.

naru marratu, Persian Gulf, 11.

Naville, Ed., 35 n. 1.

Nazi (ilat), 52; 84, 35, 47.

Nebo, god in Dilmun, 8.

Ninella {ilat), 70, 11; 71, 31.

Ninkarrak (ilat), patroness of healing, 48; 49.

Ninkasi (ilat), 52; 84, 33, 46.

Nin-KA-utud (ilu), 52; 84, 31, 45.

Ninharsag (ilat), one of the most ancient and well known titles of the mother goddess as creatress, 16; 22; 26; 27; 74, 32; 82, 37, 41, 43; 83, 12, 18, 23. In theological list regarded among 41 names as the third most important, CT. 24, 12, 3=²5> 75- Principal title of mother goddess in Ke5. As a married type she is associated with the god SulsigZ, Zimmern, KL. 78, Obv. 15, Rev. 14; SBP. 150, note 5, line 10. Sulslg& is a form of Enlil originally. Her
symbol on boundary stones is the altar with oval band and occurs beside those of the great trinity, Anu, Enlil, Ea. See Hinke, Boundary Stones, p. 6, fig. 2, No. 7, etc. Also Deimel, Pantheon Babylonicum, Rome, 1914, p. 208.

Nin-kurra (ilat), 77, 19, 21, 25, 28;

78, 38. -

Nintil (ilat), 52; 84, 39; 85, 49.

Nintud (ilat), one of principal titles of mother goddess as patroness of birth. Creates man, 16; 17 n. 2; 17; 18 n. 6. Liturgy to her, 19 f. Woman created in her image. Saves mankind in the flood, 28; serpent deity, 37. In the Nippur epic, 73, 21, 23; 75, 44; 75, 1; 75, 5, 8; 77, 20; 78,40. The reading is certainly Nintud not Nintur as Deimel, Pantheon Babylonicum 221 has read. The second sign is REC. 147 tud-banH not tur — erebu, REC 144, 145, 56. See Ham. Code III 35. Also ^dnin-tu-ud, CT. 24, 12, 13 = ^dnin-tud 24, 25, 82. Note also her title ummu banttu, "begetting mother," where tud is rendered by banttu, Code XL\ V 40, and as ^dMag she is ummu bantti-ia, VAB. IV 128, 16; as ^dNinmag she is also ummu bantti-ia, King, Letters and Inscriptions, 201, 45. In-^dnin- tud-ra, Poebel, Creation Epic, I 3, ra is either an emphatic particle or the postposition ra. The forms ^dnin-tud-tud-ri, CT.

24, 25, 81 and ^dnin-tud-ri, p. 82, 40 and BL. 54, 5, probably contain the word ri<rib= du- nanu "form," and the whole should be rendered beltu bantt dunani, "Queen, creatress of forms." As a married type she is associated with ^d§ulslg£, CT. 24, 25, 97, and BL. 91, 13.

. Nintulla (ilat), 52; 83, 29, 44.

Nippur, the Nippurian version of the Fall of Man, 38; 45; 49 ff. 54 f. Does not mention immortality, 59.

Oannes, 14 n. 4.

Opartes, 65.

Oppert, Jules, 25.

Orelli, 30 n. 2; 31.

Orphic literature, 33.

P document in Hebrew, agrees with Nippur version, 55; 61. No sin before Flood period, 60. P/s genealogical list, 62 f.

Pandora, 32.

Patrons, sent to alleviate human sorrow. In Adapa legend, 49; in Nippur version, 52; in Hebrew, 52.

Pinches, T. G., 24 n. 7.

Poebel, A., 13; 15; 27; 65; 74.

Prometheus, in Greek tradition fashions man from clay, 29 f.

Pu{ur-Enlil, boatman in Babylonian version of the Flood, 86 f.

Radau, H., 19; 20.

Rogers, R. W., 18; 23; 85.

Sayce, A. H., 5; 12; 64.

Scheil, V., 38; 41.

Serpent, Eve a serpent goddess, 36. Sumerian mother goddess who

creates man is a serpent deity, 37. Serpent tempter, 55 f.; 57.

Ship, in the Flood, 76, 10; 77, 30.

simanu = iumtnanu_t "nose cord," 79 n. 1.

Sophocles, 32; 32 n. 4; 33.

Sow/, creation of, 31; 34; 35.

A39; 47.

Suruppak, city, part of Isin, 66 n. 2.

Tagtug, hero of the Flood, 78, 39 f.; 80, 38, 43, 48. Connection with Noah, 66 ff. A gardener, 14; 51. Eats the cassia, 51. Brings disease upon mankind, 51; 55. Receives divine title, 51; 55.

Temptation, latent in Nippur version, 55; 58.

Tbureau-Dangin, Fr., 10; 27; 85.

Toutain, 31 n. 1.

knowledge, 44; 57. Its origin in mythology, 58. Tree of life, 58 f.

Tu-tu (/7m), 66 n. 2.

creatures, made by Enki, 27; by Ninharsag, 82, 44. Ungnad, 85. Ur-Nimin, boatman, 85 f. Utanapistim, translation of Zi-ud-

(suddu), 15. Virolleaud, Cbas., 9. IVeissbach, Fr., 22; 23; 27. IVinckler, 9; 10; 38.

Wisdom, revealed to Adapa, 39;

to Adam, 39; 40; 44; 50. Xisutbrus, translated to blessed

isle, 15; 66. Zarpanit, goddess in Dilmun, 9. Zimmern, //., 21; 23; 38; 65; 69; 70.

Ziudsuidu, name of the hero of the Flood on Poebel tablet, 15. Legend of, p. 90.

ABBREVIATIONS

AJSL. American Journal of Semitic Languages and Literatures. ASKT. Akkadische und Sumerische Keilschrifttexte, by Paul Haupt. BA. Beitrage zur Assyriologie, ed. Friedrich Delitzsch and Paul

Haupt.

Bab. Babyloniaca, ed. Chas. Virolleaud.

BE. Babylonian Expedition of the University of Pennsylvania, ed.

H. V. Hilprecht. BL. Babylonian Liturgies, by S. Langdon.

C.B.S. Catalogue of the Babylonian Section of the University Museum.

CT. Cuneiform Texts in the British Museum.

DP. Documents Pre-sargoniques, by Allotte De La Fuye.

KL. Altbabylonische Kultlieder, by H. Zimmern.

KTA. Keilschrifttexte aus Assur, by L. Messerschmidt.

OLZ. Orientalische Literaturzeitung, ed. F. Peiser.

PBS. Publications of the Babylonian Section of the University

Museum.

PSBA. Proceedings of the Society of Biblical Literature. R. or Raw. Cuneiform Inscriptions of Western Asia, begun by H. C. Raw- linson, continued by George Smith, Norris and Pinches. RA. Revue d'Assyriologie, ed. v. Scheil et Fr. Thureau-Dangin.

REC. Recherches sur l'Origine de 1'kcriture Cuneiforme, by Fr.

Thureau-Dangin. SAL Seltene Assyrische Ideogramme, by B. Meissner.

SAK. Die Sumerischen und Akkadischen Konigsinschriften, by Fr.

Thureau-Dangin. SBH. Sumerisch-Babylonische Hymnen, by G. Reisner.

SBP. Sumerian and Babylonian Psalms, by S. Langdon.

Sum. Gr. A Sumerian Grammar and Chrestomathy, by the same. VAB. Vorderasiatische Bibliothek, ed. A. Jeremias and H. Winck-

ler.

ZA. Zeitschrift fur Assyriologie, ed. C. Bezold.

AUTOGRAPH PLATES

t

2

OBVERSE

Col. 3

I

PHOTOGRAPHIC PLATES

OBVERSE

GoogI<

THE CREATION. FLOOD AND FALL OF MAN

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UNIVERSITY OF PENNSYLVANIA THE UNIVERSITY MUSEUM PUBLICATIONS OF THE BABYLONIAN SECTION

No. 2

Vol. X

SUMERIAN LITURGICAL TEXTS

BY

STEPHEN LANGDON

PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM

1917

pace

INTRODUCTION...,............. 103

SUMERIAN LITURGICAL TEXTS:

Epical Poem on the Origin of Sumerian Civilization................................... hi

Lamentation to Aruru 115

Penitential Psalm to God Amurru .......................................................... 118

Lamentation on the Invasion by Gutium............................................. 120

Legend of Gilgamish....... 124

Liturgical Hymn to Ur-Engur 126

Liturgical Hymn to Dungi 136

Liturgical Hymn to Libit-Ishtar(P) or Ishme-

Dagan(?).......................... .. 140

Liturgical Hymn to Ishme-Dagan .......................................................... 143

Lamentation on the Destruction of Ur.................................................... 150

Hymn of Samsuiluna....... 151

Liturgy to Enlil, babbar-ri babbar-ri-gitn, including a Translation of SBH 39 155

Fragment from the Titular Litany of a Liturgy 172

Liturgical Hymn to Ishme-Dagan ......................................................... 178

Liturgy to Innini.............. 184

Epical Legend on the Musical Instrument of

Enlil...................................... 187

Liturgy of the Tammuz Wailings 191

Liturgy to Nintud on the Creation of Man and

Woman.................................... 192

Prayers and Incantations of Shamash-Shum-ukin . 193

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INTRODUCTION

Under the title Sumerian Liturgical Texts the author has collected the- material of the Nippur collection which belonged to the various public song services of the Sumerian and Babylonian temples. In this category he has included the epical and theological poems called {ag-sal. These long epical compositions are the work of a group of scholars at Nippur who ambitiously planned to write a series of poems- concerning cosmological, ethical and religious problems. They were read or sung in the temples and formed part of the corpus of sacred literature in Sumerian times, like the liturgies and hymns, but unfortunately these fine compositions composed in narrative and heroic style were eventually banished from the public readings. For such reason the scribes ceased to propagate this the best and most important branch of all

their literature.

The poem published in Part 1 of this volume which is the Epic of Paradise, has as its colophon [^dNidab]a ^ag- sal, "Oh praise the goddess Nidaba," which really means, Oh praise the goddess of the reed, or praise the art of writing, an impulsive note added by the scribe in admiration of the fine poem which he had just copied. The same colophon is probably to be restored at the end of the poem on the Flood¹ and the epical legend published as the first text in this volume. It occurs also as a scribal note at the end of a hymn to Dungi.²

¹ poebel, PBS. V No. i.

* Langdon, Historical and Religious Texts, p. 18. The same note occurs at the end of Ni. 4588, a hymn to Innini.

This fanciful use of {ag-sal, of course, has per se no reference to the contents of the text nor to the purpose for which it was written, but evidence can be produced for the statement that this note when attached to poems and hymns really designates the text as liturgical, that is as part of the public song services. For iag-sal or "praise" occurs frequently in its proper sense. For example a legendary poem to Enki the water-god in the Nippur collection in Constantinople ends with the note a-a ^dEn-ki {ag-sal, "Oh sing in praise of father Enki."¹ The word lag designates some kind of an instrument perhaps and sal is a verb meaning to sing in joyful strain.² In any case iag-sal designates, in its proper usage, a poem of joyful character in distinction from such liturgical notes as ersemma and kisub which characterize a melody as sorrowful and attended by spiritual humiliation. Hence at the end of a long double column hymn concerning the earth-god the scribe adds the line a-a ^dEn-lil {ag-sal,³ "Oh sing in praise of Enlil." Two hymns in heroic measure sung to the mother goddess Innini end with the rubric, {ag-sal-{u dug-ga-dm, "It is good to sing thy praise."⁴ And a long epical composition to Nidaba ends with the line, iag-sal-mu dug-ga-dm, "It is good to sing my praise."⁵ In similar manner a double column tablet ends ama ^dNina {ag-sal- iu dug-ga-dm, "Oh mother Nina it is good to sing thy praise."⁶ Although the rubric ^dNidaba {agsal is employed in the fanciful sense "Oh praise her of the stylus," nevertheless the line obviously purports to classify the composition as an epic and

¹ Langdon, Historical and Religious Texts, p. 45. The same rubric at the end of Ni. 14059. also a hymn to Enki.

¹ See 51/(3) in Sumerian Grammar 240.

* Ni. 920$ (unpublished).

⁴Ni. 14065 and 13859 (unpublished).

'Ni. 7071 (unpublished).

⁴ Radau, Miscellaneous Sumerian Texts, No. 22.

liturgical.^[37] When the cults no longer provided opportunity for the bards and philosophers to sing their epics in the hearing of the congregations, or to cause them to be sung by the temple choirs, they appear to have lost their incentive and their inspiration. For we must bear in mind that writing to be read figured slightly in the imagination of authors who wrote painfully upon clay. Their only means of reaching the ears of a wider public, and these fine epics had that end in view, was to induce the temple choristers to incorporate their compositions in the corpus of public worship. Naturally these heroic measures and these ethical problems, so shrewdly propounded and answered in the recital of ancient legends, gave little scope for the varied melodies characteristic of the mournful liturgies. They appealed only to the thoughtful. When this class of literature disappeared with the scribes and schoolmen of the I sin period Sumero- Babylonian religion and universal literature suffered an unknown loss. Of this epical and theological class of literature part two of my volume contains only one text which introduces the book.

Several texts belonging to the well-known liturgical type of daily prayer, such as survived almost exclusively and in great numbers into the Semitic cults of Babylonia and Assyria, will be found here. So far as they add new material for knowledge of the corpus of liturgical literature and fill up gaps in hitherto imperfectly known prayer books, these will be welcomed,

I trust, by scholars and general readers. The consecutive publication of these liturgical texts will contain more tablets of this type.

The most important group of texts in this volume (Nos. 6, 7, 8, 9 and 14 of the contents) represent a great religious movement, always latent in Sumerian religion but especially characteristic of the scholastic period in which the Sumerian people became extinct. Beginning with the early years of Dungi, second king of the dynasty of Ur, the doctrine of the deification of kings holds perhaps the foremost place in Sumerian theology and certainly the practice of this belief occupies the chief position in their liturgy. The doctrine of a divine right to rule was proclaimed by the early city kings of Sumer at the dawn of history when they assumed the religious title patesi, priest-king, either to the exclusion of or in conjunction with the secular title lugal, king. During the long ages preceding the rise of the Ur dynasty in the twenty-fifth century the Sumerian people generally accepted this ancient dogma. It may have been due to an aristocratic priesthood, but it was a belief which gave them peace and confidence because they believed themselves ruled by the vicars of god. And this faith in the divine origin, mission and rights of kings resulted at last not alone in the deification of mortal rulers and the institution of cults for their worship, but in a widely spread Messianic hope. Another more powerful doctrine current in that philosophic age aroused a longing and prepared the way for their implicit belief in the kings as Messiahs who had at last arrived to restore on earth the prediluvian paradise. The well-preserved epic published in Part l,as well as the small fragment concerning Ziudsuddu, lone survivor of the Flood, show a well-known legend concerning a lost paradise where men toiled not and disease was not.

Such doctrines naturally gave rise to an irrepressible hope that the gods would one time restore the lost prediluvian paradise. The hymns sung to the deified kings of Ur and Isin, who ruled from 2475 to 2133 B. C., reveal clearly enough the state of mind which existed in that age. Beginning with Dungi of Ur,¹ whose extremely long reign probably increased their faith in him as an immortal, the Sumerian people really believed that the divine deliverers had come, begotten by the gods, made mortal that they might rule over men, and wedded to the great mother goddess herself.² Even the catastrophe which befell the divine Ibi-Sin last king of Ur, whose city was pillaged by the Elamites and who himself took the way to Susa as a captive, failed to cool the ardor of their belief. In the kings of Isin who succeeded them they placed the same confidence.

In the hymn sung in the cult of Ishme-Dagan and translated on pages- 143-9 this volume the reader will find somewhat modest claims compared with other hymns of this class. "He whom Innini, queen of heaven and earth, as her beloved spouse has chosen, I am," says our hymn. More explicit in regard to the belief in his Messianic nature is the other hymn of his cult published here:

"The maiden, mother Bau, has looked with faithful eyes upon thee, and good things decreed in order that life of days may go forth forever."³

This hymn claims for him a "crown that prolongeth the breath of life;" for him the rivers brought abundance and the cellars overflowed with honey; the fields bore grain in abundance and the sheepfolds were made more spacious.

¹ For hymns and liturgies to Dungi see also the writer's Historical and Religious Texts.

* See on the identification of these divine kings with Tammuz the author's Tammu{ and Isbtar, pp. 26 f.

* Ni. 7184 Obv. 30.

The extreme length to which this worship of mortal rulers was carried, the Messianic position which they occupied in the official cult, characterize the Ur and I sin period as one of the most remarkable and interesting in the history of religion. That it had a philosophic and legendary background supported by the ancient doctrine of the divine origin of kings, the Epic of Paradise and the Sumerian historical inscriptions abundantly prove. Some of these deified men in a way justified the faith which they inspired, but they all failed to banish toil and disease, or even to protect their people from the violence of foes. Nevertheless all the kings of I sin were deified even to the last unfortunate Damik-ili-su and we have liturgies to the first,¹ third,² fourth,³ fifth,⁴ sixth⁵ and eleventh.⁶ For the last five kings of Isin no cult hymns have been found, but their names have the divine title.

The Semitic people, who after centuries of conflict, peaceful and violent, at last supplanted the Sumerian race, abolished the entire institution of king worship and with it the belief in the Messianic age. The facts belied their claims and their fate took from them the last vestige of divine authority. Instead of enthusiastic chants and hymns which proclaimed the advent of god-sent rulers and the golden age, we now see the rise of the famous poem of pessimism, the Epic of Gilgamish. Although a few tablets have been found which indicate the existence of

¹ lshbi-Girra; see Sum. Cr., p. 16.

¹ Idin-Dagan; see ibid.

3 Ishire-Dagan. Two liturgies in this volutr.e and one in Zimmekn, KL. 200.

4 Libit-lshtar. Liturgy to, in Zimmern, KL. 199.

⁴ Libit-Ishtar. Liturgy to, in Ni. 13979.

⁸ Hnlil-bani. Hymn to, in Langdon, Historical and Kdigious Texts No. 38. The contemporaneous kings of Larsa were also deified, but since they did not rule at Nippur until the period of Warad-Sin we cannot expect to find many hyirns and liturgies of their cults at N'ppur. For Sin-idinnam third king at Larsa, mentioned in the hymn to Enlil-bani, our collection possesses one liturgy, Ni. 7072.

a Sumerian epic concerning Gilgamish,^[38] nevertheless it is most improbable that it contains the elements (other than legendary) of the Semitic masterpiece. The Epic of Gilgamish is obviously due to the wave of pessimism which followed upon the failure of the Messianic kingdom and the cults of the deified kings. Here mankind is taught, in the long tale about an ancient godlike hero, that the pain of life and the fate of death are unavoidable and ordained by the gods. Its doctrine is the antithesis of the hope expressed in these hymns and liturgies which, we now know, were the favorite songs in public worship from the twenty-fifth to the twenty-second centuries.

The major theological and ethical movements which stand out so clearly in that critical age of human history are only outlined here. The object of this volume is to supply material for investigating in detail the great movements of that period which so directly affected the progress of all dogma, belief and practice. The collection possesses a large number of similar texts which will be an important addition to the material now published.

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SUMERIAN LITURGICAL TEXTS 4562

An Epical Poem on the Origin of Sumerian Civilization

No. 4562 is a fragment of a legendary poem similar to the legendary poems of the Flood translated by Poebel (10673) that of Paradise translated by myself (4561). All three tablets are apparently from the same hand and are written in three columns on each side. They belong to a series of poems treating in epical style of the legends of prehistoric times. The fragment 4562 is the upper right corner of a tablet and contains only a small portion of the text. Unfortunately the reverse is almost illegible.

As in the epics of the Flood and of Paradise, so in the poem to which I now call attention the god Enki of Eridu appears as the chief divine figure in the beginnings of civilization. He declares the fate by which Sumer became the divinely chosen land of the universe (Obv. Ill 10). This decree follows immediately upon a few obscure lines which refer apparently to the Flood and a ship. The fragmentary lines at the top of Obv. II mention Magan and Dilmun, but the references are extremely obscure. If the Flood is referred to at the ^fop of Obv. Ill, then Col. II must refer to prediluvian times. In any case, the well preserved passage in Obv. 111 tells of the glorious destiny decreed for Sumer by the wise god of Eridu. In much the same way, Enki restores civilization after the Flood in the Epic of Paradise. On the reverse (1 16) we find the Anunnaki who also figure in the legend of the Fall of Man in the Paradise Epic. It is extremely regrettable that so little definite informa-

tion can be gleaned from the reverse. In any case, we have here another legend concerning the origin of civilization and religion in Sumer, but its contents and relation to the other two epics must remain undefined until the tablet by good chance is restored.

Obverse II

u-ga-am-

i ?-stg-stg-ga-bi

dug*

2. md-gan-(ki) dilmun-(ki)-

bi

3 en igi-ge-im-da-a-dug

4. Dilmun(ki)na gil-ge-en-dii^[39]

5. [Mk]-gan-(ki)-na an-{ag £e-en-

lal

6 gi-lum me-lug-&a-(ki)-a- ge

7 UD baUsu ge-mi-e*

8 kur-kur-ra-ranippur-(ki)-&

ge-na-ab-tum

9 S-nu-tuk- ra

10

11. [e-gal kalatn-ma-]na I- a- ra

12 ne sal 1id mu-un-ne-de^[40]

13 me-el-lu u- a 1 its brilliant let

him behold. 2. Magan and Dilmun

3 may be looked upon.

4. May Dilmun

5. May Magan the limits of heaven

reach.

6. The of Meluhha

7......

8. [The tribute?] of the foreign

lands unto Nippur may he bring.

9. Unto who has no house

10......

11. For him [who from the palace of

his land] had gone forth, 12 he established faithfully for them.

13. The who exalts the pure

decrees.

14 glr- gub- ba

15 lag-- du- a

16 kal-la-dl me-mafc lu-ii-a

18

17 en an-ki

.1-

ra

a-

19 ne

20 erida-ra- ne

21 ki-en-gi-ra-ge- w

22 mu-na-ab-bi-

23 im-mi-ib-du?-ne

14 treads.

15 is glorified.

16 possesses the far famed

decrees.

17 lord of heaven and earth

18. The. .who went forth

19. The

20. The. .of Eridu...

21. The [inhabitants] of Sumer

said to him.

.....

Col. Ill

3. ^dligir-sig^[41] PA..

4. en-ra mudur a^ag lu.

5. la-£a-ma? engur-ra le-bi.

3. Ligirsig

4. To the high-priest a splendid

scepter

5. Lahama in the abyss a flood

6. ka-ra-e-ne Ien-gam mulen an-na

7. lugal u-na-gub* a-a ^den-ki kalam-

]

8.

8. i-gal kalam-ma-na i-a-[ra]..

6. Their wail woefully(?) like the

birds of heaven

7. The king, who stands aloft,

father Enki, the Land [ ]

For him who from the palace of his Land had gone forth,

Obverse III

9- i^-gdl an-ki-a pa-i mu-na-ab-ag

10. ^den-ki-ge nam-im-mi-ib-tar-ri

11. ki-en-gi kur-gal ma-da an-ki

12. le-ir-ii-gur-ru babbar-l-ta babbar-

lu-ul kalam-e me sum-mu

13. me-{u me-ma£ lu-nu-tu-iu

14. lag-^u galam gen^[42] galu nu-pad-

de

15. umun-iid ki-an u-tud-^a an-gim

lu-nu-U-gd.

16. lugal il-tud mul-{id ket-di

17. en u-tud sag men ma-md

18. en-iu en idim^[43] dingir lugal da

bara-an-na-ka i-im-durun

19. lugal-iu kur-gal a-a ^den-lil

20. gil-sitf-gim dug-dug-gi la-mu-

ra-an-gib{ib) a-a kur-kur-ra-ge

21. ^da-nun-na dingir-gal-gal-e-ne

22. lag-{a ki-ur-ra lu-ba-ni-in-ti-el

23. gi-gun-na gal-gal-^a u-mi-nt-ib-

9. Surpassing abundance in heaven

and earth he made.

10. Enki issued a decree.

11. "Sumer,¹ the great mountain,

land of Heaven and Earth,

12. Bearing a sheen of splendor,

from sunrise to sunset teaching the Land decrees,

13. Far famed are thy decrees and

unchangeable,

14. Thy heart is profound; man has

not discovered it.

15. As a true form (designed by)

earth and heaven thou wast created, like heaven intangible.

16. Offspring of a king, clad upon

by a true form.

17. Offspring of an high-priest whose

head is crowned.

18. Thy high-priest is the lord of the

deep, the divine king who within the sanctuary of heaven dwells.

19. Thy king is the great mountain

father Enlil.

20. Like a wall he turns back for

thee the wicked ones(?), father of all lands.

21. The Anunnakki, the great gods,

22. Within thee Kenurra^[44] inhabited.

23. In thy great dark chambers they

feed.

24. i ki-en-gin tur-^u fce-du-du db-{u 24,

ge-lu-lu

25. amal-in ie-gar-gar udu-fu-ge- 25.

Idr-ldr

The house(s) of Sumer, thy stable(s) let be built, and may thy cattle be many.

May thy sheepfold(s) be built and thy sheep be fat.

45

Nearly Complete Lamentation to Aruru

1 mln ?-e IjAR-a ^d

2 SAL+KU^[45]-gal ^dmu-ul-

lil-ld

3 i-mag i-a-ma-ka

4. ^da-ru-ru [ur-]taf i-mafc i-a-na-ka

5 gu i-bi-lu £-mag-a-ni-H

6. [u-]ma-du-du-bi ii-ma-ni mafc

me-en

7. u-tna mu-lu-tnu bar-ta KU-a-

min

8. u-ma mu-lu i-a-mu bar-ta KU-a-

mln

9. en-e* ka-na-dg-gd-ka bar-ta KU-

a-mtn

10. i-ki-nam-ma-ka bar-ta KU-a-

min

11. i-gal kel-{ki)-a-ka bar-ta KU-a-

min

12. nin-min ud-nu-{u iti ^dnannar*

nu-iu men

1 thou art;

2 great sister of Enlil.

3 of Emah^[46] her temple.

4. Aruru procreaiive womb of Emah, her temple.

5 in that temple, in her

Emah

6. Which attains unto her glory,

her glory was far-famed,

7. The glory of my lord abides far

away.

8. The glory of the lord of my

temple abides far away.

9. The lord of the Land abides far

away.

10. From the "Temple of Fate"

she(?) abides afar.

11. From the Hekal of Kesh she(?)

abides afar.

12. A queen thou art. The day

thou knowest not, the new moon thou knowest not.

I 16

13. SAL+KU ^dmu-ul-lil-ld mhn ba-

ni-in-kuf-u ba-nad

14. nin-min Sf-lal^[47] e dg-nam-ma-an-

lu

15. ^da-ru-ru e-a-na gu-bi-na-ma-an-

ii

16. dam-a-ni-gim nd-a ba-ni-in-dur-

ru-ne-el-am

17. tu-mu-ni-gim nd-a ba-ni-in-dtir-

ru-ne-el-dm

18. ^da-ru-ru an mu-na-du nu-mu-

ni-in-tiif-e

19. ^den-lil mu-na-du nu-mu-ni-in-

tug-e

20. ^dnin-lil mu-na-du nu-mu-ni-in-

tug-e

21. ^den-ki mu-na-du nu-mu-ni-in-

tug-e

22. ^dnin-mag mu-na-du nu-mu-ni-

in-tug-e

23. ^dnannar mu-na-du nu-mu-ni-in-

tug-e

24. ^dbabbar mu-na-du nu-mu-ni-in-

tug-e

25. e-ne-ra^{b d}a-nu-na mu-un-na-lag-

Idg-gi-ei

26. an-a an a-ri-a mu-un-na-ldg-lag-

gi-el

27. ki-a an a-ri-a mu-un-na-l&g-

Idg-gi-el

13. The sister of Enlil she is; she

languishes, she sleeps.

14. A queen she is. The house LAL

of the temple she inhabits not.

15. Aruru her temple has renounced.

16. Like her whose husband slum

bers they sit.

17. Like her whose child sleeps they

sit.^[48]

18. To Aruru Anu went, but pacified

her not.

19. Enlil went but pacified her not.

20. Ninlil went but pacified her not.

21. Enki went but pacified her not.

22. Ninmah^[49] went but pacified her

not.

23. Nannar went but pacified her

not.

24. Babbar went but pacified her

not.

25. Unto her the Anunnaki has

tened.

26. They whom Anu in heaven

begat^[50] hastened.

27. They whom Anu in earth begat^[51]

hastened.

28.	um-ma sir-sag-e^l sir-mu-na-ra^2	28. The artist the first melody
	-		chants.
29.	[...] Id-ob—gi-gi-mu sir-mu-na-	29. My he sings.
	ab-bi
30.	... ma mu-lu gu-de gu-de-^u	30.
	nam-mu		laments to thee.^8
	I mu-lu ad-di ad-di-^u^4 nam-	3^1-	,. .. the man of wailing wails
	mu		to thee.
32.		32.	the man of weeping is thy
	mu		sorrowful weeper.
33-	utumgaP mu-lu le-DU le-DU-	33-	The great ulum, the man of
	nam-mu		threnody is thy threnodist.
34-	^da-ru-ru gu-^u mu-lu kur-ra im-	34.	Oh, Aruru, thy songs a stranger
	me^1		utters.
35.	^da-ru-ru er-pi mu-lu kur-ra im-	35.	Oh, Aruru, thy liturgy a stranger
	me		utters.
36. NU-NUNUZ-e le-DU-zu mu-		36.	Oh, woman, thy threnody a
	lu kur-ra im-me		stranger utters.^8
37-	^da-ru-ru an-^i-ga nigin-e-bi-en	37.	Oh, Aruru, the seized away,
			return.
38.	^da-ru-ru i-iur amai-a-ge nigin-e-	38.	Oh, Aruru, to the stalls and the
	bi-en		sheepfolds return.
39.	\u-mu i-dub-a-ge^9 NE-im-du^10	39.	The inmate of the house of
			letters implores.
40.	ma-e-gtn^11 ab-al(?)-gim git-gig nu-	40.	As for me like a_ cow words
	ga-gd		of misery 1 restrain not.
4i.	[ma-e?)-gim gil-li-em-md ab....	4^1-	1 like a that has fallen
	er-nu-ni-ib-gul-e^12		on calamity weeping withhold
			not.

*Cf. SBP. 96, 10; 332, 9 and Radau, Miscel. 17, 13.

I Cf. IV R. 1 ib 30; CT. 15, 8 Rev. 9; 14,21-3.

* Literally, "is thy lamenter."

⁴ See note on Dublin Text 1. 22. *Cf. BL. Introduction XXIII.

* For this term applied both to a lyre and a musician, see Tamntui and Ishtar 115 n. 2.

7 For gil-me, see IV R. 27a 32 and for im-me = ikabbi, RA. 11, 144, 4.

8 Lines 34-6 probably refer to the conduct of the liturgies in the temples. *Cf. BA. VI 5, 6i, dumu i-dub-ba=dup-lar.

¹⁰ This verb probably means "to pray, implore." Cf. lag-NE-du = unninu and Historical

and Religious Texts 55, 1, sel-a-ni ur-sag ^dgibilgamis.............. NE-du, "His brother, the heroic

Gilgamish implores/'

II Probably emphatic particle gi-in_t or gi-im. Cf. RA. 12, »Cf. SBH. 66, 15.

35

Penitential Psalm to the God Amurru

This tablet, unfortunately broken in such manner that only the introductory and concluding lines are preserved, yields us the first ancient example of a private penitential psalm in pure Sumerian. Several interlinear compositions of this kind are known which of course led us to suppose that this class of religious literature originated in Sumer, but hitherto the total absence of material of this kind in early Sumerian supported the contention that perhaps the psalms of private penance were a Semitic creation. In the interlinear redactions of the library of ASurbanipal these compositions have the title er-lag-tug-mal, see for example IV R. 10; 21* No. 2; BL. 124-130. A penitential psalm in pure Sumerian redacted in the Assyrian period is K. 4795 in Gray, Shamash, but the reverse continues with a psalm in Semitic. Closely allied to the erlagtugmal are the lu-ila, or prayers used in incantations. The distinction probably consists in the fact that the erSagtugmal was accompanied by music and liturgical formality. Note, however, that a prayer in an incantation ritual has both titles in IV R. 55 No. 2 Rev. 6. Also Zimmern, KL. No. 51, describes a ritual to accompany an erfagtugmal, which there clearly belongs to an incantation, so that the two groups of private prayers were confused. Since the erlagiugmal was properly a penitential psalm of a liturgical character, entirely distinct in origin from the prayers used in incantations, they were employed also in funeral dirges, Harper, Letters 437, see Behrens, Brieje 97. Psalms of this kind in pure Sumerian existed in the Assyrian period as K. 9618 in BL. 115 testifies.¹ This title has not yet been

¹ Cf. also BL. 139.

found attached to any pure Semitic psalm, although Zimmern in his Busspsaltnen included IV R. 61 No. 1 and 66 No. 2, in this class of literature.

1. dingir gu-ul-gu-ul edin-na edittr

na ba-^i-ga

2. dingir edin-na dingir gu-ul-gu-

ul edin-na edin-na ba-p-ga

3. ^dAmurru u-[mu]-un nun-ur^[52] sd-

mal-ge

4. e-gi ii-di a-ba ga-la-an gu-la^[53]

5. ur-sag dingir-fi-da min

^dAmurru

6. ^dAmurru dingir-fi-da men

^dAmurru

7. a[54]-ur-sd-sd-mu ^dAmurru

8. di-li-ri-md-mu ^dAmurru

9. bar-bi mu-lu-ga-bi

1. The great god, on the hills, on

the hills advances.

2. The god of the hills, the great

god on the hills, on the hills advances.

3. Amurru, lord nunur, councilor.

4. Faithful prince, father of the

great queen.

5. Heroic, faithful god thou art,

Amurru.

6. Amurru, a faithful god thou art,

yea Amurru.

7. He that directs my limbs,

Amurru.

8. He that gave life unto my form,

Amurru

Reverse

1. a-ra-\iu ]

2. lu

3. lu e-ri di[m-me-ir-bi la-a-^u-ta

mu-un-kur-e]

4. lu e-mi-da^[55] [ ] bi la-a-

[{u-ta ag-a-ni]

5. ib-si^[56] su-mu-ra-{u^z mi-ni-su-ud

sag-iu gi-im-h-[ ]

6. ur*-gu-ud ki-in^[57] gu-ru*-ki-in lu-

iu-a lu-mu lu-al

7. natn-da-ad* gu-ud fu-bar-%icP sag-

di-ib^[58]-{a gi

8. uku-e pad gi-ni-ib-bi

ka-na-mi tu-su

9. lag-iu lag-a-ma du-da-ki ki-bi

&a-ma-gi-gi

10. ama du~di a-\a du-da-a-ki ki-bi £a-ma-gi-gi

4. If a man [has ]

5. It is enough! Thy mercy is un

searchable. May thy heart

6. Like a mighty hero, like a strong

man in thy hand take^[59] my hand.

7. The sin overlook; faithfully

remove, and thine anger turn away.

8. "Give heed to the people,"

let be said (to thee); and the Land

9. May thy heart like the heart

of a childbearing mother return to its place.

10. Like a childbearing mother,

like a begetting father return to its place.

4577

A Lamentation on the Invasion of Sumer by the People

of Gutium

This interesting tablet probably refers to the conquest of Sumer by Gutium, a people who enjoyed the suzerainty of
this land for a long period in the interval between the period of the Sargonic dynasty of Agade and Ur-Engur. It evidently represents a numerous series of liturgical compositions which commemorated this great calamity, for a duplicate from the same period has been found in the Nippur collection in Constantinople, see Historical and Religious Texts No. II. These two redactions differ considerably, a fact which can only be explained by supposing that this liturgy had been handed down for many generations and had passed through many redactions. The Constantinople fragment belongs to column two of a large four-column tablet which probably used an excerpt from this short composition. Both texts belong to the Isin period when the method of constructing long services by compiling from ancient liturgies was already in vogue. See for a discussion of this method Babylonian Liturgies, p. xlii. This composition possesses a liturgical refrain a gilgal-gul-la e-gul-la, etc., which recurs after each section describing the sorrows of some city.

ba-ab-dug

seized , has been

annihilated with calamity.

mul-da-ge kidur kenag■

d

2.

gh-ni glr-kur ba-ra-an-dur 2. As for mushda, his beloved

abode the foot of a stranger inhabits.

3-4. His spouse Nam lagga

wails repeatedly.

5. How long my destroyed habitations, my destroyed temple —shall their misery be?

6. id-bi lag-sug-ga ni-gdl^[60] a-nu-un-

de

6. The canal which rejoices the hearts of the cattle waters the fields no more.

7. id ^den-ki-ge nam-kud-du-gim

sag^[61]-bi-a ba-ttt

8. a-sag-ga le-gu nu-g&l kalam-e

nu-nag-e

9. dul ^gtS$ar-bi gir-gim ba-mur-

mur^[62] dub-bi sig-gan ba-ab-dil*

10. mdl-anlu nig-ur-tab-lab-

nu-mu-un-BU-e

11. nig-iir-tab-tab an-gir-ge ni nu-

mu-ni-ib-ie-en-te-en

12. ^dlugal-(?)-da-ge uru-ni-ta bar-ta

ba-da-tum^[63]

13. ^dnin-iu-an-[na?] ki-dur kenag-gd-

ni gir-k&r ba-ra-an-dur

14. a gilgal-gul-la c-gul-la-na gig-ga-

bi im-me

15. l-si-in-(ki) nigin kar-ri nu-me-a

a-e KU-e-DAR

16. ^d[nin l-]si-in-na sag-kalam-ma-ge

er-gig ni-dug-ga

17. [a gilgal-gul-]la c-gul-la-na gig-

ga-bi im-me

18. [nigin nippur](ki)-a^b dur-an-ki-

ka mitta ba-an-stg

19. [igi ^den4il-li] uru-ni nippur-

(ki-)a ela ba-ab-gar

7. The "Canal of Enki/' like a

malediction by a curse, is brought to nought.

8. In the fields rain is not; the

land is watered not.

9. The garden cellars are become

heated like an oven and its stores are scattered.

10. The domestic animals as many

as are four-footed of the

not.

11. The four-footed animals of the

plains repose not.

12. The god, Lugal-?-da-ge, from

his city has been taken away.

13. As for Ninzu-anna, her beloved

abode the foot of stranger entered.

14. How long of her destroyed

habitations and her destroyed temple shall the misery be?

15. In I sin mercy and salvation

are not: ?

16. The Lady of I sin, princess of

the Land, weeps bitterly.

17. How long of her destroyed

habitations and her destroyed temple shall the misery be?

18. [All of Nippur], the binder of

heaven and earth, by the death dealing weapon is smitten.

19. [Before Enlil,] in his city Nippur

a deluge was sent.

20. [ama ^d)nin4il nin ki-ur-ra-[ge]

er-gig ni-ltl-sil^x

21. [a] gilgal-gul-la e-gul-la-na gig-

ga-bi-im^[64]

22. [Kcl-\{ki) an-edin-na-dl du-a lu-

lil-ld- ba- ab- dug

23. Adab-bu-{ki) i td-bil-ld a-ri a-e

ba-da-ab-ditn

24. kur Gu-ti-um-ge ki-nad ba-ni-ib-

gar ki-bal lu-ba-ab-dtig

25. Gu-ti-[um-ki]-lag-ba tti-bal-bal

numun{!) ba-ni-ib-i-i

26. ^dnin-tud-ri nig-dim-dim-ma-ni^z

er-gig-ni-Ul-lil

27. a^[65] gilgaUguUla e-gul-la-na^h gig-

ga-bi-im-mc

38 a-gi edin-na-aiag-ga lu-

lil-ld-ba-ab-dug

29. unu ^dinnini ba-da-an-kar

ki-ertm-e* ba- ab- dug

30. e-an-[na] el gh-pdr a^ag-ga erim-e

igi i-ni-in-bar 3¹- natn-en-na-ba lu-

ba-e^Jlal-ld

32 g$-pdr-ta ba-da-att-kar

33 ertm-eba- ab- turn

34. [a gilgal]-gul-la e-gul-la-na gig-

ga-bi im-me

20. Mother Ninlil, mistress of Ki-

urra, weeps sorrowfully.

21. How long of her destroyed

habitations and her destroyed temple shall the misery be.

22. KeS which is built on the plain

he has razed like the winds.

23. In Adab the temple placed by

the new canal ?

24. Hostile Gutium made there his

resting place; the stranger wreaked destruction.

25. Gutium rebelled in his heart and

exalted his race.

26. Nintud because of his deeds

weeps bitterly.

27. How long of her destroyed

habitations and her destroyed temple shall the misery be?

in the holy plain he has

razed like the wind.

of lnnini is plundered

and cursed.

30. Eanna, abode of the "Dark

Chamber/' the foe beheld.

31. Of the holy "Dark Chamber" the

priestly rites are suspended.

32 from the "Dark Chamber"

has been plundered.

33 the foe carried away,

34. How long of her destroyed habitations and her destroyed temple shall the misery be?

35. ... (ki)lum-kur-ba-ba-dtb ud gig- 35. [In Erech?] its______________________ is seized

ga ba-e-ri(g) light in darkness is over

whelmed.

4564

Legend of Gilgamish

This fragment together with one in the Nippur Collection of Constantinople published in my Historical and Religious Texts No. 55 are the only parts yet recovered of a series of Sumerian tablets containing the legend of Gilgamish. These were certainly excavated at Nippur. It is probable that a similar double column and nearly complete text in Berlin, VAT. 6281, published by Zimmern in his Kultlieder No. 196 should be assigned to the same source. Although the dealer who sold the Berlin tablet asserted Dilbat as the source, yet it is more likely that this tablet was filched from the excavations of Nippur. The style of all three texts and their epigraphy show that they belong together. In KL. 196 Rev. II 14 and 16 the companion of Gilgamish is mentioned (en-gi-du(g)), and the Constantinople tablet begins ses-a-ni, "his brother," which clearly refers to Enkidu.^[66] As in the Semitic epic of Gilgamish so also in these three tablets the city Erech and its goddess Innini are frequently mentioned, a^ag ^dinnini occurs in Historical and Religious Texts No. 55, 14; KL. 196 II 21; 24. The temple of Innini in Erech, i-an-na occurs in KL. 196 I 7; Ni. 4564, Obv. 16. Note also lugal-a-ni-ir {ag-sal mu-na-bi, "To his king praise he uttered," Ni. 4564 Rev. 16, and lugal- a-ni-ir ^dGibilgami!> gu-mu-un-du "(Enkidu) to his king Gilgamish spoke," KL. 196 Rev. II 17.

I am unable to make a connected translation of any of these tablets although many lines are intelligible. Obverse 15-18 of Ni. 4564 may be rendered:

unug-{ki) gil-kin-ti^[67] dingir-ri-e-ne-ge e-an-na e-an-ta e-ne

dingir-gal-gal-e-ne me-bi ba-an-ag-el-am bdd-gal bdd-an-ni ki-us-sa

"In Erech the skillfully made work of the gods, From Eanna the lofty house they went forth. The great gods their decrees had instituted. On the city wall, the lofty wall she(?) stood."²

And Reverse 9-13:

unug-{ki)-ga dim-ma-bi ba-su& ^dgi-bil-ga-mi!> en Hallab-ge³ ur-sag-bi-ne-ir gu-mu-na-de-e ur-sag-mu-ne igi-tnu-un-sug-sug-u-ne

"In Erech his work was confounded. Gilgamish the lord of Hallab To their strong men cried, 'My strong men behold!' "

I cannot discover in any of these tablets a reference to the fight of Gilgamish and Enkidu with the divine bull. Additional material, however, will enable us to translate these obscure lines and place in our hands the Sumerian prototype of the Gilgamish Epic.

4560

Liturgical Hymn Concerning Ur-Engur

Right half of a large tablet originally containing six columns and about 240 lines. A hymn to Ur-Engur and of historical importance, since it throws some light upon the events which led up to the founding of the dynasty of Ur. The founder of this dynasty has left us no other important literary documents, for the few inscriptions hitherto known concerning this king are too brief to be considered important.¹ These merely mention the building of temples in Ur, Nippur, Kesh, Erech, Larsa. The longest of his previously known inscriptions, a clay peg from Lagash, mentions extensive irrigation works and the institution of righteous laws for the empire which, as in the case of Hammurapi, the king promulgated under the guidance of Shamash the sun-god.

The second column of this hymn continues a panegyric on the character of the king, a subject which certainly filled up the whole of the first column. Beginning with line 24 of Col. 11 the poem mentions the king's expeditions unto unknown lands, his conquest of seven strange lands and the tribute that flowed to his capitol. Col. Ill begins an interesting section continued for about eighty lines on the offerings made by the king to various gods and goddesses. The references to the god Gilgamish as "his brother"² for whom weeping is ordered and as the beloved of the queen of Arallu³ afford indispensable material for the history of the Tammuz cult. At the end of Col. IV the king makes a pathetic reference to his wife. The

¹ Thureau-Dangin, SAK. 186-9. See also Clav, Miscel. No. 16.

¹ Rev. IV 16.

»Obv. Ill 10.

fragmentary lines of Col. V refer to the institution of righteousness in the land and the banishment of sin.

In material structure this six column text resembles the six column tablet No. 4562 which, however, is a real liturgical composition to a king who had been deified. Ur-Engur never received the honor of deification in his lifetime, neither did his successors found a cult to him.¹ The unecclesiastical spirit of this hymn to him accords with the other historical facts which we know concerning the evolution of emperor worship in the dynasty of Ur. If the reader will compare the liturgical hymns to Dungi published in my Historical and Religious Texts, Nos. 4 and 5, or the long liturgy to Bur-Sin and Gimil-Sin in Radau BE. 29 No. 1, or to Ishme-Dagan in this volume, Ni. 4563, he will discover at once the immense change which came into the royal panegyrics after the reign of Ur-Engur. Only in this hymn to him do we gather many facts of profane history. The others are wearisome laudations composed for public worship.

Obverse II

1 ni-te Ur-^dEngur i-ka-ra... I.................................... awe Ur-Engur....

2 e-gal-a-na.... ni-nad 2 in his palace he lies.

'A tablet in the Bodleian Library dated in the first year of ^dlbi-Sin mentions offerings to the cults of his divine predecessors, ^dDungi, ^dBur-Sin, ^dGimil-Sin. It is curious indeed that the founder of this dynasty and father of the second king Dungi did not receive divine honors. Evidently this practice and religious theory had not been adopted in the reign of the first king. Dungi himself does not appear to have received this title until he had reigned many years. The fact that his successors did not elevate Ur-Engur to this rank and build a temple to his cult tends to prove that the divinity of kings depended upon a sacrament of some kind administered to the living king. Religious ideas which controlled this cult of emperor worship prevented the elevation of a dead king to the rank of a god. After Dungi the kings of Ur receive this title immediately upon accession to the throne.

3. .. dim^e kenag-md gu-nu-mu-un-

gt-gi(sic!)

.ra ni-nad gil-lal-bi im-gub

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

......like.

limbs...

..stir-ba RU-TE teg-sag gim

3. The lord, my beloved, turns not

back the breast.

4. In...he lies, the bridal cham

ber² he occupies. . .raging like

. is long, whose

...thou standest; that day was not

which he loves, his understanding is changed Their they altered.

of Ur-Engur like one that

drinks milk they bestowed.

his, like , grandly he

mounted.

ceases not; whose thoughts

are unattainable, thou art.

21. Ur-^dErtgur me li-e-a^[68] nam-mu

22. . • .ki sak-ki kalam-ma-lu

23. [dingir-]nin-sun enim-dug-li-na

ba-da-du

24. ni-l&g-el-d¹ cr-mu~da-ab- ul- e

25 ki nu-{u-na ^gt*md-bi ba-da-

ab~iu*

26. . ?e-[?] ba- da- ab- tar

27. gi-mul gil'ii ge-gdl-la-bi gu-edin

ba- ab- du

28. [Gu-edin-]na dub-ba-da-ab-dug

bal-bi ba-tar

29 U A-SlTba-da-gar sagar-lel-

aP ba-tHm

30 ud-da-ba ru Kii(ki)

mu-un-d i-ni-ib-tum

31 kalam-ma-ge ba-da-bal ur

kalam-ma ba-kur

32 ra in-ti^[69]-sug-ga-dm

33 ^ii$ginar ba-da-tus £ar-ra-

an im-ma-da-sug lu-nu-um- ma-nigtn^[70]

21. Ur-Engur! 1 will praise. 22

23. Ninsun with comforting words

walked with him.

24. Those whom he plundered fol

lowed with him in tears.

25 in a place which was

unknown his ships were known.^[71]

26 was severed.

27. Oars of cedar^[72] its wealth to

Guedin* brought

28. In Guedin(?), it was heaped up,

and its exchange value was fixed.

29 was made, in lessive was

washed (?)

30 at that time brought

with him the gifts of Ki§(?)

31 of the Land rebelled; the

foe showed himself hostile to the Land.

32 he was hurled down.

33. The chariot was overthrown, the

expedition^[73] was annihilated, but he was not captured.

34 ^gi*ginar ba-da-lus gar-ra-an

im-ma-da-sug lu-nu-um-ma- nigin

35. kur?ra imin-bi nig-ba ba-ab-sum-

mu

ba-dtg-gi-el- a

nin-dingir-dtg-ga gi-e^[74]

ba-dub-ba

(?) mu-un-iu-ul kur-ra ia-

pa-dg mu-un-gar

md-ab-kum-e^[75] udu - im-ma-

ab-lar-ri

nig-gal-gal-la^[76] ba-si-in-dur-

ru-ne-el

uru-dm a-kur-ra uru-na-

itw

an kur- ra- ge

lag-ga-n i mu-un-{u

34 the chariot was overthrown, the expedition was annihilated, but he was not captured.

35. The seven foreign lands gave presents.

36 whom he slew

37 priestess of the dead on

the earth caused to repose.

38. ... at thy name terror in the land of the stranger produced.

39 eat; the sheep become

fat.

40. In they dwell.

41. An high priest he is, mountain

like might,^[77] an high priest he is.

42. .. .of the mountain.

43 his heart knows.

Col. Ill

1. lugal-e nidab-kur-ra-ge gil-im-

ma-ab-tag-gi

2. ur-^dengur nidab-kur-ra-ge gil-im-

ma-ab-tag-gi

3-

3. gud-du mdi-du udu-seg en-na-ab-

du-du-a

4. gil-kdk-dtg^h gil-lir-gal⁶ e-mar-ur*

gis-kak-lir gir-ka-sil

The king freewill offerings of the mountains brought as sacrifice.

Ur-Engur freewill offerings of the mountains brought as sacrifice.

Sleek oxen, sleek kids, fat sheep, as many as he had brought,

A "death dealing weapon" of marble, a quiver, a KAK- a sword with sharp edge,

5. kul4u-&b-ddr-a^[78] ib-ba-gdl-la-ba

6. ^dne-unu-gal ^den4il kur-ra- ra

7. sib ur-^dengur-ge i-gal-a-na gis-

im-ma-ab-tag-gi

8. gil-gtd-da kul4u-ub-kalag(?)si-

me-a i-mi-ib-ug?-an-na*

9 ? ki-us-sa d nam-

ur-sag-ga TUM SI L

10. [?]-ga-da-gar kenag ^deril-ki-gal-la

11. ^dgibil-ga-mes lugal-kur-ra- ge

12. sib ur-^dengur-ge e-gal-la-na gil-

im-ma-ab-tag-gi

13. [ ^b]-kes-da id ba-ni-in-de-a

bur-lagan* lu~du-a

14. ttig la-TVL-gid tug-nam-

nifi^[79] nam-nin-a

15. e md-dalla me- kur-ra

16. ^dnin-{?) a-ba- ra

17. sib[ur-^dengur-ge e-gal-la-na gis-

im-ma-ab-tag-gi]

18. LU

19. pa a^ag-gi. .en-na... Ju lagin

20. ^ddumu-{i~lum-ma kenag ^dinnini-

ra

5. A variegated leather pouch

which

6. to Nergal, the Enlil of the

mountains

7. The shepherd Ur-Engur in his

palace^[80] offered.

8. A bow, smiter of battle,

the imib-weapon, panther of Anu,

9...... that treads the

strength of heroism,

10. To beloved of Erishkigal,

11. Gilgamish, lord of the moun

tain,⁴

12. The shepherd Ur-Engur in his -

palace offered.

13. A copper(?)-KE$DA, into which

oil is poured, a well-made stone ointment bowl,

14. A long garment, a "royal

garment/' for the royalty,

15. of the temple that glorifies the

decrees of the world,

16. Unto Nin-sun

17. The shepherd [Ur-Engur in his

palace offered.] 18

19. A pure staff, .lazuli

20. which is worthy of Tammuz⁸

the beloved of Innini,

21. sib ur-engur e-gal-a-na gis-im-

ma-ab-tag-gi

22. gil-sa^[81] lu-du-a kes-^[82]a%ag-gi md-

gur-bi su?-lag-ga

23. dag-gug-a^ag nig-du dingir-ri-e-

ne

24. ^dnam-tar galu nam-tar-tar-ra-ra

25. sib ur-^dengur i-gal-a-na gil-im-

ma-ab-tag-gi

26. dub-ba^z iagin. .nam-irigal-a-ge

27. gil-kelda-aia£ dag-gug-tag-ga

gii-bi gu-?-sal-a

28. ^dRul-bi-ldg dam ^dnam-tar-ra-ra

29. sib ur-^dengur-ge i-gal-a-na gil-

im-ma-ab-tag-gi

30. gil-gar lu-? aiag-gi-ia ri(?)-a

31. girkigir-ui

32. glr-ur dar-dar

21. The shepherd, Ur-Engur, in his

palace offered.

22. A beautiful gilsa, a sacred

KE$(?) whose skiff

23. Of pure porphyry, that which is

appropriate to the gods,

24. To Namtar lord of fates,

25. The shepherd, Ur-Engur, in his

palace offered.

26. A tablet of lazuli.... of the fate

of Arallu,

27. A Kelda-a^ag fashioned of por

phyry, whose wood

28. To RuSbiSag, consort of the god

of fates,

29. The shepherd Ur-Engur in his

palace offered.

30. A wagon with golden...

.. .covered(?),

32;

33. sib munsub^[83] a- ut-e 33.

34. dun ur-sag ^dnin-git-{i- <fa 34.

35. sit ur-engur-ge e-gal-a-na git* 35.

im~ma-ab-tag-gi

36. ddg-dub-iagin ba-da-ra-ni^[84] 36.

37. SAR-DI-da gutkinkubabbar sag- 37.

bi rut-ma

38. ^dnannar at-me-a^ag-gi iag-ga-na 38.

gub-bu^de

39. iug-sakkad git-piiuk*mag-galu-{u 39.

git-tir-gal

40. gt-dub-ba iag-bar-ra nig-nam- 40.

dub-tar-ra-ge

41. ? -gan-?kur gi-dit-nindd^[85] 41.

42. KAK-U$ d-tti 42.

43. ra Zi 43.

To the shepherd, the pastor, who

The mighty, the valiant NingiS- zida,

The shepherd Ur-Engur in his

palace offered. A tablet of lazuli attached to a handle,

A SAR-DI-DA of gold and silver, which is exceedingly brilliant, For Nannar sacred disks to

stand at his side

A headdress for the great sage,

the learned, of marble, A stylus of bronze, instrument of the art of writing,

a rod measuring reed

(made of )

Col. IV

1.

2.

3-

4-

1.

2. 3* 4.

. .-a-bi .na ?

ab..

5. [5ib(?)....]kur-ra-ge si-be-in-sd-

a-ta

6. [ur-^dEngur sib(?)]kur-ra-ge si-be-

in-sd-a-ta

7 urugal-la-ge be

8 lu-ge be

9. ur-^dengur-ra-ge mu-ni-ib-tug-ii

U

10. kur-ra ki mn-na-ma-ma be

11. dug-dug-ga ^deret-ki-gal-la-ka-ta

12. erim gil-KU[? ?] en-na-ba- ?

13. galu nam-tag-ga en-na-ba-

____ a

14. lugal-la lu-ni-lu. .. im-ma-ab-

sum-mu-ne

15. ur-^dengur ki-bi-$u el

16. seUkenag-ga-ni^dgi(l)-bil-ga-[mes\

17. e-ne $d-kur-ra-ni-de ka-al kur-ra-

ni bar-ri

18. ud-imin ud-11-dtn ba-{al-la-ba

19. lugal-mu i-si-is ki-en-gi-ra-ge

sd-nam-bi mu-ni-ib-dug

20. ur-^dengur i-si-il ki-en-gi-ra-ge

sd-nam-bi mu-ni-ib-dug

21. bad uri-(ki)-ma mu-un-itl-la-ni

22. e-gal-iii-na mu-un-?-ni nu-

mu-un-

5. [The shepherd the ] of the

lands directed.

6. [Ur-Engur, the shepherd, the ]

of the lands directed.

7. [By the command of the lord] of

Arallu he directed.

8. [By the command ] of he

directed

9. Ur-Engur who the lands

pacified, directed.

10. The foreign lands which paid

him obeisance he directed.

11. By the injunctions of Eresh-

kigal,

12. the men as many as

13. The wicked men as many as

14. Whom into the hand of the

king they gave,

15. Ur-Engur to their place

them.

16. For his beloved brother Gilga

mish,^[86]

17. That one, who to bless his land,

rendered judgment for his land,²

18. When the seventh day and the

tenth dawned,

19. My king the lamentations of

Sumer commanded.

20. Ur-Engur the lamentations of

Sumer commanded.

21. The wall of Ur which had

become old, _v 22. The palace which by fire was and was seen no more,

3

23. sib-bi e-a-ni ta be-in-aga-ni

24. dam-a-ni ur-ra-na.... nu-mu-

un-gt-a-ni

25. dumu-ni dH-ba-na li-be-in-pel-

a-ni

26.....

27.

28. sib-iid i-lu nig-mt-gar ni-te-na

29. md-e nig nc-e ba- aga-a-mu,

30. dingir-ri-e-ne-ir mu-ne-gub-bu-

nam

?-ur mu-ne-gdl

31. ^da-[nun-na-]ge-ne &e-gdl-la pa-

mu-nc-i-a-ni

32. gil-nad u^agin^[87] ddg-ga-ba gilsa

mu-ne-gar-ra-mu

33. an-ki mal-la-ba e-du-la mu-la ba-

ni-ib-siuP-di

34 me-en nig-abrig-ldg-ga^A-mu

an-gim mu-nc-su-ud

35 da-gub-ba Dl-a-ma-a-na

su-ba-ni-ti

36 da-du-u nu-tug-ma-a^b ud-

im-ma-ni-t'il

37 ne-lii IM-an-la-am-ma gim

38 ta-e-a stg uri-(ki)-ma-lu lu-

nu-um-ma-nigin^[88]

23. The shepherd whose home by

had been plundered(P),

24. Whose wife to his bosom.. one

had not restored.

25. Whose son grew not up on his

knees,

26.

27.

28. The faithful shepherd, wailing

and lament in fear

29. As for me whatsoever 1 have

made,

30. To the gods verily I erected,

and

31. To the Anunnaki whom with

riches 1 have glorified,

32. A bed of lazuli whose couch^[89]

with a precious work 1 constructed,

33. Like heaven and earth con

structed, with a covering like the stars 1 made bright.

34. A am I, whatsoever (was

revealed to me) by favorable omen this 1 made beautiful like heaven for them.

35.

36.

37.

38. lid gitlam-mu mu-un-^u-dm

39. [lag?] a-nir nig-gig-ga-a ud-mi-

ni-ib-^al-ial-e

39. Of my faithful wife whom 1 had

known,¹

40. (Her) heart of bitter sorrows I

made glad.

Col. V

7 u-li-in-iu-ra-?

8. [lag? a-nir] nig-gig-ga-a ud-mi- ni-ib-^al-ial-e

9 Idg-ga-ni bar-ta ba-da-gub

10. ...Idg-ga-ni sag-ga-na li-bS-in-

11 na-ge d-mag-a-ni sag-gd-na

li-be-in-gi-en

»

12 en dl-im-iir KU-ia nu-un-

ri

13 nun-ki-ga-ge ba-ra ba-ra-ia-

an-i

14 im-ma-ni-in-si-ig enim lu-

nu-mus-un-di-ni-ib-gl

15 imi-sur-ra ba-ra-ab-sig gil-

ui nu-mu-ld/ft?).

11 his mighty arm upon his

head not did he lay.

12 the lord Sin not.

13 of Eridu caused to go far

away.

14. .. .fixed and revoked not.²

15-

Liturgical Hymn to Dungi

(tablet at the university of dublin)

I te ana-ge gi-gi

2. en kalama gi-en-gi-ir-(ki) dug-ga

3. sti-un sii-un-na-ni kur-ra dib-dib-

bi

4. me ni-te^na... .diig 1 of heaven, the merciful(P).

2. Lord who makest glad, the land

of Sumer.

3. Who causest his devastation to

befall the foreign land.

4. Who fearful decrees

speakest

5. Whom Enlil as the everlasting

shepherd of the Land [did choose?]

6. ^ddun-gi lugal uri-ma me-en

7. igi-dug-bar-ra-na gu-{id ma-ni-

in-de

8. en aiag^[90] sd-bi-ga-na -sig

9. lum ga me-en

10. {f ga&u%abi me-en

11. sib ^dnannar me^[91] dam-kar

.me-en

12. enim ^dnin-lil-ld ki-gar Idg-ga ki-

lar-ra ma-ldg

13. A-il-la[92] £(?)igi-u-ni-in-dug gu u-

? 1-de-de

14. ud-bi nam(?)-sir-ra lugal(?)du

15. ^ddun-gi me ka-^ag-sal uri-(ki)

tub-bi-mbi

16. ^dnin-tud-ra^h nig-ma

17. dingir-ri-e-ne ni-DU md

18. ^dmul-gennaP sufcul-a KA

ra

19. mu-fce-gdl-la tiib-bi ? ? -da

20. um-mi-a gi-mu-ne-

tu

21. enim nin-mu^d _%.ta

22. a-da-ge^[93] nim bad-du ma-al-?-1um

mu-li-gar-gar-ri-el

6. Oh divine Dungi king of Ur

thou art.

7. When he turns his regard he

speaks faithfully.

8. Holy priest who peace

bestows.

thou art.

thou art.

11. Shepherd of Nannar thou

art; recorder thou art.

12. By the command of Ninlil,

pious works in the universe he established.^[94]

13. Oh magnified one the temple

behold! give command!

14. On that day melody befitting a

king

15. "Dungi 1 praise, him that causes

Ur to repose.

16. Whom Nintud

17. Who the gods

18. Whom the "god of the steady

star" upon a foundation

19. To cause to repose in

years of plenty.

20. The army

21. By the command which my lady,

the goddess (has spoken),

22. Wailing in the upper land far

away they caused.

23. sig tug-mal lu ab-e-bal... .ni lal

24. kur^nim-lu H-?-gal-gim gid-

da

25. igi-nim-ia kalama le-gim dul-li

ni-lal

26. kur dun bad-du-dl ag... .ni-lal

27.lul lu-lu^[95]-ag kaskal ta-gub-

mal

28. lu-?-a ki-gir-gin-na-ge

29. str-gid-da teg nam-lugal- la

30. bad-du-mdl nig-bal-bal-e ga-mu-

li-gar-gar-ra

31. nam-dup-lar-ra nig-gt-gt-fu^[96] ga-

mu-li-ma-ar-ma-ar-lu

32. ud lar-lar-ra gar-ra-be-gdl ma-

an-ru-a-ma

33. gul-gul-li-mal dug-dug-gi-mal

34. fi-fi Jfu-lw LU....{a-am

am^[97].

35. rfwZ gil-ka-silim /z7-/a

36. nig-d-nu-gi-a^b la-ba-gub-bu-ne-

en-na-mu

37. dug-gar nu-kul-u ld-al-l me

23. In the lower land songs of

pacification thou didst cause to be uttered,

24. Unto the upper land like a

great he approached.

25. From the upper land over

Sumer beneficently a shadow he stretched.

26. Upon the violent foreign land

far away he stretched.

27. The doers of rebellion from the

ways he caused to stand

aside.

28.....

29. With a long song befitting royal power,

30 a meditation 1 will compose for it.

31. In writing thy laws² I will set

forth.^[98]

32. When the writings are set forth,

(?)

33. Gladness causing, prosperity

causing.

34.....

3 5. The weapon of sweet voice

36. The unopposed which is not

restrained.

37. He that tirelessly causes anarchy

to depart, thou art.

38. gi-gid ia-am ia-am ga-mu-li-ma- 38. On the flute 1 will set forth

ar-ma-ar-lu (these matters).

39. mu dingir-lugal sag-bi-lu l-a 39. The name of the divine king

transcends all,

40. ^den-lil nig-dug-ga-ni lu-nu-bal^x- 40. (The name) of Enlil whose fixed

e-ne decree^[99] is not transgressed,

41. mu ^den-{u uru nam-kud-da-ni 41. The name of Sin who a city

lum[100]-bi nu-gur-ra-[ni] fated, whose splendor is not

to be supported.

42. galu nam-kud-du-ni nig-gig 42. Whose curse the unclean purges.

sa&ar-ra-ka

43. mu ^dbabbar malkim^[101] dingir-ri- 43. The name of Shamash attendant

e-ne of the gods.

44. nig-lul-li-du-md galu ba-ra-ma- 44. My music let no man make.

ni-in-gar

45. sub-mu nig-nu-um-sig-sig-ga 45. My prayer which is unequaled

dam^b ba-ra-ni-dug let no wife utter.

46. ^ddun-gi me sd nt-mal dirig-ga 46. Divine Dungi! I....... in song

sir-ra ma-ra-an-gdl institute for thee,

47. aiag-ldg-ga-gim Idg-ldg-ga- md 47. Who as one clean and pious

brings about purity,

48. gil-dur ki-gar: sir-sab*-ba-mu 48. Instituting culture. My chief

song.

49. sib me-nig-na-me 1ag-ttl-UUla- 49. The shepherd who fulfills the

md decrees as many as there be,

50. nam-lugaL? sal^id nin-fce-ni- 50. Royal power... may care for

_%dug faithfully.

51. mu nig-li-du-md li-na ba- 51. When my melodies in future

gdl-la days are..

52.lul ba-lag-na ge -en 52. May the musician on his lyre

53. li-du-md a-da-du...... ge da-ma- 53. May my melody weeping

al ga-ium(?)ge-du .. .dispel

54. sir-gid-da teg nam-lugal- la

55. bad-du-mdt nig-bal-bal ge-im

56. gi-gid ia-am \a-am ge-im

54. In a long song befitting royal power,

55 a meditation let be.

56. The flute let be.

4566

Liturgical Hymn to Libit-Ishtar (?) or Ishme-Dagan (?)

Ni. 4566 forms the upper left corner of a large three column tablet belonging to the group of historical hymns to deified emperors. The name of the king Lilazag has not the sign for "god" before it and the fragment contains no reference to his deification. Perhaps this particular king of the I sin dynasty never received this distinction. The name itself is new among royal names of the period and no alternative remains but to identify him with one of the unknown sixteen kings of the Isin dynasty. In the dynastic list Ni. 19797¹ the name of the fourteenth king has remained undeciphered for the tablet is badly weather-worn at this point. Hilprecht's copy shows traces of a name containing not more than three signs and these agree admirably with lil-a^ag-ga, or perhaps ga is omitted. I have collated the line again and find the reading lil²-a^ag possible but not certain. At any rate this name offers a possible identification and since the fragment obviously reveals a hymn to one of the kings of Isin, this seems to be a solution unless lil-aiag be taken as a mere epithet of the king. In that case the fragment does not contain the name of the king.

1. Lil-a^ag ab numun-i-i^[102] na-a^ag-

ga mu-dug-ga sd-a

2. Ub-ba a-lu^[103] lugal RU-TIG^[104] lugal

li-l&g-l&g-gi

3. S-malga-sud eri bhr ^na{agin-na

ni-in-lu-bu-un (?)

4. kur-sud-sud eibar me-i-i lii-e ka-

lu-gdl

5 iu nun lag-lal-sud kalam-

ma X^[105] kur-kur- ra

6 a-iu-gal sag-gig-ga nam-

eri-tar-ri

7. dumu-sag dingir-a^ag-ga ki-el

ama ^dba-u

8. 6 eri-a^ag lub e be-in- gub

9. bara-{a-ku be-in- gar*

10. 8 £ ^dba-u

1. Lilazag,² of the house of exalted

seed, the holy man, named by a good name.

2. Whose heart is ; the king

; the king who makes

glad the soul.

3. "The Temple of Wisdom" in

the clean city with lapis lazuli he made splendid.

4. The far away land he subdues,

having recounted unto them the observance of laws and decrees.

5. The merciful prince of

the Land; the of the

foreign lands.

6. The great of the dark

headed people; who declares the fate of his city.

7. First born son of the holy god

dess, the woman, mother Bau.

8. As to a temple in the holy city,

the clean city, a temple he founded.

9. A chapel he made.

10. Eight temples of Bau

Obv. II 9 mentions Hallab. On the reverse occurs the goddess Ama of Agade for whom this king constructed seven temples. The reference in Rev. 7 to a temple of the MuUmul

contains the earliest mention of these astronomical deities. The Semitic translation is ilani sibitti or the seven gods, Zim- mern, Rt. 26 111 63; in astronomy mul-mul ordinarily designates Taurus. The seven gods who are designated by the words mul-mul are probably of astronomical origin and originated in a religious fancy concerning the Pleiades. They appear as seven small balls or irregular little figures on seal cylinders from the earliest period. Note for example Ward's Seal Cylinders of Western Asia, p. 132 No. 372, a seal with an agricultural scene and in the upper field the moon, Venus and the Pleiades. These seven balls recur in the glyptic and figured monuments of all periods and seem to have represented the Igigi or heaven spirits whose number was six hundred. The identification with the Igigi has been interred from the correspondence between the symbols and the divine names on the rock relief at Bavian, see Ward, ibid. 392.¹ The identification with the Igigi has been defended also for the reason that they are represented by the symbol dingir V+II, commonly taken for "god 7." But the figure 7 is never written in this way and the sign really means jaXgiZ+gif or 5X(60+60) =600. There is no evidence for the statement that the Igigi were seven in number. According to II R. 25 h 69 and 39 No. 2 (Add.) the Igigi were eight in number,² hence they probably are confounded and identified with the Pleiades. It is, therefore, probable that in practice mul-mul really represents the Igigi.

¹ Hinke, BE. Ser. D Vol. IV p. 245, was inclined to identify these seven balls with the seven planets, a theory wholly impossible. Also the identification with Nergal in Frank, Bilder p. 29 is certainly erroneous.

* See Jensen, KB. VI 587.

4563

Liturgy of the Cult of Ishme-Dagan

The remnants of Col. I refer to conquests of the king who in his own land secured obedience (gu-ur-e tnh-mal, 1. 3) and compelled the foreign land to submit (kur-ri ka-lu-gdl, 1. 7). The disobedient he crushed (nu-le-ga lii-a, I. 9) and one line speaks of victories (Su-sig-stg-ge-dam 15). With line 19 begins the long series of intercessions to various gods which forms the greater part of the liturgy.

19. ["Divine Ishme-Da]gan son of Dagan I am.

20. [May the god ]^l decree me prosperity.

21. [To my reign] prosperous years may he announce."

After a considerable gap in our fragment, Col. II line 3 begins with an address to the Moon-god. Addresses to Nusku, Ninurash, Shamash, and Innini follow and this series of intercessions ends with an appeal to various minor gods.

With line 21 of Rev. I begins a section which, if I understand correctly its obliterated phrases, contains a long address to the divine king by the liturgists and choir;² the king is referred to in the third person throughout. Noticeable among these phrases are the appeals to the king for the bestowal of wealth and increase upon the land. gu-mu-un-pel-pel-e, "may he multiply;" sa-dug ge-ni-tab-lab, "the regular offerings may

he double;" .................................... ma ka-bar-a-gim ge-ni-bal-bal, "my.................................

like a pastor may he store up."

Of particular interest is the probable reference in Rev. 11 17 to the nine children of Nin-KA-si. This goddess is entered

¹ The first intercession probably appealed to Enlil.

¹ Note especially Rev. II 10. .. .i lugal-mi alad £e-ni-lar-lar-ri, "................. in the temple of

my king may the protecting genius make abundant."

in the theological list CT. 24, 10, 24 among the inferior deities of the court of Enlil, as in the abbreviated list 11 R. 59 Obv. 32 and SB P. 156, 46, ^d gat-tin-nam nin-KA-si-ra, where Nin-KA-si is identified with the goddess GaUinnam,¹ goddess of the vine. This goddess is probably identical with GeUin, or Geltinanna, sister of Tammuz. In any case Nin-KA-si is a vine goddess, who in SB P. 156 appears as consort of Pa-te-en-dug, lord of sacrifices {la ni-ki-i), and under the original title Pa-geltin- dug(du)=muluⁱ ne-sag-ga-ge{sa ni-ki-i) the same god is entered in the official list immediately before Nin-KA-si, CT. 24, 10, 22, but here his consort is Sa-bil, or Su-^ag, "she who causes to burn," likewise a deity that presides over sacrifices. Since Nin-KA-si follows immediately upon Sabil, both are probably the consort of Pageltindug and Sabil is but another name for Nin-KA-si, who is thus a vine goddess whose fruit is offered in sacrifice as well as the goddess that presides over the fires which consume the sacrifice. In this aspect of a fire goddess she is the sister of Gibil the fire god, IV R. 14 No. 2 Rev. 20. She ordinarily appears as a vine goddess, however, and in IV R. 14 No. 1, 26 is identified with her daughter Siril, whose name became a loan-word in Semitic for an intoxicating liquor, and Nin-KA-si presides over the mixing bowl, IV R. 14 No. 1, 28. Her nine children are: (1) Siril; (2) Siril-kal, a special kind of liquor; (3) Siril-kal-gig, "The black liquor sirilkal;" (4) Me-^ul, "She of the terrible decrees," a title also of Ishtar bttit ilani, CT. 25, 30, 7, referring to Ishtar as patroness of government; (5) Me-a^ag, "She of the pure decrees;" (6) Eme-

¹ Hardly to be read kurun-nam, although G/tS-TIN has the Semitic value kurun, v. SAI. 3510.

* King's copy has dumu, i. e., mar nikt, but it is probably to be corrected to mulu.

teg, "She of seemly tongue" (Man simti);¹ (7) Kidurka^al, "She of the abode of festivity," referring probably to her connection with drinking liquors; (8) Nusilig-ga;² (9) Ninmada, Var. Ninmadim, II R. 59, 33. Ninmada is the original form. She appears as a goddess of purificatory rites, Gud. Cyl. B. 4, 2 and Myhrman, BP. I No. 4, 21.

Of these nine daughters five are patronesses of liquors. Nin-KA-si, as we have seen, is an epithet of Gaitinnam, the vine goddess, in SBP. 156, 46. In Ur-Bau's Statue Col. VI 6 nin-K A-a-si-a is used as an epithet of Geltinanna. The element KA-si, KA-a-si-a, evidently has the meaning wine, liquor, or some similar meaning. A hymn to Nin-KA-si is published in Zimmern's, Kultlieder No. 156. (See now Prince, AJSL, XXXIII 40-44.) She is the fourth patron of humanity in the Epic of Paradise and her father is Ea supreme patron of the arts, Zim. KL, 156, 5.

This composition has passages which are strikingly similar to many in Gudea's inscriptions. Its author evidently knew the literature of Gudea extremely well and one is impressed repeatedly by a similarity of style. Several centuries, perhaps a millennium, intervenes between Ishme-Dagan and Gudea, which makes the resemblance all the more remarkable.

'So I would interpret this ideogram; one cannot refrain from comparing IV R. 14 No. I 24, sal luk-tuk dagar-ra me-ieg gar=sinttiUu itpeltu ummu la ana simaii laknai, "The skilful woman, the mother who is sent to do what is seemly," a description of Nin-KA-si. For dagal > dagar, cf. dagar-ra( = raplu), CT. 15, 10, 10; Zimmern, K-L. 15 I 21, and see especially Liturgies, p. xx n. 3.

»Cf. Zimmern, Sburpu 9, 56 and RA. 9, 78. Perhaps la pitttu.

Obverse II

1. nig-a-na mu-sd 1. Whatsoever things are named

2. gil-pitug imin-a lu-gal ga-mi-[ni- 2. May he with understanding of

ib-du] the seven (numbers) grandly

[adorn me].

3. ^den-{u dumu-sag ^den-lil-[ld-ge] 3. Sin first born son of Enlil,

4. gtl-gur-ia nam-lugal-la 4. A throne of royalty....

5. bar a nam-en-na sag-ga-lH 5. In a chamber of ruling loftily

[may....]

6. ud-su-du-l& gil-dur 6. May he fashion unto far away

bl-in-iag days a restless scepter.

7. ^dnusku sukkal ^den-lil-ld-ge 7. May Nusku the messenger of

Enlil,

8. gildur nam-lugal^la lu-maga-ma- 8. Into my hand a regal scepter

ni-gar place.

9. i-kur-ra d-bi ga-ma-an-pad-pad 9. In Ekur oracles unto me may

he reveal.

10. ki-gub-butti-feg-ga-e-bi ga-ma-att- 10. Wheresoever 1 go, his awe may

gar he lend me.

11. lag ^den-lil-ld dagal-la-dm ta-ge- 11. The heart of Enlil like (the

mi-gi-in^[106] heart of) a mother may he

make faithful.

12. ^dnin-ural ur-sag kalag-ga ^den-lil- 12. NinuraS, the valiant hero of

Id-ge Enlil,

13. ^dnu-<nam-nir^[107] enim-md ga-ma- 13. The divine prince of valor my

ni-in-gub commands may make sure

for me.

14. ka-ldg-ga ^den-lil ^dnin-lil-ld ma- 14. A favorable word to Enlil and

a-ar gu-mu-na-ab Ninlil for me may he speak.

15. ttam-lugal-la pal-mu ge-ne-tn- 15. With royal power may he cause

dirig my reign to be surpassing.

16. nam-en-na ma-e fce-im-mi-?-en

DA(d)-ta£-mu £e-e

17. S-kur-ra lu-gu-mu-da-gdl-gdt^[108]

18. malkim natn-lugal-md £e-e

19. gif-KU-lig-ga kur-kur gam-gam-e

20. da~mag lu-{i-da-mu £e-ne-in-si

21. ^dbabbar nig-si-sd ka-gi-na ka-tnd

£a-ma~ni-in-gar

22. sdr-tar-ru ka-dl-bar kalam-e si-

sd-e

23. nig-gi-na sag-ga-lu Idg

24. zi-da-tuk ul-kurt¹ erim-du ga-

lam-me

25. lel-ge sel-ra nig-gi-na-sd

a-a-ra

26. SAL+KU gal-ra ka-dug-na nu-

sd ama-ra

27. si-ig-ga kalig-ga-ra nu-mal-mal

galu

16. With lordship may he cause

me to be ; my helper

may he be.

17. In Ekur may he take me by the

hand.

18. The protecting genius of my

royalty may he be.

19. With a valiant weapon sub

duing the foreign lands,

20. A mighty arm, may he fill my

faithful hand.

21. MaytheSun-godplacejusticeand

righteousness in my mouth;

22. The judge, giver of decision,

who directs the Land;

23. Who makes justice exceedingly

good.

24. The transgressor(P) he pardons,

the wicked he destroys.

25. To justify brother with brother

to the father

26. Not to justify the slander(?)

of a sister against the elder (brother) to a mother, courage he ensures.

27. Not to place the weak at the

disposal of the strong a man

Reverse I

1. d-tuk nig-sag-ga-na nu ag galu

galu £ab-nu-gar

1. That the rich man may not do

whatsoever is in his heart, that one man to another do not anything disgraceful,

2. Wickedness and hostility he

destroyed justice he instituted.

3. ^dbabbar dumu ^dnin-gal-e tud-da-a

ga-la-ba}-ma ge-ni-in-gar

4. ^dinnini nin an-ki-ge-a

5. niiadam kenag-ni-lu ge-en-pad-

de me-en

6. mir- gin-na-ma la?-la? gu-mu-

si-in-ag

7. igi nam-til-la ka-^al gu-mii-si-in-

bar

8. sag-di iig-ga-ni ma-a-lu fcu-mu-li-

in-zig

9. ^g,inad gi-in-na &e-be-in-gin(eny

10. gl-par-ra ud-sud-sud-mal-ma,

11. nam-en nam-lugal-da iab-e-a-ma

12. e-an-na-ka mul-nu-ium-mu-ma

3. May the Sun-god, son whom

Ningal bore, my portion create.

4. He whom Innini, queen of

heaven and earth,

5. As her beloved spouse has

chosen, 1 am.

6. For my luxury may she

create.

7. With a joyous eye of life may

she look upon me.

8. Her blazing form upon me may

she cause to shine.^[109]

9. May she establish for me a

couch secure.

10. In the mysterious sanctuary to

create me length of days,

11. To add the office of high priest

hood unto regal power for me,

12. That in the "House of Heaven"

the serpent rob me not,^[110]

liturgical texts

149

stephen langdon—sumerian

13. ki-unug-(ki-)ga am-gim

14. kullab-(ki) me-ldm-mu dul-^[111]lu-

da

15. enim-aiag nu-kur-ru-da-ni ge-be-

in-diig

16. ^den-ki ^dnin-ki ^den-ul^{2 d}nin-uP

17. ^da-nurt-na en nam-tar-ri-bi

18. dingir utug nippur-(ki) alad

ekur-ra-ge-ne

19. dingir-gal-gal-e-ne* a nam-mu-

un-tar-ri-el-a>

20. ge-dm* umun-kur-ru-ga^[112] ge-im-

mi-in-dub-el

21. ^dis-me-^dda-gan dumu ^dda-gan me-

en

22. ^den-lil lugal kur-kur-ra-ge

23 ru ur-ra- ta

24 lu-gi-e ge-be-in-pad-de

13. That in the land of Erech like a

wild bull

14. To cover Kullab with my glory,

15. An holy command which is

unchanged may she utter.

16. May Enki and Ninki, Enul and

Ninul,

17. The Anunnaki, lord(s) who de

cree fate,

18. The divine spirit of Nippur and

the protecting geniuses of Ekur,

19. The great gods who determine

oracles,

20. Crush the pride of the hostile

ruler.

21. Divine lshme-Dagan son of

Dagan thou art.

22. May Enlil lord of the lands

23. Who in

24 choose.

4584

Fragment of a Lamentation on the Destruction of Ur

Obverse

1. ud-ba tid uru-da ba-da-an-gar

uru-bi (?) [se-dm-du]

2. a-a ^dnannar uru dim-dul-duP-da

ba-da-an-[gar]

3. uku-e le-am-du

4. ud-ba ud kalam-da ba-da-an-kdr

uku-e le-am-du

5. uku-bi lika-kud-da nu-me-a bar-

ba ba-e-si

6. bdd-bd gu-nin^z kaskala im-ma-an-

gar-gar uku-e le-dm-du

7 gir-gdl-la-ba dd-a im-ma-

an-BAD 8. ... -a-ba sag-bal-e ba-ab-gar

1. At that time the spirit of wrath^[113]

upon the city he sent and the city lamented.

2. Father Nannar upon the city

of master-workmen sent it,

3. and the people lamented.

4. At that time the Word hastened

upon the Land, and the people wailed.

5. Her people without water jars

without her sit in humiliation.

6. Within⁴ her reed baskets are

thrown in the ways and the people lament.

7 in her streets the

corpses

In her an usurper exer

cised.

In her.. .corpses were placed.

Reverse

2. gil-gi-gdl^[114] ki-lub-gu-da-kam

2. The interlude of the strophe (is as follows)

3. ama ^dnin-gal uru-(ki)-ni^[115] nti-bi-

lub-ba

4. bar-ta ba-da- du

4-

3. The mother Ningal her city inhabits not.

4. Without she wanders.

4568

Hymn of Samsuiluna to Statues of Lions and His Own

Statue

This hymn to the statues set up by Samsuiluna is not complete on the tablet 4568. Another tablet in the same collection, which I know only from a copy placed at my disposition by Dr. Poebel, has the whole of 4568 on its obverse; the reverse continued the hymn but only a few signs are preserved. We have, therefore, no means of determining the length of this composition unless some scribal note can be made out on the reverse ot the duplicate.

This hymn is particularly interesting, since the same event is mentioned in the date formula of the sixth year of Samsuiluna, which is most fully preserved on the contracts, Strassmaier,

54 and 62. Short variants will be found in Poebel, BE. VI,

p. 70, to which add Poebel, No. 26.

mu Sa-am-su-i-lu-na lugal-e ^dbabbar ^dmarduk-e-ne- bi-da-^lge nig-dim-dim-ma-bi al-in-na-an-du-ul-am- alam sub-sub-be alad-gushkin-d$-a$-bi-ta e-babbar igi ^dbabbar- lu e-sag-il^z (igi ^dmarduk-$u) ki-gub-ba-ne-ne mi-ni-in- gi-na, "Year when Samsuiluna the king, whose deeds Shamash and Marduk have extolled, a statue in an attitude of prayer and animal statues of gold upon their foundations in Ebabbar before Shamash and in Esagila before Marduk established."

1. su£-me gul ulum^A-gal nam-kal-a 1. Terrible form⁵ governor of valor,

2. til-duF-la sag-di⁷-ldg-ga-na im- 2. Whose brilliant form shines up-

ma-si-in-bar on all living things.

3. nam-ldg-ga-ni-iu la-la na-an-si-⁸ 3. Because of his beneficence

in-ag

4. alam-st a-ni-lu dug-li im-ma-h-

in-til¹⁰

plenty is created. 4. Because of his radiant⁹ statue prosperity is made complete.

¹ For this peculiar form of the conjunction bi-da or bi-ta attached to the plural ending e-tte, see also t-ne-bi-ia in the date formula of the 34th year of Hammurapi. ge marks the subject.

¹ This compound verb is formed from the root al, lofty, and the intensive suffix dug > du; ut is the plural inflection and dm the sign of a dependent phrase, al is connected with il — elii, see Sum. Gr. p. 202.

3 See Poebel; Strassmaier has apparently NE. i. e.₍ gil?

4 The sign ulum is expected here but the text has gir clearly.

⁶ This is the first example of the sign SUfj with the gunufication at the left, REC. 294^W5.

⁶ Note the unusual gunu of LAGAR—dul_tdir\d see RA. 13, pt. Ill Bibliographic, for this sign. til-dul=balat nabntti; for dul = nabnttu, see Sum. Gr. p. 211. The sign employed here has properly only the value du (REC. 233), but it is confused with dul_t REC. 2jj^bis.

⁷bunu namru, v. SAK. 214 f. 16. The scribes themselves appear to have been uncertain concerning the sign di for which they frequently write ki; di, however, is the original and correct reading since it is the well-known augment, dug, du, da, di. Note sag — (imu and sag-di = tfmu. Also $ag-du-ga = banit, begetter, a word certainly connected with bunu, form. See Sum. Gr. §153. For sag-di see also Ni. 4563 Rev. I 8. The scribes appear to have confused sag-dt with sag-ki=p£tu, front.

8 Here infixed Ji reproduces a causal a rare usage of this infix, see Sum. Gr. p. 145 above. in is obviously a mere euphonic element.

9 The sign is REC. 34 not REC. 48 which alone has the values si, sa (RA. 10, 77, 40) = sig, sag=ban&, sdmu, etc. But here the scribe has again confused his signs. A reading g&n-a is also possible, a value given to both signs, CT. 19, 31& 3 and 12, 9a 17. For gun^banti, v. CT. 24, 31, 86 = 25, 26, 2i, etc.

10 Cf. dug-li nu-ttl'la, "joy he completes not," SBH. 101, 50.

5. bal-a-ri-ni-lu im-ma-an-li-gub

6. den^[116] kal-la-bi sag-im-ma-ab-iub-

bi

7. lag-gu-bi - gt-a-na^[117] im-ma-ab-

nigin-e*

8. an ukkin-lugal-ra ka-mu-un-dar-

dar-am^[118]

9. u-mu-un na-dm-{u^b 1'1-ba-dm ki-

gdl dm dam

10. sa-am-su-i-lu-na suba si-a^% mdl-

gil-i-de-kar-kam^[119]

11. igi-mu gim-ba-ma be-ium du-ri-

lu ti-is

12. i-fi-em^[120] ag-dug-KA+NE-"a

asilal da-ra-ab-si

13. kalama gu-ri-a^[121]gub-darⁿ-ma mu-

ra- an-ag

14. sa-am-su-i-lu-na da^iz-gdl-{a-a-

kam kalam-ldr-ra-en-e^H

153

5. Over his transgressors he has

been established.

6. Whose precious presence ap

peases the heart.

7. At whose repentance there is

forgiveness.

8. Lofty one who to the assembly

of kings renders decision.

9. Lord that knows fate obedi

ence. ...

10. Samsuiluna, the pure, the bril

liant, the seer.

11. My eyes are lifted (?)

to bestow life forever(?)^[122]

12 1 will fill thee

with rejoicing.

13. The land to obedience I will

reduce for thee.

14. Samsuiluna thy champion am I,

who enriches the land.

15. mu-us-mis-tdg-ga-fu ni-me-en

nam-en-nu-un mu-ag-e-en

16. lag nam-lugal-la-W ul-lu^[123] gub-

bu-da-ni^z

17. kalatna nam-lugal-la-lti nam-dug

mu-un-kud

18. ur-gal alad alad mu-ne-en- sig

19. an-fa-ne-ne da*-gdl ag-de

20. bal-a-ri gu-ri gub-dar-ag-de

21. ^dinnini a^b-{i-da ba-an-da-gub

22. gub-bu-ne-ne-a sa-am-su-i-lu-na

ba-gub

23. sil-gar-a^ag-gi-e-ne ni-da-e-ne

24. li-du dg-dug-KA+NE-a mu-un-

ul-ne-ne

25. bal-a-ri gu-ri mu-un-ti-ti-ne

26. me-en-ne ga-la-an an-na alad-

Idg-ga-me*

27. *Wzt^[124] xWa sa-am-su-i-lu-na me-

en-ne-en

28. me-en-tf-en bal-a-ri-ii-irP gid-

dug-ge

15. I am thy strong prince the

pious; watchful care I exercise.

16. Who at the head of kingship

joyously has been placed.

17. For the kingship of the Land

with a good fate he has been destined. -

18. Lions as protecting spirits he

dedicated.

19. Their loftiness to make fearful,

20. The transgressors to reduce to

obedience,

21. Innini with a true arm estab

lished.

22. At their left Samsuiluna has

been placed.

23. Their holy praise, their fear,

24. They

25. The transgressor in obedience

they will cause to live (dwell).

26. They are the propitious spirits

of the queen of heaven.

27. A group of lions, object of

adoration of Samsuiluna, are they.

28. Your transgressors ye destroy.

20. i-zi-em dg-dug-KA+NE-a la-ba-

30. pi-el-pi-li ga-mu-ra-ab-lid

Edge, lag-lal-lff alam nu-un ki-tag- tag-i nu-ma-al

29. Song and praise I restrain not.

30. Humiliation I will recite unto

you.

Edge. The hymn to the protecting⁸ statue(s) which has (have) been set up is not finished.

Liturgy to Enlil, Series babbar-ri babbar-ri-gim, Ni. 497

This fragment (originally numbered Khabaza 15-8, 1888) forms the top of VAT. 1334+1341 published by Zimmern, KL. No. 12. The obverse of 497 completes the beginning of KL. 12 obverse I and II. The reverse of this fragment completes KL. 12 rev. II to the end. It also contains a portion of the liturgical note which ended the last column. KL. 16 joins the reverse on the right and contains also the beginning of a few lines of the end of KL. 12 rev. I. This series, built upon an old song, bdbbar-ri bdbbar-ri-gttn te-ga-bi ial, resembles, both in title and literary construction, the late series ^dbabbar- gim l-la of which we have the second(?)^[125] tablet in Assyrian^[126]

and NeoBabylonian¹ interlinear versions and a Neo-Babylonian version of the fifth (?) tablet.² Col. I of our tablet contains two melodies. Col. 11 consists of the melody damgara badakur duaka-naggallu, which also forms Col. I of tablet two(?) in the allied series ^dbabbar-gim e-ta. The fourth melody consists of a long litany filling Cols. 111 obverse and Col. 1 reverse. This melody is one of those movements based upon a liturgical phrase forming the opening line, which is repeated after the titles of all the important gods of the pantheon. Unfortunately this refrain is no longer preserved here. The most well-known "titular litany" is that used in the fifth tablet of the weeping mother series SBP. 150-167. Here the liturgical phrase is $d-ab u-mu-un mu-un-Uig-e-en-ne ul-li-el, "The heart of the lord we will pacify with praise." After three more lines which vary this motif,³ the litany begins a long list of titles each replacing the word utnun "lord" by the name or title of a deity. A titular litany was used as the next to the last melody in KL. No. 8 and KL. No. 11, but here also the liturgical motifs have been broken away. At the top of Reverse II continuing to the end of Col. Ill began the intercessional psalm called in the late liturgies the erlemma. Our tablet, therefore, represents one of the few known examples of a series not entirely compiled from older songs, but having a creative element. The titular litanies and the intercessionals were creations of the liturgists of the I sin and early Babylonian schools who usually constructed these series by simply compiling old songs for musical and religious effect. The later liturgies generally

¹ SBH. No. 33. See SBP. 237-47.

^lSBH. No. 39. This tablet almost certainly belongs to the series ^dbabbar-gim i-ta.

* See Bab. Ill 249.

end the section before the final song or intercession by the rubric:

sub-be le-ib e X ki-de-en-g'i-gt ki-su-bi-im balag gii-de^[127]

This rubric may have been used here and in KL. 8 and ii. We should expect it at the end of Rev. I. It is just possible that the last sign on KL. 16 right column is the beginning of the word sub, in which case we have this rubric already in the classical period. If we may assume that this advanced type of liturgy already possessed the complete terminology of the late period, then the intercessional should be called an erlemma. See BL. XXXVIII and SBP. 174, 53, etc.^[128] Note especially that the intercession and recessional of the late series to Enlil, which so closely resembles the last melody here, also ends in this way, BL. p. 51. At any rate our tablet does not give the name of the series at the end as do the colophons of all the late series, so we may infer that this scribal method had not been adopted in the early period.^[129]

Ni. 497+VAT. 1334, ETC.

1. babbar-ri babbar-ri-gim te-ga-bi- 1. Like the sun, like the sun his

lal* approach illuminates.

2. mi-ri-mi-ri-gim ie-ga-bi-^al 2. Like lightning his approach

illuminates.

3. UD^l e-lum-e mu-un-{al-a-ri²

4. UD^{1 d}mu-ul-lil-li mu-un-{al-a-ri

5. am-c urti e-en-fal-a-ri

6. ^dmu-ul-lil-li uru-na e-en-^al-a-ri

7. [le-ib] nibru-(ki)-na e-en-^al-a-ri

8. [le-ib & ]-kur-ra-ka e-en-^al-a-ri

9. [le-ib e -]gal-la^z e-en-^al-a-ri

10. [le-ib {imbir-]ki-1a e-en-^al-a-ri

11. le-ib i-bdr-ra e-en-^al-a-ri

12. urU^{K d}anunit um-ma^b e-en-^al-a-ri

13. le-ib ul-mal-a-ta e-en-^al-a-ri

14. le-ib tin-iir-(ki)-ta e-en-^al-a-ri

15. le-ib sag-il-la e-ett-ial-a-ri

16. ud mul til-e ud gtn ttl-e*

3. Babbar the exalted illuminates.

4. Babbar-Enlil illuminates.

5. The bull the city illuminates.

6. Enlil his city illuminates.

7. The brick-walls of Nippur he

illuminates.

8. [The brick-walls] of Ekur he

illuminates.

9. The brick-walls of the palace he

illuminates.

10. On the brick-walls of Sippar he

shines.

11. The brick-walls of Ebarra he

illuminates.

12. The city of Anunit he illumi

nates.

13. On the brick-walls of UlmaS he

shines.

14. On Babylon he shines.

15. The brick-walls of Sagilla he

illuminates.

16. Spirit that brings the youth to

extremity; spirit that brings the maid to extremity.

17. udtur gul-e ud amal sir- ri

18. tug-a^ag-di ud l&b-ba nu-pad-di-

da-ri^[130]

19. tiir al-gul-gul-e amal sir-sir-ri

20. dg-tf-em ma&-ba mu-da-ab-

gi-gi^[131]

21. mul-an-na lal-gub? mul-bi se-dm-

la

22. gin-an-na^[132] lal-gub gtn-bi le-dm-

Id

23. [gil-mes gal-gal-]e^s gu-ri-*[ul-dm-

me)

24. [ud-du du-du-]dam lu-lu [al-ma-

ma]

25. [e-ne-em ^denu-ul-lil-li bul-bul-dm

⁷i-dc nu-bar-bar-]ri

26.

27 NE

28. [.^dmu-ul4il4i...)NE

29. [£wr-&Mr-ra^[133]....

30. [u-mu-]un dtig-ga-[{id-da ]

31. [a-a ka-nag-ga ]

32. [sib sag-gig-ga...]

17. Spirit that destroys the stalls;

spirit that desolates the folds.

18. Possessor of wisdom, spirit whose

intentions are not discerned.

19. The stall it destroys; the sheep-

fold it desolates.

20. Small and great it slays.

21. Upon the youth it arrives and

that youth wails aloud.

22. Upon the maid it arrives and

that maiden wails aloud.

23. The great mesu-trees it sweeps

away.

24. Spirit that reduces all things

to obedience.

25. The word of Enlil rushes forth

and eye beholds it not.

26.

27

28

29. The lord of the lands

30. Lord of the faithful word

31. The father of the Land

32. The shepherd of the dark-headed

people...

160

33. [i-di-dU ni-te-na ]

34. [am erin-na sd-sd...]

35. [u-lul-la dur-dur ]

Here followed about five lines concluding the melody and the end of the column.

33. He of self-created vision

34. The hero who directs his host

35. He that quiets the strength of

rebellion...

Col. II

1. dam-ga^l-ra ba-da-[kHr du-a ka-

nag-gd al-lu]

2. uru-ta dam-ga^l-ra [ba-da-k&r du-

a ka-nag-gd al-lu]

3. mu^luns\r-ra² SI [nibru-(ki-)ta ba]

4. le-ib i-kur-ra-ta [ken-ur* t-nam-

1i-la* ba]

5. le-ib e⁵ {imbir-(ki-)[ia el 6-bar-ra

ba- da- kur]

1. The shepherd is estranged, all

the Land is terrorized.

2. Against the city the shepherd

is estranged, all the Land is terrorized.

3. The master of threnody against

the abodes of Nippur is estranged.

4. Against the brick-walls of Ekur,

of Kenur and Enamtila he is estranged.

5. Against the brick-walls of Sippar

and the abode Ebarra he is estranged.

6. Against the brick-walls of Tintir

and Esagila, etc.

7. Against the city whose lord has

cursed it.

8. Its mistress^[134] sits in misery.

9. The city, whose lord no longer

guides its destiny,

War. SBP. 238, 1 kar.

*bil ftrbi, here a title of Enlil as the one who caused the lamentations of Nippur. The same title is applied to Gula in KL. 25 II 7. ⁹ Chapel of Ninlil in Ekur. ⁴ Chapel of Enlil in Ekur.

* Sic! an error of dittography.

• Var. gig-gig-bi. ⁷ Ninlil.

•Text e-en which is probably erroneous.

10. u-mu-un-e ^d[mu-ul-lil-li lil-la-dl

tu-ra-bi]^[135]

11. mulu er-ra-ge er mu-ni-tb-lel-lel

12. mulu ad-da-ge ad-[du mu-ni-ib-

gar]

13. mu-diil-*di gir-gif-^zmu~ni-ib-

[dug?]

14. sib-be gi-er^[136] mu-ni-ib-ne*

15. gudu gil-a$ilal-W nu-mu-ni-ib-bi

16. gala-e¹ a lag-iu nu-mu-ni-ib-bi^

17. gudu-bi dug-li-dd^[137] ba-ra- I

18. mi-pdr-^[138]ta ba- ra- i

19. u-mu-un-bi nu-mu-un-til ga-la-

nu-mu-un-til

20. u-mu-un dim-^[139]ma kur-lu ba

il"

21. dtm-ma^u kur-lu ba-da-<u^H

10. Which the lord Enlil surrendered

to the winds.

11. The mourner mourns.

12. The wailer beats himself.

13. The herdsman hastens in dis

tress.

14. The shepherd sits down to play

the reed of weeping.

15. The anointer commands no more

the atonement.

16. The psalmist commands no more

the "How long thy heart?"

17. The anointer departs from his

riches.

18. Her high-priest from the dark

chamber¹¹ has gone forth.¹¹

19. Her sovereign remains not; her

queen remains not.

20. The lord cried aloud and rode

to the mountains.

21. Her queen cried aloud and rode

to the mountains.

l62

22. ka-a^[140] kun-bi mi-ni-ib-ur-ur-e^[141]

23. dar-gu-*e gu-il-la im-ia-di-di-e^[142]

24. l&b-bi lil-la-dm bar-bi lil-la-dm

25. l&b-bi si-ga* ni-gul-gul-e

26. l&b-bi mu-lu sir-ra^[143] mulu im-ta-

ne-a*

27. mar(?) - mag-bi^[144] ki-^[145]ba i-ni-gid-

da

28 mu ma^-bi i-ra in-dib

29 an-gu-ab-bi ba-ga{-ga{

30 ba

This melody must have continued for at least ten lines. At the end of IV Raw. 11 Col. 1 a break of at least twelve Sumerian lines must be assumed if the melody ended at the bottom. Also at the end of SBH. 62 a break of similar length must be conjectured.

22. The fox's tail bristled.

23. The many colored bird shrieked

aloud.

24. Within her is the whistling

wind; without her is the whistling wind.⁵

25. Her interior by the wind is

made desolate.^[146]

26. Within her the master of thren

ody and weeping has caused men to go forth.

27. Her treasure bouse from its place

has been seized.

28. Her has been taken.

29. Her has been demolished.

Col. Ill

(About twenty-two lines broken from the top.)

(23) 6. ^dam-an-ki am uru-fi-ib-ba-

&

(24) 7. ama e^mag^{2 d}dam-gal-nun-

na-ge

(25) 8. ^dasar-lu-dug u-mu-un tin-

tir-(ki)-ge

(26) 9. mu-ud-na-ni ^dpa-nun-na-

ki-ge*

(27) 10. sukkaP-iid mu-dug-ga-sd-

[a }

(28) 11. sukkal-{id ii-mu-un [

^[147]i

(29) 12. dumu*-sag ^d[uras-a e-gi-a-

ni ]

(30) 13. u-[mu-un mu-du-ru sig-lu-

du]

Here'followed at least ten lines to the end of the column which can be supplied from SBP. 154, 34 ff.

6. The divine wild bull of heaven

and earth, wild bull of the holy city.^[148]

7. Mother^[149] of the house of the

famous one, goddess, great spouse^[150] of the prince.

8. Asarludug, lord of Babylon.

9. His spouse, Panunnakige.

10. The faithful messenger, he

named with a good name.

11. The faithful messenger

12. The first born daughter of

UraSa, his bride.

13. The lord of the wand, adorned

with splendor.^[151]

Reverse I (About twenty lines broken away.)

g*

3. ur-sag ligir?.

2. pa-te-si-ge(?)

4. u-mu-un-si^{l d}[mu-ul-lil-l&) ligir ni

5. ur-sag-gal(?) [^durala-ra

r f

7. ^damurru [mu-lu gar-sag-gd-

ge?)

9-15 no traces.

16. nin^A

18. urU-mu-a

20 * 6. zuijyri-kur-ra¹. 8. lu(?)

17. ama-gal ga-[la-an ]

19. nibru-(ki)

Reverse II

(16) 1. mu i-du-a mtwnu pad-di

mu-mu nu-pad-di

(17) 2. mu uru-du-a mu-mu pad-de

mu-mu nu-pad-di

(18) 3. kur in-gai-e kur in-ga-slg

mu-mu ni-pad-di

(19) 4. kur ur-ba um-mi-in-gul u&- £a mu-mu ni-pad-di

1. The name of the builded temple

by my name is named, which by my name was not called.

2. The name of the builded city

by my name is called, which by my name was not called.

3. 'The strange land he smites,

the strange land he humiliated/' shall my name be called.

4. 'The strange land altogether

he terrified," shall my name be called.

(20) 5. kur-kur iar-ri-ef-e^l mu-un-

gab-gab¹ mu-mu ni-pad- di

(21) 6. ki-bal {ar-ri-et-e¹ mu-un-

gal-gaP mu-mu ni- pad-

		di
(22)	7-	a-{&i-a)-mu{?)-a um-mi-
		in-sur mu-mu ni-pad- di
(23)	8.	lag gi~u gi-ii* li-ab iug-e
		ttig-e^6
(24)	9-	lag an-ltta]* gi-u gi-u
(25)	10.	Sag ^dmu-ul-lil-ld gi-u gi-u
(26)	11.	[lag ur-sag-gal\ gi-u gi-ii
(27)	12.	[lag gi-u] gi- ["]
(28)	«3-	[sag gi-u gi-ii]
(29)	«4-	Id-ab lu-mu-un-tug-[mal\
		im-^8 ra- du'-[a ]•
(30)		[uru-\%u ^dbabbar-gim {a-e-ta
		[i-bar-ra)^w
(31)	16.	nippur-(ki) ^dbabbar-gim \a-

e-[ta l-bar- ra]

165

5. "The lands in anger he devas

tated/' my name shall be called.

6. "The hostile land/in anger he

destroyed," shall my name be called.

7. "With waters he makes

clean" shall my name be called.

8. Oh heart, be reconciled, be

reconciled, oh heart, repose, repose.

9. Oh heart of Anu, be reconciled,

be reconciled.

10. Oh heart of Enlil, be reconciled,

be reconciled.

11. Oh heart of the great hero,^[152] be

reconciled, be reconciled.

12. Oh heart of. .be reconciled, etc.

13. Oh heart of be reconciled,

etc.

14. To cause the heart to repose,

let us speak unto thee.

15. Unto thy city like the sun hasten

gloriously.

16. Unto Nippur like the sun hasten

gloriously.

17. e-kur ^dbabbar-gim ia-[e-ta e- 17. Unto Ekur like the sun hasten

bar-ra] gloriously.

18. ken-ur ^dbabbar-gim [{a-e-ia 18. Unto Kenur like the sun hasten

i-bar-ra] gloriously.

^[153]9• zimbir-(ki) ^dbabbar-gim 19. Unto Sippar like the sun hasten

[e-ta e-bar-ra] gloriously.

Reverse III

1. [e-bar-ra ^dbabbar-gim ia-e-ta e-

bar-ra]

2. [uru ^danunitum-ma ^dbabbar-gim

ia-e-ia l-bar-ra\

3. [e-ul-mal ^dbabbar-gim \a-e-ta l-

bar-ra]

4. [tin-iir-(ki)^dbabbar-]gim \a-e-[ta

[h-]bar-ra^l

5. [e-sag-il-la] ^dbabbar-gim {a-e-[ta e-

bar-ra]

6. [ttippur-ki uru-]{u^[154] uru-^u ge-du-e

7. [i-kur e-{u nippur-(ki) ge-du-e

8. [ken-ur e-nam-ti-la] fce-du-e

9. ixmbir-ki ge-du-e [e-bar-ra] &e-dii-e 10. e-sd-kud-kalam-ma ge-du-e [ ]

ge-du-e

\ 1. tin-iir-(ki) ge-du-e sag-ila ge-du-e

12. e-%i-da^z ge-du-e kis-(ki) ge-dii-e

13. e-kilib-ba ge-du-e e-me-te-ur-sag

ge-dii-e

14. gar-sag-kalam-ma ge-dii-e e-tur-

kalam-ma ge-du-e

1. Unto Ebarra like the sun hasten

gloriously.

2. Unto the city of Anunit like

the sun hasten gloriously.

3. Unto Ulmas like the sun hasten

gloriously

4. Unto Babylon like the sun

hasten gloriously.

5. Unto Esagilla like the sun

hasten gloriously.

6. [Thy city Nippur] be built.

7. [Thy temple Ekur] in Nippur

be built.

8. [Kenur and Enamtila] be built.

9. Sippar be built, Ebarra be built.

10. Esakudkalam-ma be built,....

be built.

11. Babylon be built, Sagilla be

built.

12. Ezida be built, Kish be built.

13. Ekisibba be built, Emeteursag

be built.^[155]

14. tJarsagkalamma be built, Etur-

kalamma be built.^[156]

15. gu-du-a-ki ge-du-e mes-lam ge-

du-e

16. dil-bad-{ki) [ge-du-e]e-i-be-an-

na ge-du-e^[157]

17. [lag-i^i-ium ge-ra-ab-bi]

18. [dib-bi-iii-tum ge-ra-ab-bi] '9- lag tug-mal-u]

15. Cutha be built, Meslam be built.

16. Dilbat be built, E-ibe-Anu be

built.

17. [May one utter petition unto

thee.]^[158]

18. [May one utter intercession unto

thee.]

19. [Oh heart be reconciled, oh

heart repose.]

20.

SBH. No. 39.

Series, "Like the Sun Hasten"

This tablet belongs to the Neo-Babylonian redaction of the series ^dbabbar-gim-e-ta and is probably the fifth or next to the last tablet. A Neo-Babylonian tablet of the same series is SBH. No. 33, duplicate of IV R. 11 an Assyrian copy, possibly tablet 2. This tablet (2?) has been edited in SBP. 238-47. Col. I of tablet 2(?) has been copied into Obv. II of the ancient allied Enlil series babbar-ri babbari-gim teg-ga-bi {al, which see, for a new edition of SBP. 238-43. I venture to designate BL. 73,^[159] an Assyrian copy, as the sixth or last tablet. This text contains the erlemma or recessional which ended a long Enlil liturgy. The colophon which gave the name of the series is destroyed, but if our conjectures be correct BL. 73 Rev. at the end should be restored er-sem-ma ^dbabbar- gim e-ta la ^iluEnlil.^[160] On these hypotheses we have the greater portions of three large tablets of this well-known Enlil liturgy. The only other Enlil series whose contents-are more completely known is the am-e bar-an-na-ra series, SBP. 96-129.

Obverse?

(About twenty-five lines broken away at the top.)

1. Thy seeing eyes weary not.²

2. When thy neck is set it turns

not back.

3. How long until thine estranged

heart weary not?

4. The wife he rescued and settled

in a strange place.

6. The son he rescued and settled in a place not bis own.

8. The accumulated property thou hast given to the stranger.

10. The hoarded treasures thou hast

given to the stranger.

11. In its holy throne the stranger

sits.

12. ina ku-us-si-5a^l el-li nak-ri it- ta-Sa-ab

13. mu-nad-bi¹ a^ag-ga-bi kur-ri ba-

an-da-nad

14. ina ir-3i-3u el-li-tu Sa-nu-um- ma i-ni-il

15. i~iu mu-lu-kur-ra a-gim mu-un-

na-fi-em

16. bit-ka ana nak-ri ki-i ta-ad- din

17. uru-%u mu-lu-kur-ra a-gim

18. lag-iu fce-en-tug-mal bar-{u ge-

en-led- de

19. ^dmu-[ul~] lil-ld-[ge?] lag-^u

20. [^dkur-gal am-]nad* lag-\u

21. [nippur-ki ] uru-{u ge-du-e

22. [nippur-ki ] &la-ka li-in-ni- pu-uS-ma

23. [e-kur] c~iu ge-du- e

24. [ken-ur e-nam-H-la il] nippur-ra⁴

g*

25. [e-te~me-an-ki el] e-ddr-an-na ge-

du

26. uru'iu babbar-gim ii-{t-ta e-ba-

ra

13. On its holy couch the stranger lies.

15. Thy temple unto the stranger thou hast given.

17. Thy city unto the stranger thou

hast given.

18. May thy heart repose, thy soul

be at peace.

19. Oh Enlil may thy heart repose.

20. [God of the great mountain,

crouching wild-bull], may thy heart repose.

21. Nippur thy city be rebuilt.

23. Ekur thy temple be rebuilt.

24. Kenur and Enamtila the

abode(s) of Nippur be rebuilt.

25. Etemeanki and the abode Edar-

anna be rebuilt.

26. Unto thy city like the sun

hasten in splendor.

iluj

27. ana Sli-ka ki-ma SamSi ina u-pi-e ar-foa

28. nippur-ki uru-{u^dbabbar-gim 1t^[161]

29. e-ddr-[an-na^dbabbar-gim p]

30......

28. Unto Nippur thy city like the

sun in splendor hasten.

29. Unto Edaranna like the sun in

splendor hasten.

30.

Reverse(?) (Eight or ten lines missing.)^[162]

1. .. J

2. [el'im-ma?] umun kur-kur-[ra-ge]

3. [.. . .-]ra umun ^dmu-ul- il-la

4. elim-ma ur-sag ^dasar-lu-dug

5. ur-sag-gal umun ^den-bi-lu-lu

6. sib [{i-da?) sib sag-gtg- ga

7. mu-lu sag-{u-a tug ba-tul-la^h

8. tig-{u ur-ra ba-e-ni-mar-ra

9. lag-iu girpisan-gim &m-ma ba-

lu-a

10. e-lum mu-u$-pitug-{u ur-ra mi-

ni-ib-us-sa!^[163]

11. [dug-ga-{u a-ba mu-]un-kur-ri de

12. ki-bit-ka man-nu u-nak-kar

13. tag-a-^u a-ba mu-un-dib-bi-de

1 Here again six lines with the six titles in note 2 and the refrain ^dbabbar-gim {t-{i-ta l-ba-ra after each have been omitted.

2 The melody continued here for about ten Sumerian lines to the end of the tablet. These two motifs_f &e-dii-e and ^dbabbar-gint ii-{i-ta (or za-e-ia) e-ba~ra_t characterize the last melody of the classical series Ni. 4591+ KL. 12, but occur there in the order ^dbabbar-gim, etc., and $e-du~t.

¹ Here began a melody whose motif is lost.

⁴ SBP. 124, 5; 120, 7, etc.

' Var. SBH. 131, 50 bi-tul-la.

⁶ Var. SBH. 131, 53 has a rendering suited to the Semitic idiom, "Exalted, thou who hast put thy fingers in thine ears."

14. a-§ap-ka man-nu it-ti-ku

15.

16. 17-

15. i-de il-la-^u a-ba ba-ra-i

16. dug-bad-du-^u a-ba ba-ra-lub-bu

17. kur igi-nim-ta mu-un-{u mag-dm

18. ina ma-a-tu e-li-tu Sum-ka §i-

ri

19.

19. kur-igi-sig-ga-ta mu-un-iu mag-

dm

20. ina ma-a-tu Sap-li-tu Sum-ka

§i-ri

21,

21: an-na mag-min ki-a mag-min

22. ina Sa-me-e §i-ra-ta ina ir$i- tim §i-ra-ta

23.

23. an-na mag-min mu-un-^u mag-

dm

24. ina Sami-e §i-ra-ta Sum-ka ?i- ri

25. mu^un-iu mag-dm \a-t dingir 25.

mag-dm

26. Sum-ka §i-rum at-

-tu i-lum si- rum

27-

27. ia-e dingir mag-dm dam-pt nin-

28.

29.

ditto a5-Sat-ka dam-[{u ^da-]ru-ru^{A d}mu-ul-lil- la

29.

30. 3»-

[a§-§at-ka ^llata-ru-ru^[164]] a-bat ... ^dmnrul-lil-la

30.

3[165]-

ntag-dm^[166]be-lit ilani SAL+KU

From thy vision who escapes?¹ From thy stride who shall flee? In the upper land thy name is famous.

In the lower land thy name is famous.

In heaven thou art mighty; in earth thou art mighty.

In heaven thou art mighty and thy name is famous.

Thy name is famous; thou art a mighty god.

Thou art a mighty god and thy consort is a mighty queen.^[167]

Thy consort is Aruru, sister of Enlil.

of Enlil

(About twenty-four lines broken away.)

I 12

Fragment of a Titular Litany

This fragment, which consists of the lower half of a single column tablet, contains only interesting titles of various gods, followed by a refrain which began with ab. Liturgies of this kind recur frequently. For example, tablet five of a series edited in SBP. 130-175 began as follows:

Sd-ab u-mu-un tug-e-en-ne ul-li-el Id-ab tug-mal bar tug-mal-da ldb-^lbe-en me-en-ne Id-ab u-mu-un mu-un-tug-e-en-ne ul-li-el Id-ab an-na Sag ^dasar-lu-dug mu-un.

"The heart of the lord let us pacify with gladness. To pacify the heart, to pacify the soul let us go. We the heart of the lord will pacify with gladness. The heart of Anu, the heart of Marduk we will pacify."²

Note that the prefix mu-un in line 4 indicates that we restore mu-un-tug-e-en-ne. This liturgy then continues for more than one hundred lines, with the same refrain, mu-un, etc., being repeated after a name and title of some god precisely as ab is repeated after names and titles of gods. The fragment is a partial variant of the fifth tablet of the series muten- nu-nunu^ gim, edited in SBP. 130-179. Obverse 1 is parallel to SBP. 156, 51 and the last line on the reverse is parallel to SBP. 162, 27. A considerable number of divine names in the fifth tablet of the above series do not appear here. This is due to the fact that the Nippur text is more than 1500 years older than the Neo-Babylonian redaction in the muten-nu series. Lines 4-13 of Zimmern, Kultlieder 8 IV are closely parallel to Rev. 6-13, but KL. 8 IV 10 does not appear here and the order of the divine names is slightly different. KL. 11 Rev. Ill i=Obv. 2 and forms a close parallel for several lines.

This text will prove to be of surpassing interest for its phonetic spellings of hitherto obscure ideograms and will settle also the meanings and connections of several divine names.

Obverse

1. ga-la-an i-ri-ga-al^[168] a-ma ku-ul- 1. Oh queen of the "great city,"

la-ba ab mother of Kullab, ab¹

2. cn-a-nur-urP dur-ur-ku,^[169] imin ab 2. Enanun that harnesses the

seven dogs, ab

3. tna-su itt-da-ag* ra mu-u-ri-na^[170] 3. Chieftain lndag, the urintt-

ab spear, ab

4. ni-mi-ir^[171] sa-ga ga-an-du-ur sa- ♦ 4. Potentate who the head

mal ta-ri-ba [ ab] [ab]

5. ga-la-an tnu-ga^[172] bu-lu-uk-ku? 5. Oh queen.......... sovereign

ma mi-ri-{uga-al-la-[biab] thy foot is placed, [ab]

6. u-mu-un i-ri-ga-al gu-si-sa* 6. Oh lord of the vast abode, the

[ab] impetuous ox, [ab]

7. ir-ra-ga-al gu-si-sa^[173]... .[ab] 7. Great (G)irra, the impetuous ox,

[ab]

8. ni-in-ni-Hm-ma gu ma-nu-un 8. [Lord] of whatsoever has a name,

.... [ab] ox who is unopposed, [ab]

9. e-{i-na* dur-ru-si-ga^[174] dur-ru la- 9. Ezina, that sprinkles libations,

ri-ba[ab] that... libations, ab

10. u-mu-un ma-da lu-du^x a-na\ab] 10. Lord of the earth, light of

heaven, ab

11. u-mu-un a-pp u-mu-un e-[ 11. Lord, healer, lord [of the seizing

ab] hand]

12. u-mu-un mu-^i-da³ gu-ni. .[ab] 12. ''Lord of the true tree," whose

neck............................ ab.

Reverse

1. e-ri-da^A gu i-nu [... .ab] 1. Oh virile lord, ox............... ab

2. ga-la-an ti-il-dib-ba me i%.. .[ab] 2. Queen that gives life to the

dying____________ [ab]

3. ga-la-an su-bu-ra⁶ ba-an-surur3. Queen of the earth, heavenly

a-na ab table, ab

4. ga-la-an i-si-na ma-Iu-gi^[175] ki-ga

ab

5. du-mu-{u pa-bi'il-sa-dg² tu-ku-uP . nam-mu-{u^A ab

6. gu-nu-ra^b di-im-gu-ul ka-na-dm-

ma ab

7. da-mu sa-ga^[176] me-ir-si ni-mi-in-

di ab

4. Queen of I sin, sovereign of the

earth, ab

5. Thy son Pabilsag, the comforter

of wisdom (love?), ab

6. Gunura, tarkul^[177] of the Land, ab

7. Pious Tammuz, who the floods

causes to flow, ab

8. u-mu-un ^dImmer am i-di-en^l ab²

8. Lord, god of the storms, bull of terror, ab

9. u-mu-un It* ka-na-dm-md ti kur-kur-ra?

9. Lord of the life of Sumer, of the life of the lands__

10. su-ud du-mu nu-un e-te-en-di-li⁴

10. Sud, daughter of the prince, radiant ehndili, ab

11.

11. e-tf-ra na-dm-in-ge le-i-ti na-dm- dib-dib-bi^b

12. su-mu-un-ga-afi⁵ lig-gdP igi-in- ba-ar u h-im-dib-a ab

12. Gira, the god who gives heed to the cattle, who causes them to have grass, ab

War. ni-te-na, SBP. 160, 15. Note the variant nf-a-an-na, KL. 8 IV 7 and ni-dH-an-na, 11 Rev. Ill 29.

5 The text has ta, which I have corrected, but see KL. 8 IV 8 ff. ta at end of the lines, depending on some other motif.

'h'=?i-nafiiSu. Cf. KL. 8 IV 8; 11 Rev. Ill 31; SBP. 160, 17.

⁴ KL. 8 IV 9, ^dsu-kur-ru dumu nun-a ei-Ud-dil a^ag-ga-ta. SBP. 160, 18, ^dsu-ud-dm ama i-fdb-ba. SBP. 26, 7= BL. 72, 3, ^dsu-kur-ru dumu-nun-abfu-ge. Hence su-ud and sH-ud-dm are titles of ^dluruppak, the goddess of Shuruppak, a form of Gula, called marat rubt apst,"daughter of the prince of the sea." This goddess is clearly a form of Gula (see SBP. 161 n. 12) and Suruppak like Larak was probably a part of the great city I sin, modern Fara. But ^dluruppak is given as a title of Ninlil in the great list, CT. 24, 5, 9 = 22, 109, where she is also called ^dsu-ud. Here we have a tendency to identify the mother goddess of Shuruppak with the married deity Ninlil of Nippur. As to the goddess Sud, Sudam, note that SBH. 134, 36=SBP. 160, 18 renders ^ds&-ud-dm by "ditto," and dumu nun-a by [ma-rat ru-bi-)e, "daughter of the prince," i\ e._$ daughter of Ea. The noun sud probably means "light," see above, note on Obv. io and 56- da-dm, a title of Aja, goddess of sunlight, and originally a type of the mother goddess Innini, later associated with Shamash of Agade, see Tammui and Isbtar 96 f. su-ud-da-dm = niir tami, a title of Innini as Venus, SBH. 98, 1. ^dsu-ud-dm clearly refers to Aja marat rubt, in SBP. 158, 1 = SBH. 134 II 4 f. Note also that Shamash and Aja come under the Ea pantheon, SBP. 159 n. 12. Hence the goddess of Shuruppak was a type of mother goddess especially connected with sunlight, elendili probably denotes a similar idea.

6 Var. KL. 8 IV 13 ^dKA-DI nam-en-me LI-SAR-te-me na-dm-dib-dib-ba-iba sic!)-to. Thus we have at last the reading of the ophidian god KA-DI of Dir, \-slr=e-{i-ir. s\r = {ir, is probably the root sir, "be long," hence serpent, rendered by $tru in Semitic. The Sumerian and Semitic words are not philogically connected. For KA-DI as a serpent god see Tammui and Isbtar₉ p. 16 and 119 ff. The line corresponds to SBP. 162, 24.

6 A variant of sumugan < sumukan = ^iluGirra, god of the cattle and son of Shamash, CT. 24, 32, 112; ASKT. 105 Rev. 10 ^dGira dumu ^dBabbar sab nig-nam-ma-ge, "Gira son of Shamash, shepherd of whatsoever exists." sumu-gan contains the root gan=aladu, "to beget," and is connected with la-gan ( = mu'allidu) also a title of Gira, BM. 38177 and sakkan ( < la-gan) a dialectic variant, 81-8-30, 25 Rev. 8. See also Thureau-Dangin, RA. 11, 104.

7 Since Gira is the god of cattle, {ig-gdl should be rendered by b&lu, cattle, a passage which tends to show that II R. 24, 23 has no sign broken away before iig-gdl=al& (bOlum), domestic animals. Also Delaporte, Catalogue No. 298, has a similar title of Gira, ?ig-gdl Idr-tdr-bi, he who makes fat the cattle. [For ldr=dull&, see Syl. C. 75 and IV R. 20, 26.] This line corresponds to KL. 8 IV 12, ^dgU mal-aniu igi-bar [it] na-dm-ma-tiik-tiik ta.

<3- [en-gi]-im-du ab-si-itn-ma^[178] e-pa- 13. Engidu,^[179] who causes the canals t%^[180] gi-ir* [$e-gu-)nu ma-a^b ab and water courses to lave the

corn; who causes the gunu- grain to thrive.

7184

Liturgy of the Cult of Ishme-Dagan

This single column liturgical text of sixty-five lines belongs to the corpus of ritualistic hymns and prayers written for the cult of the deified Ishme-Dagan, fourth king of the dynasty of Isin, who enjoyed an unusually long reign of twenty years. Two other well-preserved liturgies of his cult have been found, Ni. 4563 published in this volume and one in the Berlin collection, published by Zimmern in his Kultlieder No. 200. The latter text, like Ni. 7184, is a single column tablet, but contains only the twelfth strophe or melody of a long liturgy. In our text and in KL. 200 the king is said to be the son of Enlil, but in Ni. 4563 the god Dagan is his father.

The present hymn clearly originated in the temple schools of Lagash, since that city and its temples figure chiefly in the local references. This explains also why the mother goddess Bau, divine patroness of Lagash, is praised as the divinity who cares for the deified ruler. The tablet was found at Nippur, a fact which reveals once more the practice of borrowing well-known and popular choral compositions from the various cults. Although the statue or image of the worshipped king is not mentioned, as in the case of a similar hymn to Idin-Dagan,^[181]nevertheless lines 26-7 of the reverse make evident the situation. Our hymn was sung by the choir in the presence of a statue of Ishme-Dagan in a chapel at Lagash and later at Nippur.

Obverse

1. ninni-ila

2. Ugir(?)^{2 d}ba-u gu-gal nin

ur-sag

3. dingir sumugan me-mag-a lu-du

.... il-lu- -gal-lu

4. su-un-su-na sal-pd nin-gal

^d^]lag-ia-de-aga

5. dumu-an-na tur KA-pad-de

bur... Ju-ni-si

6. nin-a-{u-gal sag-gig-ga lu-ti-li

lit u-tud

7. $u-gal geltin kal-e se KU⁴ kalama

lu-a..

1. Lady that beareth awe

2. Princess Bau, the peeress, lady

......... the heroic

3. She that keepeth the great

decrees of Sumugan, the far- famed bearer of

4. The vigorous, the faithful

woman, the illustrious lady, goddess NIN(?)-$agladeaga. 5. Celestial daughter, she that choseth the o£spring of the sheepfolds, she whose hand filleth the.. bowl.

Great queenly healer of the

dark-headed people, she that gave life to man, she that created man.

She that apportions wine, beer

and barley-meal (?) unto the Land

She that possesseth a solicitous

heart, compassionate cow of the Land, lady who.................

9. ^den-lil lugal kur-kur-ra-[ge]

10. ^dnu-nam-nir en nam-tar-ri

11. el nibru-(ki) dur-an-ki-a enim-

gal-bi be-in-[ dug ]

12. e-kur {agxn-na mi-ni-im-mag-en

igi la.

13. sa-ku-kalig-ga ^dnu-nam-nir-ra-

[ge me-en]

14. an-gub-ba^[182] e-kur-ra ka-pad -sum-

mu gu

15. ^den-lil-ld e-am a-mag-a-ni me-en

a-gub-ba-ni^[183] [me-en]

16. su-na lita-ba ki-lal a-{u- ul

17. ^dnu-nam-nir nun kur-kur-ra-ge

18. nam-sag-tu-mag^b an-ki lu-{u im-

mi-in-ta-sum

19. mu-un-ila-en nam-nin el numun-

i-ia-ra mu-ra-an-sum

20. a-a ugu*-{u an dingir-mag-e mu-

mu ME-ZlD¹ mi-ri-tn-mu

21. ur-sag ^den-lil-ld ^dnin-gir-su git-

lam lu-ma-ra-an-sum

9. Enlil king of the lands,

10. Nunamnir, lord that decrees

tate,

11. In the house of Nippur, band of

heaven and earth their great words [spoke.]

12. In brilliant Ekur they made thee

far famed, that eyes cannot [support tbee]}

13. The mighty net-weapon of Nu

namnir, [thou art].

14. Sentinel of Ekur, that givest

bread to eat, that [thou

art].

15. Of Enlil in the temple his right^[184]

hand thou art; his left hand thou art.

16. His shining weapon is suspended

at thy side.

17. Nunamnir prince of the lands.

18. Mighty dignity in heaven and

earth he gave into thy hand.

19. He exalteth thee; lordship unto

the house of thy seed he hath bestowed for thee.

20. Thy paternal father, Anu the

far-famed god, hath clothed thee with the robe of a sage.

21. The champion of Enlil, Nin-

girsu, hath caused to be given unto thee a wife.

22. e-ninnH uru-a\ag el numun-i

sag.... mu-ri-PA+KAB+DU

23. tagal-(ki) gir-su-(ki) dim-gal-

kalam-ma-ka

24. e-malga-sud^[185] kidur-kenag-ia

25. sil-sir-sir^[186] e nam-nin-a-ka bara-

mag'iu mi-ni-ri

26. kidur-mag-iu' dar*-an-ki lagal-

(ki)-a im-li-lu-lu-e-ne-el^[187]

27. win \ag-dib^h bar-ni lu-nu-teg-ga

28. dumuan-na nin-gal nig-nam-{u

29. W mt-gim-sdg^[188] nun ^dil-me-

gtftt JttWM ^den4iUld-ge

30. fci-*/ tftfia igi-{id mu-li-bar

nam-dug mu-ni-tar ud-ti-la h-a- lu

22. And Eninnti in the holy city

he presented .... unto thee as the abode of (thy) seed.

23. In Lagash and Gir-su metropolis

of the Land,

24. The house of wisdom, thy be

loved abode,

25. Silsirsir,² temple of lordship, thy

magnificent hall, he founded.

26. Thy magnificent dwelling place,

band of heaven and earth, in Lagash they have placed.

27. The queen that holds universal

power, whose side is unattainable.

28. Celestial daughter, great queen

that knoweth anything whatsoever,

29. The mighty one, healer of the

limbs of the prince, Ishme- Dagan son of Enlil,

30. The maiden, mother Bau, has

looked with faithful eyes upon thee, good things decreed in order that life of days may go forth forever.

31. sa- sud- da- dm^[189]

32. ama ^dba-u nun ^dil-me- ^dda-gan

dumu ^den-lil-ld-ra nam-til nd-sud-du sum-mu-

dam

31. It is a long

32. The mother Bau unto the prince

Ishme-Dagan son of Enlil life unto distant days hath given.

33. gil-gt-gdP sa-sud-[da-kam ]

33. This is the interlude for the long sa[bar].

Reverse

1. [ki] nam-til-la e ^den-lil-la-su

2. [ ] UD-LU ka-gar-ldg-ga

gab-na im-mi-tab

3-

4.

5.

6.

7- 8.

9.

10.

3. ab(?) ^dis-me-^dda-gan \a-e im-me-

ni-tud

4. lugal-men nam-til-la-da im-da-e-

gub

5. kur-gal ^den-lil-ra X^[190]-ki-mu-ne-

gdl

6. a-a ^dmu-ul-lil u-mu-un-gal kur-

kur-ra

7. ^dis-me-^dda-gan-na na-dm be-ib-tar

mil-. ... e-ne-ir mu-

ne-dug

8. ^den-lil lugal kur-kur-ra-ge igi-{id-

til-la sag-ki Idg-ga-ni mii-un- si-in-bar

9. ^dit-me-da-gan-na nam-mu-ni-ib-

tar-ri

10. ^gtigu-{a me-ur-ur aga \i-ud- sud-du-a had-kal-kalag gi-ni ul-ai-a l&g-e

In the place of life, temple of Enlil,

good thoughts in his

breast multiplied.

Thee oh father(?) Ishme-Dagan he created.

A king thou art and with life thou hast been firmly fixed.

Unto^[191] the great mountain Enlil

Father Enlil great lord of the lands

For Ishme-Dagan decreed the

fate, for him he

ordered.

Enlil king of the lands cast the faithful eyes of life of his bright face upon him.

For Ishme-Dagan he decreed fate.

A throne that proclaimeth laws, a crown that prolongeth the breath of life, a precious scepter that conducteth the faithful in unison,

11. nun ^dil-me^dda-gan nam-e-el fa-

tar

12. id idigna td \imbir-e £en-gdl

a-dug(?)-ga gu-mu-ra-ab-tum gu-bi ga-ra-sug-e

13. gu-bi kal-u-bi-e gu-mu-ra-an-md

sil ga-ra-ab-lal

14. garak ^gtilar-ba lal-e gu-e ki-gu-

mu-ra-ni-ib-ul

15. a-kar jid-bi^[192] U-gu-nu^[193] &a-ra-ab-

m& g&r-bi ga-ra-dub-dub

16. tur ia-ra-du-du* amal ga-ra-

dagal-dagal

17. nam-lugal-la mu gu-mu-ni-mag

18. nam-nun-na sag-an-lu ge-ni-ila

19. sig igi-nim kur-^ag-tU-la-bi gu-un

gu-mu-ra-ab-ila

20. buranun^[194] ud-gim idigna ge-ni-

in-l

21. nindaba-iu e-kur-^agin-na mul

nam-ba-an-tum-mu

22. ^den-lil-li nam-lu mu-ni-in-tar*

23. lugal-la e-kur-ta libit¹-mag mu-

na-sum

11. Be decreed unto the prince

Ishme-Dagan for his destiny.

12. May the Tigris and the Eu

phrates bring thee abundance

, and their banks be

full for thee.

13. May their banks produce for

thee drink and food, and bring thee gladness.

14. In the cellars of the gardens may

the honey reach the edges.

15. May the field produce for thee

gwwii-grain unfailingly and may the granaries be heaped for thee.

16. May the stalls be filled with

increase for thee and the sheepfolds be spacious for thee.

17. May he make famous the im

perial power.

18. May he exalt higher than heaven

the rights of princes.

19. May the lower land and the

upper land even unto the borders of the earth bring tribute unto thee.

20. May the Euphrates like the

sunshine go up unto the Tigris.

21. Not shall the serpent seize thy

sacrificial cakes in holy Ekur.^[195]

22. Enlil decreed this for his fate.

23. Unto the king in Ekur a mighty

scepter he gave.

184

24. nir mu-un-gal enim ^d en-lil-ld-ta gab-lu-gar nu-mu-un-tuk

2 5 v gir-il-il-la im-gub-gub-bi

26. ddg-gal-ma& ki-dur nam-lugal-

la-ka im-ma-da-an-tur-tur

27. bara a%ag iagin-na dur-be-in-

gar^[196] e-gal mu-un-{ ]

28. sal-^id dumu-an-na ^den-lil enim-

ma-[ni-ta] bara-a^ag \agin-[na dur-u-be-in-gar]

29. ki-el ama ^dba-u dumu-an-na

^den4il bara-a^ag

[lagin-na ]ab-bi

30. ^dil*me-^dda-gan dumu ^den-lil-[ld]-

ra nam-til ud-sud-du $ag-[e-el PA]-KA B-DU-a-ni-ib

31. uru en-bi-im[ ]^dba-u-

kam

24. He became majestic and by the

command of Enlil no rival he had.

25. He is given exalted station, he is

adored.

26. Into the vast dwelling, the far-

famed habitation of royalty he was made to enter.

27. In the chapel of gold and lapis

lazuli he takes his seat. The palace

28. Oh faithful woman, celestial

daughter, by the command of Enlil in the chapel of gold and lapis lazuli [cause bim to sit].

29. Oh maiden mother Bau, celes

tial daughter, Enlil

in the chapel of gold and lapis lazuli

30. Unto Ishme-Dagan son of Enlil

life unto far away days grant as a gift.

31. Of the city he is its lord and he

is the of Bau.

32. en el-bar galam dingir-ri-[e-n]e sig-nim-ma uru-lub-bi

32. Oh lord by the profound wisdom of the gods shepherd the cities in the south and north.

475

A Liturgy to Innini, the Mother Goddess

The fragment Ni. 475 contains only the first melody of a long liturgy to Innini. Its title egulla kibi mena gi-gi-mu does not occur in the Assyrian catalogues, nor has it been found in any previously published text. Lines 13-19 are identical with K. 41 Obv. II 3-15, also an Innini liturgy.^[197] But the melody has the greatest similarity to No. 31 of Reisner's Sumerisch-Babylonische Hymnes, of which it forms an almost complete duplicate. Apart from the contents the text is unusually interesting, since it has a rubric in Sumerian at the top of the tablet and a Semitic rubric at the end of the first melody where an interlude of one line occurs between the first, and second melodies.

kul-la an-ga-dm an-ga-dm * Oh sigh indeed; indeed sigh.

kul-u

1.. i-gul-la ki-bi me-nd^[198] gt-gi-mu

2. nu-gig-an-na dingir ga-la-an

an-na[mu]

3. kur-sun-sun ga-la-an i-an-na

[mu]

4. e ma-mu-da ma-du-a[mu]

1. As for the temple destroyed

how long until it be restored to its place?

2. Heavenly virgin/ divine queen

of heaven, as for, etc.

3. She that shatters the mountains,

queen of E-anna, as for, etc.

4. The temple which had been

built like a dream, how long, etc.?

5. The city which had been built

like a dream,^[199] how long, etc.?

6. The temple which was made

wealthy like a stall and a sheepfold, how long, etc.?

7. Which like the flocks and sheep-

folds was made wealthy, how long, etc.?

8. Which the engraver carved as

a vase, how long, etc.?

9. iagin^x-dim-e iagin^[200] ba-an-

dim-ma^[201] mu

10. ka-bi-ta ki u-di mu^[202]

11. ki-lu-me-DU^[203] na-dm-mulu mu

12. ma-dm-ma-ra^[204] kur-kur-ra mu

13. ni-du-dm kur in-ga-du-dm

14. ba-gul-gul kur ba-da-gul-gul

15. dam-Sdg-ga kur-ri ba-da-ab-

ga^[205]

16. dumul-ldg-ga kur-ri ba-da-ab-

gd^[206]

17. acP-gal-bi lu-nu-du-du

18. me-gal-bi e dm -gt

19. me-bi al-ur-ur ub ba-ra-an-gub

20. billudu-bi ag-ba-da-an-kur^[207] bal-

biⁿ ba-kur-kur

21. e-ii-da bal-bi bal-kur-ra^[208] lu-bal-

aga-a-bi^iz

9. Which the jeweler worked like a

stone.

10. In whose gate is the place of

admiration, how long, etc.?

11. The assembling place of the

people, how long, etc.?

12. The house of convocation of the

lands, how long, etc.?

13. It hastened, unto the foreign

land, yea hastened.⁶

14. It perished, yea unto the foreign

land perished.⁶

15. The good wife unto the foreign

land was taken.

16. The good child unto the foreign

land was taken.

17. Its great festivals are not exe

cuted.

18. Its great rituals in the temple

are withheld.

19. Its decrees which guide are

placed in disuse.

20. Its rites are annulled, its store

is diverted.

21. Of the faithful temple, its store

the plunderer has decimated.

22. e-{id-a mu-gi-ga nam-me-a lil-ld- 22. In the faithful temple darkness

dm ba-ni-in-gtir is and lo! it is turned over to

the wind.

23. ka-lu-Su-nu i-za-ma-ru 23. Their psalmists shall sing.

A Psalm to a Mythical Musical Instrument, the Trumpet(?) of Enlil, Ni. 13877

Ni. 13877, a large double column tablet, contains about 120 lines concerning a subject of fascinating interest, a legend of a musical instrument employed by Enlil, father of humanity, to decree fate, to sound the call of battle,^[209] to terrify the foe and pronounce their destruction, to utter sweet music in the temple of Enlil at Nippur by day and by night. This musical instrument is mentioned under a longer name, al-gar in Gudea, Cyl. B 10, 11, where it is placed in the "harem" of the temple EninnA at Lagash, the mythical bridal chamber of Ningirsu and Bau. The reverse line 10 of our text mentions the reed MAL-GAR of Ninlil. One is led to infer that this legendary instrument of Enlil was one of the sacred symbols that belonged to the bridal chamber of Ekur, and that the legend was inherited by the cult of Ningirsu, son of Enlil, at Lagash. In a hymn to Idin-Dagan and the mother goddess Innini, celebrating the mythical marriage of that deified king with the goddess, the singer proclaims that, "With the instrument, wailing voice of the storm................. , yea with the instrument al-gar whose sound is sweet, I will speak unto thee." But this instrument is nowhere else mentioned in cuneiform literature as one that was actually employed by humans in their music and we may retain the statement concerning its purely mythical character. The edge of the tablet carries a short colophon scratched upon the clay after the text had been completed and probably served as a library index. It reads ku-lu-u al-kam, "It is a psalm of meditation concerning the trumpet(?)."

The Nippur collection contains this long text on a series of smaller tablets of which the author published one in the Constantinople Collection, Cstple. Ni. 616 in Historical and Religious Texts, No. io.^[210] That tablet carries lines Obv. I 19- II 14 of our text, hence it must be the second tablet of the redaction to which it belongs. A small fragment from a duplicate will be found on the last plate of this volume, Ni. 10215.

Col. I

1. [ ]nig-du-e pa na-an-ga mi- 1................................. decrees(?) with glory truly

in- e he exalted.

2. [ ]nam-tar-ra-na lu-nu-bal- 2. ............................. whose injunction is not

e-ne changed.

3. [ ]mu-un-ba- ab- ta- l-de 3 he caused to go forth.

4. an[ ]du-ne sag na-an-ga 4. In heaven.. .as a gift truly he

ma(?)-an- sig gave.

5. ki[ ]-ne sag na-an-ga ma- 5. In earth............................... as a gift truly he

an-slg gave.

6. ................................................................. DU a sag- sar- 6. To............................................................

sar^[211]-de

7........................... SAL+ME^[212] u-nam- 7 the..................................... priestess sus-

mi-in-lal pended (?).

8. gil-al-e mu-un-gar babbar ib-i 8. The instrument AL he caused

to be instituted; the sun arose.

9. tt-kar mu-un-du nam-al-tar-ri 9. The fixed- tax he made; fate

he decreed.

STEPHEN LANGDON—SUMERIAN LITURGICAL TEXTS

10. gil-al-e il-e-da si-ba-ab-sd-e

11. ^den4il4i al-a-ni iag-sal ba-an-

dug

12. al-a-ni[ ]gi-ga sag-bi na %agin

13. gii-al e-a-ni a{ag-e[ \ga-dm

. 14. git-al4a-ni[ ]-ba engar-

iagin-kam^x

15. gu-bi^[213] gud-si-dl bad-gal ed-de-

dam

16. en-e al mu-un-lid nam-mi[ ]

17. ki-in-gin a^ag [ ]

18. sag nam-lu-g&l u-lub[ )

19. ^den4il-su kalam-ma-ni ki-mu-un-

U-in-[kin-kin?]

20. sag-gtg-ga-ni^z-su igi-itd nam-mi

in-bar

21. ^da-nun-na mu-un-na-lag-lag-gi-

el

22. lu-ba* ka-ba mu- un- ni- gal

23. ^den-lil-a-ra ma-a mu-ni-in-i%d-

e-nc

24. kalam sag-gig-ga al mu-un-da-

bi^h-ne

189

10. He gave directions for carrying

the instrument AL.

11. Enlil sang the praise of his

instrument the AL.

12. His AL whose head is

of lazuli.

13. The instrument AL in his

temple, the pure, was

14. His instrument the AL whose

was like the. ..of a

healthy farmer,

15. Its voice like that of a horned

bull over the great wall arose.

16. The lord on the AL recited

in numbers(?) fate he

17. Sumer

18. The face of mankind with

brightness [be caused to shine].

19. Unto Enlil his land [gave heed].

20. Upon his dark-headed people

he cast a kindly gaze.

21. The Anunnaki hastened thither.

22. Their hands, their mouths, he

opened (?)

23. Unto Enlil adoration they of

fered in fidelity.

24. Unto the land of the dark-

headed people destiny they uttered.^[214]

25. SAL+KU en u-tud-dt- en

26. lugal u-tud-de- en

27. ^dnin-<men-na-ge² tud-tud al-m&-

mh

28. [mds]-sag(?)an-ki-a e%t® nu-nam-

nir-ri^A

29. sag-kalag- am

30. mu-ne-ib- sa-$a

25. "By the sister¹ of the lord ye

were created.

26. By the king ye were created.

27. Ninmenna fulfilled the creating.

28. The leading goat in heaven and

earth, lord Nunamnir,

29. He who is impetuous, the heroic,

30. gave unto them a name.

Obverse 2

1. sag-bi gu-nu(?)- dm

2. mu- un- {ne)- h- de- a

3. dingir-ri-e-ne-ra PAD-{id mu-

un-dub'bi^h

4. ^den-ki-ge al-a-ni lag-sal-ba-an-

dug

5. ki-el ^dnidaba et-bar-ra ba-an-du

6. aP-mul al*-a{ab-ba hi-mu-ni-gal

7. e-kur (e) ^den-lil-ld gil-al-e gar-ra-

dm

8. ud-de [gz's] al-du-e gig al-mu-mu

9. nippur-ki ki-gar-ra-ta tum-ma-

al-{ki)-a

1. Their chief, whom like

2. He shall have raised up for

them,

3. Unto the gods shall offer meal

cakes."

4. Enki sang the praise of his

instrument, the AL.

5. The maiden Nidaba rendered

advice.

6. The star-like AL, the holy AL

she took in her hand.

7. In Ekur, temple of Enlil the

instrument AL was placed.

8. By day the AL shall utter

speech, by night the AL shall give forth song.

9. In Nippur the well builded, in

Tummal,

\

10. tum-ma-al-(ki) gi-MAL-GAR^[215]

ama ^dNin-lil-la-kam

11. e-gtg tum-ma-al ninda sd-dug-

ga-bi-ta?

12. ur-sag ^d[Nin-urala\ ^den4il-ra

13. ^[a/] mu-un-da-an-tud-tud^h

14. mal gig murub en-na-ta

15. a\ag ^dnin-\~si-in-na ^den-lil-ra...

10. Tummal, which is the reed

of mother Ninlil,

11. In the dark chamber^[216] of her

that ^[217] the bread of their

fixed offerings,

12. The heroic god Nin-urasha for

Enlil the instrument AL created.

14. A vision during the middle of

the night

15. The holy goddess Nin-Isin unto

Enlil......

Lines 16-20 are obliterated. Lines 21-28 contain only a few legible signs. Note lines 21 f., "The devastating storm^[218].......... the god Shulpae

From the mutilated reverse no connected translation can be made. The tablet ends with the instructive lines:

gil-al gil-nam-tar-ra a-a ^den-lil

gi$~al gil iag-sal-dug- ga ^dNidaba lag- sal

The instrument AL is the instrument of the decision of fate of father Enlil, The instrument AL is the instrument of praise. Oh sing praise unto Nidaba.

Liturgy of the Tammuz Wailings

This liturgy, Ni. 6890, must have survived into the late Assyrian and Babylonian period, for it appears in the liturgical catalogue IV R. 53, Col. I 43.

Col. I

1. db-gim gu-de-de ga-ba-ra-l edin-

lu ga-ba-ra-l

2. mu-gig^[219] an-na ga-la-an an-na

mln

3. kur-sun-sun ga-la-an e-an-na

men

4. [an al-] dub-ba ga-la-an gl par-

ra mln

5. [^dlil-ld-]en-na ga-la-an tur-amal-

a^[220] mbt

6. [amai-a ^d] da-da NU-NUNUZ

Idg-ga

7. [^dna-na-a du-]mu sag^[221] i-e- ge

8. [ ] ga-ba-ra-l

9. [ ] ga-ba-ra-l

10. [ ] ud-ial-la-ge

11. [ ] ga-ba-ra-l

12. [ ] ga-ba-ra-l

1. Like a cow I will raise the sound

of lament, and unto the field (of Arallu) 1 will go.

2. Sacred harlot of heaven, queen

of heaven am I.

3. She that shatters the mountains,

queen of Eanna am I.

4. She that makes the heavens

tremble, queen of the dark chamber am 1.

5. Lillanna queen of the folds and

stalls am I.

6. Mother of the temple, Dada

beneficent woman, the child bearing.

7. Nana first born daughter of Ea.

8. [Unto ] I will go forth.

9. [Unto ] I will go forth.

10 of the morning light.

11. [Unto ] I will go forth.

12. [Unto ] I will go forth.

Liturgy to Nintud on the Creation of Man and

Woman, Ni. 14031 This small fragment probably belongs to a large double column tablet in the Mus£e Imperial Ottoman, Ni. 1992 of that collection, published in my Historical and Religious Texts, No. 23. The fragment 14031 apparently forms part of the upper right corner of the original tablet, its obverse containing the end of section two of the liturgy and its reverse the end of section six. The entire composition was a liturgy in eight sections to Nintud creatress of mankind, and is inscribed on a prismatic prayer wheel in the Ashmolean Museum, published in the writer's Babylonian Liturgies, No. 197. That text has the formula gu-X-kam at the end of each section, in which it disagrees with the duplicate Cstple. 1992+PhiIa. Ni. 14031 which has &-X- kam.^[222] Not only did the Nippur temple possess these two editions of the liturgy on the creation of man and woman, but a third edition written on two or three small tablets is known to have existed in the same period. The last tablet of this serial edition has been published by Hugo Radau in his Miscellaneous Sumerian Texts, No. 8, and translated in the writer's Sumerian Epic of Paradise, p. 19, note 4. Unfortunately the text of this most important treatise cannot be adequately restored from the fragments now published.

Prayers and Incantations of Shamash-shum-ukin,

Ni. 1203

This important Semitic text contains a long incantation against wizards and witches accompanied by a ritual which continued for two days. The unusually long incantation written for SamaS-Sum-ukfn is based upon those contained in the great Maklu series, a series in which symbolic magic by burning images and other objects in fire constitutes the characteristic rites. In fact nearly every line of this prayer composed for Sama§-§um-ukin can be paralleled by passages in the Maklu series, many parts of which are restored from our text. The chief feature of the ritual which accompanied this prayer is the burning of fifteen images of the various demons and evil spirits which had tormented the king. The tablet has already formed the subject of a popular article in the Museum Journal, Vol. VII, No. 4.

Obverse

i........

2. [ ] bil dababi-ja^[223] . [u

bilit dababi-ia]

3. [ ] bil limut-tim-mu^[224] [u

4. [

5. [

6. [ 7- [

bilit limut-tim-mu]

[

] ep-la barta

kdlu la] is-lju-ra

]-ma ik-bu-u...

]-ti-lu-nu AN-

[

8. [ $almani-su

nu.... [

9. [fa ana] ia-h kil-pi ru-bi-e ru

[si-e

10. rdmu* iaru DI-BAL fibit pV>

[

11. nikis napiUtm« KUS-KU-MAL

IGI-NIGIN-NA ID-GUR I J

12 NE-MI pani ni-it \e-me

kat Hi [u kat] iltarti

13. [kat ] kat mamit kat

amelUti ]?

14. [ ] HUL-ZA mu-kil til limut-

tim ]ma

15. [ -{a] u-lab-^[225]bi-tu kiladi u-

tar-ri-ru pt-ia ? -bi-\u

1 :.......

2 my accuser, my female accuser,

3 my transgressor, my trans-

gressoress,

4 machination, rebellion

5 all that surround me,

6. ... .. they have commanded..

7 their

8 they stand, their statues

9. Who against me sorcery, venom, witchcraft

10. Love, hatred, contention? stuttering?

ik Shortness of breath(P), ? ?

p

12 distortion? of plans, hand

of god and hand of goddess.

13. Hand of hand of the curse,

hand of man,

14....... supporter of evil

15. My they have seized, my

neck they have wrung, my mouth they have

[ ]-ia il-du-du ir-ti^[226] id-i-pu^[227]

lib-bi^[228] un-ni-su

[ ]-{a ik-su-u bit-

ki-{a ik-su-u

[ili(?)]-ia a-li-ka [idi-ja?]^[229] u-lim-

su-u?? e$en-$iri-ia ik-pu-pu

[ ]-ia u-ia{?)-na-du[ ]-\a

man-ga lu-u-iam u-mal-lu- in-ni

sarti-ia im-lu-lu^[230] ulinni-[ia] ib-

tu-ku ruti-ja il-ku-u

epir lepi-a il-[bu-lu) man-da-at

la-mi-ia u-man-di-du^[231]

$almdni-[ia lu la bi-] ttu lu la

erini lu la lipt lu la GAB-

lAl*

[lu la GAB lamalsammi] lu la

iddi lu la titti lu la ft

24 ja ? LU ,1 $E-LUH-A

lu-u epulu-ma 25. [kalba] lu-u u-la-ki-lu^[232] lafra uld- kilu iffur laml uldkilu nfin apsi uldkilu

195

16. My they have drawn, my

breast they have shattered, my heart weakened.

17. My they have bound,

my knees they have bound.

18. My god(?) that walks at my

side(?) they have seized away * my back-bone they have bent.

19. My they ; my

with disease and pollution they filled me.

20. My hair they have sheared.

My girdle cord they severed. My saliva they took.

21. They encompassed the earth at

my feet. The measure of my form they measured.

22. Images of me, be it of tamarisk

or cedar, or tallow, or.... honey.

23. Or baked cakes of sesame, or

bitumen, or clay, or dough, 24 lo they have made.

25. A dog verily they caused me to eat, a pig they caused me to eat, a bird of the skies^[233] they caused me to eat, a fish of the nether sea^[234] they caused me to eat.

26. [ -]mu-tu-lu-nu an-nu-tu fal-

mani-lu-nu kima-lu-nu la ilia-iu $almani-lu-nu

27. [ina] pan il&-ti-ka rabUtii a-

kal-lu-lu-<nu-ti

28. [$almani-]ia epulu-ma tna ildi

pagri il-ku-nu

29. [tna ]? duri ip-ftu-u ina bi-i^[235]

la dilri i-te-pu-u^[236]

30. [$almani-ia ina ]ia

**AZAG-SU(Dy ul-ni-lu »Hna likari Hani sibitti ul- [ni-lu]

31. [ if ] ina [ ] kil-kit-te-e

pa-ga(?)~?

32. ina kibir n&ri ki-lal-li-e U-[ ]

33. 11 ina \urri e-rib ^Uulamli(li)

ip-ftu-u 11 ina bit ^UatAZAG- SU(D)la

34. 11 ina utun pa-fta-ru il-ru-

pu ,1 ina utun ^amelKU-RUN- NA^[237]

35. 11 ina kan-ni ^amelNI-SUR it-

me-ru* n ina la-ab-ti

36. 11 ina ti-nur^[238] siparri ik-lu-u »

ina $i-it ^%lulamli (li)

26 these their images

shall not endure, even as they themselves; their images

27. before thy great divinity I will

burn.

28. Images of me they made and

placed them on the lap of a corpse.

29. Ina of a wall they concealed

them, in a dark hole of a wall they hid them.

30. Images of me in of cereals

they laid, images of me in "beer of the seven gods" they [laid].

31. Images of me in a....of the

carpenter they

32. Images of me on the two shores

of the river they

33. Images of me in a cavern at

sunset they concealed; images of me in the house of the grain goddess

34. Images of me in a potter's oven

they burned; images of me in the oven of a restaurant keeper they

35. Images of me in a cauldron of an

oil mixer they cooked; images of me in a flame they..........

36. Images of me in an oven of

bronze they ignited; images of me at sunrise they..................

37. tf ina e-rib ^Uulamli ik-lu-u 37.

ina e-rib kabal{?)

38. ina suk irbitti utam-me-ru >> 38.

ina lapla-na ^mAZAG-S[UD

]

39. [ tf ] pi-sa-an-nu mu-lar- 39.

di-i ina b&ri il-ku-nu

40. [ m ] kakkab la-ma-mi 40.

M 1

41. [»f ] la il-ru-pi un-? 41.

bdbiu-[ ]

42. [>» TU-BAR^X id-di-nu-ma 42.

ndru Iju-bur u-[le-bir?]

43. End of obverse is mostly de

stroyed.

Images of me at sunset they ignited; images of me at

midday they

Images of me at crossways they concealed; images of me beneath cereals they

[Images of me ] a water

vessel in a well they

placed

[ ] star of the skies

they

[Images of me upon] which

fistules in the gate

they

[Images of me unto] Gilgamish they gave and he [caused me to cross] the Hubur river.

Reverse

3. ^tlugibillu la ^uunam-tar sukkal

irfitim

4. ^Uulamal la kil-pi ru-]}i-e ru-si-e

[ar-la-]li{?) limnu-[ti ]

5. ^Uulugal-dig umun-nun² [la] amel

6. ki Hi u iltar u-{i-nu-in-ni

7. u-lam-me-nu-in-ni ina biti

TUinas&ki

8. il-ku-nu-ntm-ma ^tlulamal ka-

¹ Probably restore ^iluGI$-TU~B/IR, Gilgamish. The association of Gilgamish with the river t/ubur, the world surrounding salt stream, which that hero crossed in search of eternal life, is interesting and shows how the priests utilized popular legends in the incantations.

¹ The same deity is appealed to in a prayer of SamaS-Sum-uktn, Myhrman, PBS. I 13, 37 f. Cf. also IV Raw. 55a 4, No. 2, and also 1. 21. Ebeling, KTA. No. 26, 7, and CT. 23, 15, 8.

[lidFlimni u aibi?}

9. ^ilatAja um-ma la i-[ ]bat

10. ^iIulamal la kal-la-pi-ia kal-lap-

ti-ia e-pil-ia mul-te-[pil-ti- iaI

11. ra-fci-ia ra-fti-ti-ia kil-pi-lii-nu

ina[ ]

12. kima is-par-ri lib-bal-kii-

[su-na]

13. epilan-lu-nu li-ba-ru-lu-nu-ti

^i:ulamal ka-lid [ ]

14. kima di-ka-ri

15. ki-ma ti-nur^x ku-tur-lu-nu li-

rim^[239]

16. li-f}u-lu li-iu-bu- u lit-[ta-ai-tu-

ku ]

17. [e-] pis-ta-lu-nu kima mi na-a-

du ina [fi-ki lik-tu]

18. lu-nu li-mu-tu-ma ana-ku lu-

[ub-lut]

19. lu-nu li-ni-lu-ma ana-ku lu-

[ud-nin]

20. lu-nu li-ik-ti-su-ma^[240] ana-ku lu-

[up-pa-tar]

21. lu-nu li-if-fab-tu-ma ana-ku lu-

i i

22. ana ki-bi-ti-ka ilu-u-iii^A la ' la

innakaru(ru) u an-ni-ka ki- nim [la la innu-u]

9. And Aja mother who does not [come to my aid?]

10. May Shamash break the sorcery

of my sorcerer and sorceress, my wizard and my witch,

11. My befouler and befouleress

with

12. Even as a net.

13. May they catch them at their

evil doings, and may Shamash conqueror of

14. [Shatter them] like an earthen

jar.

15. Like a furnace may he quench

their smoke.

16. May they melt, glow and run

away.

17. May their deed(s), like the

water of a leather pouch by pouring, cease.

18. May they die and I live.

19. May they quake and 1 stand

fast.

20. May they be bound and 1 be

freed.

21. May they be seized and 1

22. By thy command, which is a

thing divine, and changes not, and by thy true grace which alters not,

23. ana-ku ^uu$amal-lum-ukin mar

ili-lu arad-ka lu^ub-lut lu-ul- [lim]

24. nar-bi-ka lu-ld-pi da-li-ll-ka ana

nile raplati [lu-ud-lul\

25. ^Uulamal lur-bi a-li-pu-tam Id

abkal ilani i-pu-lu ^UuNU- [.DIM-MUD)

26. lipti kallapti Id kil-pi ma--du-

tu i-pu-lu

27. tirra-ma $a-lu-ti^l la kallapti la

ru-fti-t i-pu-lu lu-pi-i

28. ar-kil up-pu-ul

29. kikittil luati lu ina ? lu ina $$ri

mi ell&ti tanaddi kakkara tal- abbit

30. **^Hpallura pan ^%lulamli talakkan

3 kurumaii 12 -ia-dm la kunala talakkan

31. niknakki burali talakkan kuruna

tanakki \u-lu Iju-ka ana pan ^%lulamli talakkan

32. lu te-lab^21SU tarn te-$i-en

$alam^z fifti salam titti kibir nari

23. I Shamas-shum-ukin, son of his

god, thy servant would live and prosper.

24. Thy greatness 1 will extol,

thy praise unto far dwelling peoples I will sing.

25. Oh Shamash exalt the magic

curse which Nudimmud, counsellor of the gods has made.

26. Incantation against the sor

ceress who has done much sorcery.

27. Turn away the enmity of the

sorceress who has employed venom. Make clean

28. Quickly the one bewitched.

29. This is the ceremony. Whether

in the... .or in the field thou shalt cast clean waters and sweep the ground.

30. A table before Shamash thou

shalt place; three loaves of spelt twelve times thou shalt place.

31. A censer of cypress thou shalt

place. Best wine pour out. A pig and a biiku bird before Shamash thou shalt place.

32. Thou shalt set fire (to the

censer) and fill it with

wood. An image of clay, of clay from the two rivers banks.

33. ki-la-li-e salam lipi salam lipi

salam ba-ld-ri salam GAB^[241]u lamallammi

34. $alam It salam li lei ki salam

It lei ? ?

35. falam ^%9Ubi-nu salam ¹*^ueri~ni

Salam iddt salam GAB-LAL

36. salmani an-nu-ti ta-kas-si-lu-nu-

ti-ma tipara

37. ina NE A ^tluNari

ana libbi-ld pa-tur-ra^[242] tanaddt- ma

38. lipiam an-[ni-tam] 3-lii tamannu

kima ib-tal-lu ina libbi mi tu-na-a^-lu-nu-ti

39. liptu [...... \-lu-nu mi 3-lu

tamannu-[ma] talarrap-lu-nu- ti ina $ar-ma^[243]-ti ta-na-di(?)

40. [liptu ] GA-UD-DU i-

liptu A$-fjU^b umdm landm ylu tamannu

41. [ -] al-ru mamitu mul-

mttatu ai i$u-u

42. [liptu ] NE dim-in-?*

33. An image of tallow, an image

of tallow(sicl), an image of flesh, an image of baked bread and sesame.

34. An image of dough, an image

of dough of barley and beans, an image of dough of barley and

35. An image of tamarisk, an image

of cedar, an image of bitumen, an image of baked bread and honey.

36. These images thou shalt bind

and with a torch

37. In fire(?) on the bank(?) of the

river thou shalt them;

into the midst thereof a bronze double axe thou shalt throw.

38. This incantation three times

thou shalt recite; when they are boiled thou shalt cool them in water.

39. The incantation, " them

water/'^[244] thrice thou shalt recite, and burn them: in a waste place thou shalt throw them.

40. [The incantation ] ;

the incantation, "Curse of the bird" on the second day thrice thou shalt recite.

41. May the and the death

dealing Mamit not come nigh.

DESCRIPTION OF TABLETS

Text ' Plate I Description

1 I 1 i 1	7-9	4562	Right upper corner of a three column baked tablet. inches H.; 3X W.; T. Fragment of an epical and legendary composition. See pages 111-115.
2 '	10	45	Complete single column tablet. Baked. H. 4; W. 2^1/2\ T. Liturgy to Aruru. See pages 115-117.
' I	11	35	Upper part of a single column dark baked tablet. H. 2; W. 3; T. Psalm to the god Amurru. Seepages 118-120.
4	12- •3	4577	Complete single column tablet. Light brown; unbaked. Cracked on left edge. H. 3K; W. T. y^-yi- Lamentation on the invasion of Sumer by Gutium. See pages 120-124.
5	14- 16	4564	Lower half of a long single column tablet. Light brown; baked. H. 4; W. 2yA\ T. \H~H- A legend of Gilgamish. Seepages 124-125.
6	•7" 24	4560	Right half of a large three column tablet. Light brown; unbaked. H. 7}4; W. 4; T. \X-tf' Hymn to Engur. See pages 126-136.
7	25- 27	Dublin tablet	Nearly complete single column tablet. Light brown; unbaked. See pages 136-140.
8	28	4566	Left upper corner of a large three column tablet. Light brown; unbaked. H. W. 3; T. Liturgy to a deified king. See pages 140-142.
9	29- 32	4563	Lower rijght corner of a large three column tablet. Dark brown; unbaked. H. 5; W. 4; T. 1 Liturgical hymn to Ishme-Dagan. • See pages 143-149.

Text	Plate	Museum Number	Description
10	33	4584	Upper half of a small single column tablet. Light brown; unbaked. H. 2; W. 2}4\ T. 1 y&-H> Liturgical lamentation on the pillage of Ur. See pages 150-151.
i i	34" 35	4568	Complete dark brown baked tablet. Single column. H. 4X; W. 3; T. 1 Hymn of Samsuiluna. See pages 151-155.
12	36	497	Left upper corner of a large three column tablet. Dark brown; unbaked. H. 2; W. 3; T. fg. Liturgy. See pages 155-171.
13	37" 38	112	Lower half of a long single column tablet. Light brown; unbaked. H. 3; W. 2)4; T. 1X-M- Fragment of a litany. See pages 172-178.
'4	39" 42	7184	Complete light brown tablet. Single column; unbaked. Liturgical hymn to Ishme-Dagan. H. 5^; W. 2yk\ T. 1 -yA. See pages 178-184.
15	43	475	Fragment of a large three column tablet. Brick- red and baked. Upper left corner. H. 5^; W. 3>£; T. -}4. Liturgy to Innini. See pages 184-187.
16	44" 47	13877	Complete light brown tablet. Two columns; unbaked. Right edge damaged. H. 5^; W. 3X; T. 1 }4r-y£. Legend of a musical instrument. Seepages 187-191.
'7	48	6890	Upper left corner of a large three column tablet. Light brown; partly baked. H.2><; W. 2]4\ T. Liturgy of the Tammuz wailings. See pages 191—192.
18	49" 53	1203	Long thin single column tablet. Light brown; unbaked. Damaged at top and bottom. From the top five lines entirely broken away. At the end of the obverse about ten lines entirely destroyed. H. 7; W. 3^; T. 1 Incantation and prayers for Shamash-shum- ukin. See pages 193-200.
'9	54- 55	2359	Nearly complete single column tablet. Light brown; unbaked. H. 5X; W. 2^; T. Hymn and legend of Sin.

Text	Plate	Museum Number	! Description
20	57	4916	j Upper half of a long single column tablet; I mole-brown; unbaked. H. 4^; W. 2^; T. Hymn to Enki concerning the ; building of his temple in Eridu.
21	58- 60	4915	Upper part of a large two(?) column tablet. 1 Light brown; unbaked. Left edge broken 1 away. Reverse damaged. H. 3^; W. 3 ^! T. 1 An epical legend.
22	61	14031	^1 Small fragment from a large two column text. 1 Light brown; unbaked. H. 2; W. 2; T. 1 1 For contents see page 192-193.
23	62	10215	| Duplicate of No. 16. Dark brown; baked.

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TAPlFT or THE GILGA v..- r<

(CBV F

TABLET OF THE GILGAMISH EPIC (OBVERSE)

UNIVERSITY OF PENNSYLVANIA THE UNIVERSITY MUSEUM

PUBLICATIONS OF THE BABYLONIAN SECTION Vol. X No. 3

THE EPIC OF GILGAMISH

BY

STEPHEN LANGDON

PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM

1917

INTRODUCTION

In the year 1914 the University Museum secured by purchase a large six column tablet nearly complete, carrying originally, according to the scribal note, 240 lines of text. The contents supply the South Babylonian version of the second book of the epic !a nagba imuru, "He who has seen all things," commonly referred to as the Epic of Gilgamish. The tablet is said to have been found at Senkere, ancient Larsa near Warka, modern Arabic name for and vulgar descendant of the ancient name Uruk, the Biblical Erech mentioned in Genesis x. 10. This fact makes the new text the more interesting since the legend of Gilgamish is said to have originated at Erech and the hero in fact figures as one of the prehistoric Sumerian rulers of that ancient city. The dynastic list preserved on a Nippur tablet¹ mentions him as the fifth king of a legendary line of rulers at Erech, who succeeded the dynasty of Kish, a city in North Babylonia near the more famous but more recent city Babylon. The list at Erech contains the names of two well known Sumerian deities, Lugalbanda² and Tammuz. The reign of the former is given at 1,200 years and that of Tammuz at 100 years. Gilgamish ruled 126 years. We have to do here with a confusion of myth and history in which the real facts are disengaged only by conjecture.

The prehistoric Sumerian dynasties were all transformed

into the realm of myth and legend. Nevertheless these rulers, although appearing in the pretentious nomenclature as gods, appear to have been real historic personages.¹ The name Gilgamish was originally written ^dGi-bil-aga-mi$, and means "The fire god (Gibil) is a commander," abbreviated to ^dGi-bil-ga-mi$, and ^dGi($)-bil-ga-mit, a form which by full labialization of b to u was finally contracted to ^dGi-il-ga-mil.² Throughout the new text the name is written with the abbreviation ^dGi{$),³ whereas the standard Assyrian text has consistently the writing ^dGlS-TU^A-BAR. The latter method of writing the name is apparently cryptographic for ^dGiI-bar-aga-{mif); the fire god Gibil has also the title Gil-bar.

A fragment of the South Babylonian version of the tenth book was published in 1902, a text from the period of Ham- murapi, which showed that the Babylonian epic differed very much from the Assyrian in diction, but not in content. The new tablet, which belongs to the same period, also differs radically from the diction of the Ninevite text in the few lines where they duplicate each other. The first line of the new tablet corresponds to Tablet I, Col. V 25 of the Assyrian text,⁶ where Gilgamish begins to relate his dreams to his mother Ninsun.

¹ Tammuz is probably a real personage, although Dumu-fi, his original name, is certainly later than the title Ab-ii, probably the oldest epithet of this deity, see Tammu? and Isbtar, p. 8. Dumu-^i I take to have been originally the name of a prehistoric ruler of Erech, identified with the primitive deity Abu.

* See ibid., page 40.

'Also Meissner's early Babylonian duplicate of Book X has invariably the same writing, see Dhorme, Choix de Texits Religieux, 298-303.

* Sign whose gunufied form is read aga.

* The standard text of the Assyrian version is by Professor Paul Haupt, Das Babylon- isebe Nimrodepos, Leipzig, 1884.

* The name of the mother of Gilgamish has been erroneously read ri-mat ^itatNin-lil, or Rimat- Bilit, see Dhorme 202, 37; 204, 30, etc. But Dr. Poebel, who also copied this text, has shown that Nin-lil is an erroneous reading for Nin-sun. For Ninsun as mother of Gilgamish see SBP. 153 n. 19 and R.A., IX 113 111 2. Ri-mat ^ilalNin-sun should be rendered "The wild cow Ninsun."

The last line of Col. I corresponds to the Assyrian version Book I, Col. VI 29. From this point onward the new tablet takes up a hitherto unknown portion of the epic, henceforth to be assigned to the second book.^[245]

At the end of Book 1 in the Assyrian text and at the end of Col. I of Book II in the new text, the situation in the legend is as follows. The harlot halts outside the city of Erech with the enamoured Enkidu, while she relates to him the two dreams of the king, Gilgamish. In these dreams which he has told to his mother he receives premonition concerning the advent of the satyr Enkidu, destined to join with him in the conquest of Elam.

Now the harlot urges Enkidu to enter the beautiful city, to clothe himself like other men and to learn the ways of civilization. When he enters he sees someone, whose name is broken away, eating bread and drinking milk, but the beautiful barbarian understands not. The harlot commands him to eat and drink also:

"It is the conformity of life, Of the conditions and fate of the Land."

He rapidly learns the customs of men, becomes a shepherd and a mighty hunter. At last he comes to the notice of Gilgamish himself, who is shocked by the newly acquired manner of Enkidu.

"Oh harlot, take away the man," says the lord of Erech. Once again the faithful woman instructs her heroic lover in the conventions of society, this time teaching him the importance of the family in Babylonian life, and obedience to the ruler. Now the people of Erech assemble about him admiring his

godlike appearance. Gilgamish receives him and they dedicate their arms to heroic endeavor. At this point the epic brings in a new and powerful motif, the renunciation of woman's love in the presence of a great undertaking. Gilgamish is enamoured of the beautiful virgin goddess IShara, and Enkidu, fearing the effeminate effects of his friend's attachment, prevents him forcibly from entering a house. A terrific combat between these heroes ensues,¹ in which Enkidu conquers, and in a magnanimous speech he reminds Gilgamish of his higher destiny.

In another unplaced fragment of the Assyrian text² Enkidu rejects his mistress also, apparently on his own initiative and for ascetic reasons. This fragment, heretofore assigned to the second book, probably belongs to Book III. The tablet of the Assyrian version which carries the portion related on the new tablet has not been found. Man redeemed from barbarism is the major theme of Book II.

The newly recovered section of the epic contains two legends which supplied the glyptic artists of Sumer and Accad with subjects for seals. Obverse III 28-32 describes Enkidu the slayer of lions and panthers. Seals in all periods frequently represent Enkidu in combat with a lion. The struggle between the two heroes, where Enkidu strives to rescue his friend from the fatal charms of IShara, is probably depicted on seals also. On one of the seals published by Ward, Seal Cylinders of Western Asia, No. 459, a nude female stands beside the struggling heroes.' This scene not improbably illustrates the effort of Enkidu to rescue his friend from the goddess. In fact the satyr stands between Gilgamish and I3hara(?) on the seal.

¹ Rm. 289, latter part of Col. II (part of the Assyrian version) published in Haupt, ibid., 81-4 preserves a defective text of this part of the epic. This tablet has been erroneously assigned to Book IV, but it appears to be Book III.

* K. 2589 and duplicate (unnumbered) in Haupt, ibid., 16-19.

* See also Ward, No. 199.

TRANSLITERATION

AND TRANSLATION

1. it-bi-e-ma ^UuGilgamil lur>na-iam

i-pa-al-lar.

2. i{-za-kar-am^[246] a-na unhmi-Iu

3. um~mi i-na la-a-at mu-li-ti-ia

4. la-am-^a-ku^ma at-ta-na-al-la-ak

5. i-na bi-ri-it id-da-tim

6. ib-ba-lu~nim-tna ka-ka-a^[247] la-

ma-i

7. ki-?-?-rum^z la a-nim im-ku-ut

a-na $i-ri-ia

8. dl-li-lu-ma ik-ta-bi-it^[248] e-li-ja

9. ilam^h il-lurma nu-ul-la-lu* u-ul

el-ti-i

10. ad-ki ma-tum pa-fti-ir¹ e-li-lu

11. id-lu-tum u~na-la-ku li-pi-lu

12. u-um-mi-id-ma pu-ti

13. i-mi- du ia-ti

14. al-li- a-lu-ma at-ba-la-dl-lu a-na

fi-ri-ki •

15. urn-mi ^tl*Gilgamil mu-u-dd-a-at

ka-la-ma

16. i^a-kar-am a-na ^tluGilgamil

1. Gilgamish arose interpreting

dreams,

2. addressing his mother.

3. "My mother! during my night

4. I, having become lusty, wan

dered about

5. in the midst of omens.

6. And there came out stars in the

heavens,

7. Like a.. .of heaven he fell upon

me.

8. 1 bore him but he was too

heavy for me.

9. He bore a net but I was not

able to bear it.

10. I summoned the land to assem

ble unto him,

11. that heroes might kiss his feet.

12. He stood up before me^[249]

13. and they stood over against me.

14. I lifted him and carried him

away unto thee/'

15. The mother of Gilgamish she

that knows all things,

16. said unto Gilgamish:—

212

17. mi-in-di ^UuGilgamish la ki-ma

ka-ti

18. i-na fi-ri i-wa-li-id-ma

19. u-ra-ab-bi-lu la-du-u

20. ta-mar-lu-ma [sa(?)]-ap-ba-ia at-

ta

21. id-lu-tum u-na-la-ku li-pi-lu^[250]

22. te-it-ti-ra-lu(?) lu-u-{u

23. ta-tar-ra-['a]-lu a-na si-[ri-j]a

24. [*£-(?)] ti-lam-ma^[251] i-ta-mar la-

ni-iam

25. i-ta-wa-a-am a-na um-

mi-lu

26. [wm-m]i a-ta-mar la-ni-tam

27. [fti-tttf-ta e-mi-a i-na

{u-ki-im

28. [i-wd?] Unuk-(ki) ri-bi-tim^A

29. 1?a-a$-$i-nu na-di-i-ma

30. e-li-lu pa-aft- ru

31. ba-a$-fi-nu-um-ma la-ni bu-nu-

lu

32. a-mur-lu-ma ai-ta-ta a-na-ku

33. a-ra-am-lu-ma ki-ma dl-la-tim

34. a-^a-ap-pu-up el-lu

35. el-ki-lu-ma dl-ta-ka-an-lu

36.a-tttf a-^i-ia

37. um-mi ^tluGilgamisb mu-da-at ka-

la-ma

[38. ii-ia-kar-am a-na ^tluGilgamisb]

17. "Truly oh Gilgamish he is

18. born¹ in the fields like thee.

19. The mountains have reared him.

20. Thou beholdest him and art

distracted (?)

21. Heroes kiss bis feet.

22. Thou shalt spare him

23. Thou shalt lead him to me/'

24. Again he dreamed and saw

another dream

25. and reported it unto his mother.

26. "My mother, 1 have seen

another

27. [dream. I beheld] my likeness in

the street.

28. In Erech of the wide spaces^[252]

29. he hurled the axe,

30. and they assembled about him.

31. Another axe seemed his visage.

32. I saw him and was astounded.

33. 1 loved him as a woman,

34. falling upon him in embrace.

35. I took him and made him

36. my brother/'

37. The mother of Gilgamish she

that knows all things [38. said unto Gilgamish:—]

n

Col.

i . al-lum ul-[ta-] ma-})a-ru it-ti-ka.

2. ^UuGilgamisb lurna-tam i-pa-lar

3. ^UuEn-ki-[d& w]a?-li-ib ma-bar

fta-ri-im-tim

4. UR [ ]-&a-mu DI-?-al-lu-

un

5. [ ] im-ta-li a-lar i-wa-

al-du

6. Hmt 6^[253] u 7 mu-li- a-tim

7. ^UuEn-ki-d& te-bi- i-ma

8. la-[am-ka-ta] ir- J?i

9. ba-[ri-im-tu pa-a]-la i-purla-am-

ma

10. %i-ia-[kar-am] a-na ^UuEn-ki-d&^[254]

11. a-na-tal-ka ^dEn-ki-d& ki-ma ili

ta-ba-dl-li

12. am-mi-nim it-ti na-ma-dl-ie

13. ta-at-ta-[na-al-]la -ak si-ra-am

14. al-kam lu^ur-di- ka

15. a-na libbi Uruk-(ki) ri-bi-tim

16. a-na biti [el-]lim mu-la-bi la

A-nim

17. ^dEn-ki-d& ti-bi lu-ru-ka

II

1. that he may join with thee in

endeavor/'

2. (Thus) Gilgamish solves (his)

dream.

3. Enkidu sitting before the hiero-

dule

4.

5. [ ] forgot where he was

born.

6. Six days and seven nights

7. came forth Enkidu

8. and cohabited with the courte

san.

9. The hierodule opened her mouth

10. speaking unto Enkidu.

11. "I behold thee Enkidu; like a

god thou art.

12. Why with the animals

13. wanderest thou on the plain?

14. Come! I will lead thee

15. into the midst of Erech of the

wide places,

16. even unto the holy house, dwell

ing place of Anu.

17. Oh Enkidu, arise, 1 will conduct

thee

18. unto Eanna dwelling place of

Anu,

19. where Gilgamish [oppresses] the

souls of men(?)

20. And as 1

21. thou shalt thyself.

22.	ti-ba i-[na] ga-ag-ga-ri	22.	Come thou, arise from the
			ground
23.	ma-a-a?^l -ak ri-i-im	23-	unto the place yonder (?) of the
			shepherd."
24.	il-me a-wa-a^a im-ta-gdr ga-ba-	24.	He heard her speak and accepted
	la		her words with favor.
25.	mi-il-kum la sinnilti	25-	The advice of the woman
26.	im-ta-[ku]-ut a-na libbi-lu	26.	fell upon his heart.
27.	il-ftu-ut li-ib-la-am	27.	She tore off one garment
28.	il-ti-nam [u]-la-ab-bi-il-lu	28.	and clothed him with it.
29.	li-ib- [la-am] la-ni-a-am	29.	With a second garment
30.	li-i it-ta-al-ba- dl	30.	she clothed herself.
3>-	fa-ab-ta-at ga-ai- iu	3i.	She clasped his hand,
32.	ki-ma ? i-ri-id-di-lu	32.	guiding him like
33-	a-na gu-up-ri la ri-i-im	33.	unto the mighty presence of the
			shepherd,
34	a-l[ar ] tar-ba-fi-im	34-	unto the place of the...
			of the sheepfolds.
35-	i-na [ ]-hu-ru ri-ja-u^2	35-	In to shepherd
36.		36.

(About two lines broken away.)

	Col.	III
1.	li-i{-ba la na-ma-dl-tc-e	1.	Milk of the cattle
2.	i-te-en- ni- ik	2.	he drank.
3-	a-ka-lam il-ku-nu ma-bar-lu	3-	Food they placed before him.
4.	ip-te-ik-ma i-na -at-taP	4-	He broke bread^4
5.	u ip-pa-al-la- as	5.	gazing and looking.
6.	u-ul i-di ^dEn-ki- d&	6.	But Enkidu understood not.
7.	aklam a-na a-ka-lim	7-	Bread to eat,
8.	likaram a-na la-le-e-im	8.	beer to drink,
9.	la-a lum-mu- ud	9.	he had not been taught.

¹ Room for a small sign only, perhaps A; mai&k? For mAka, there, see Behrens, LSS. II page I and index.

¹ Infinitive "to shepherd"; see also Poebel, PBS. V 106 I, ri-fa-tf, Ti4e-ia-4. ¹ The text has clearly AD-RI.

*patHfu has apparently the same sense originally as batilfu, although the one forms its preterite ipii\ and the other ibtu%. Cf. also maba$u break, hammer and construct.

10. ia-ri-im-tum pi-la i-pu-la-am- 10. The hierodule opened her mouth

ma

11. i^-ia-kar-am a-na ^UuEn-ki-dH

12. a-kur-ul ak-lam ^dEn-ki-d&

13. li-ma-at ba-la-ti-im

14. bi-li-ti U-im-ti ma-ti

15. i-kurul a-ak-lam ^UuEn-ki-dH

16. a-di li-bi-e-lu

17. likaram il-ti-a-am

18. 7 af-fa-am-mi-im^[255]

19. it-tap-lar kab-ta-tum i-tta-an-gu

20. i-li-if libba- lu- ma

21. pa-nu-iu [it-]ta(?)-btr -rv?

22. ul-tap-pi-it [ ]-i

23. lu-]ju~ra-am pa-ga-ar-lu

24. la-am-nam ip-ta-la-dl-ma

25. a-we-li-il i-me

26. iZ-ta- dl li-ib-la-am

27. fti-wta i-ba-dl-li

28. iZ-fci ka-ak-ka-lu

29. Za-W w ^i-ir- ri

30. il-sa-ak-pu lab-[li]-el mu-ti-a-ti

31. irf- -pi-il tib-ba-ri^[256]

32. Za-W

33. iWi immtr na-ki-[el] ra-bu-tum

34. ^u*En-ki-d& ma-a$-$a-ar-lu-nu

35. a-we-lum wa-ru-um

36. id-lum

37.

11. and said unto Enkidu:—

12. "Eat bread, oh Enkidu!

13. It is the conformity of life,

14. of the conditions and the fate of

the land."

15. Enkidu ate bread,

16. until he was satiated.

17. Beer he drank

18. seven times (?).

19. His thoughts became unbounded

and he shouted loudly.

20. His heart became joyful,

21. and his face glowed.

22. He stroked

23. the hair of the head * His body

24. with oil he anointed.

25. He became like a man.

26. He attired himself with clothes

27. even as does a husband.

28. He seized his weapon,

29. which the panther and lion

30. fells in the night time cruelly.

31. He captured the wild mountain

goats.

32. The panther he conquered.

33. Among the great sheep for sacri

fice

34. Enkidu was their guard.

35. A man, a leader,

36. A hero.

37. Unto he elevated

(About five lines broken away.)

Reverse I

1. i-ip-pu-ul ul-$a-am

2. il-si-ma i-ni-i-lu

3. i-ta-mar a-we-lam

4. i{^[257]-{a-kar-am a-na frarimti

5. la-am-ka-at uk-ki-fi^[258] a-we-lam

6. a-na mi-nim il-li-kam

7. 1%-kt-ir-lu lu-ul-lu*

8. $a-ri-im-tum il-ta-si a-we-lam

9. t-ba-ul-lu^um-ma i-ta-mar-lu

10. e-di-il^A e-e$-ta-bi-[ta-am\

11. mi-nu a-la-ku-iu na-a$-^b

[ -]ma

12. e pt-lu i-pu-Ia-am-[ma]

13. %1-ia-kar-am a-na^UuEn-[ki-dti]

14. bi-ti-il e-mu-tim [ ]

15. h-ma-a-at ni-li-i- ma

16. tu-$a*-ar pa-a-ta-tim^[259]

17. a-na dli dup-lak-ki-i e fi-en

18. UG-AD-AD-LIL e-mi $a-a-a-

a-tim

19. a-na larri Unuk-(ki) ri-bi-tim

20. pi-ti pu-uk epli^[260] a-na ba-a-

a-ri

21. a-na ^UuGilgamil larri la Unuk-

(ki) ri-bi-tim

22. pi-ti pu-uk epli¹

23. a-na ba-a-a-ri

24. dl-la-at li-ma-tim i-ra-ab-bi

25. lu-u pa-na-nu-um-ma

26. muruk wa-ar-ka-nu

27. i-na mi-il-ki la Hi ga-bi-ma

28. i-na bi-ti-ik a-pu-un-na-ti-lu²

29. li- ma- ai- pirn

30. a-na {i-ik-ri id-li-im

31. i-ri-ku pa-nu-lu

19. For the king of Erech of the

wide places

20. open, addressing thy speech as

unto a husband.

21. Unto Gilgamish king of Erech

of the wide places

22. open, addressing thy speech

23. as unto a husband.

24. He cohabits with the wife

decreed for him,

25. even he formerly.

26. But henceforth

27. in the counsel which god has

spoken,

28. in the work of his presence

29. shall be his fate/'

30. At the mention of the hero

31. his face became pale.

Reverse II

(About five lines broken away.)

1. going

2. and the harlot after him.

3. He entered into the midst of

Erech of the wide places.

4. The artisans gathered about

him.

5. And as he stood in the street

6. of Erech of the wide places,

7. the people assembled

¹ KAKAi.

' Literally nostrils, pitik apunnati-lu, work done in his presence(P). The meaning of the ideom is uncertain. •Text ZU!

⁴ Text has erroneous form.

8.	i-ta-me-a i-na fi-ri-lu pi(?)-	8.	disputing round about him:—
	itrtam^1
9.	a-na mi-[ni]^2 UnGilgamil ma-li-il	9.	"How is he become like Gilga
			mish suddenly?
10.	la-nam la- pi- il	10.	In form he is shorter.
11.	e-$i[ pu]-uk-kurul	11.	In he is made powerful.
12.	i ? -ak-ta	12.
13-	i[- -1di i-li?	13.
14.	li-il-ba la [na-ma-]dl-[U]-e	14.	Milk of the cattle
15-	i-te- en- ni- iJ?	15-	he drank.
16.	ka-ia-na i-na [libbi] Uruk-(ki)	16.	Continually in the midst of
	kak-ki-a-tum*		Erech weapons
17.	id-lurtum u-te-el-li- lu	17.	the heroes purified.
18.	la-ki-in ip-la- nu^A	18.	A project was instituted.
19.	a-na idli la i-tu-ru {i-mu^lu	19.	Unto the hero whose counte
			nance was turned away,
20.	a-na ^UuGilgamil ki-ma i-li-im	20.	unto Gilgamish like a god
21.	la-ki-il-lum* me-i^-rum	21.	he became for him a fellow.
22.	a-na **ll-})a-ra ma-jfi-lum	22.	For IShara a couch
	na- [di]-i- ma	23.	was laid.
24.	^UnGilgamisb id-[ ]na-an(?)...	24.	Gilgamish..............
25.	i-na murlt in-ni-[ -]id	25-	In the night he.........
26.	i-na-ak*-la-am- ma	26.	embracing her in sleep.
27.	%Uia-\ ]i~na tflki	27.	They in the street
28.	ip-ta-ra-[ku ]-ak-tam	28.	halting at the..............
29.	la ^UuGilgamisb	29.	of Gilgamish.
30.		30.	mightily(P)

Col- III

1. ur-(?)l/a............... i. A road(?)

2. ^UuGilgamil........... 2. Gilgamish

3. i-na $i-ri................. .. 3. in the plain

4. i-fca-an-ni-ib [pi-ir-ta-lu?]

5. it-bi-ma

6. a-na pa-ni- lu

7. it-tam-fya-ru i-na ri-bi-tu ma-ti

8. ^UuEn-ki-dd ba-ba-am ip-ta-ri-ik

9. i-na li-pi-lu

10. ^UuGilgamil e-ri-ba-am u~ul id-di-

in

11. is-$a-ab-tu-ma ki-ma li-:-im

12. i- lu- du^l

13. ii-ip-pa-am 'i-bu- tu

14. i-ga-rum ir-tu-tu²

15. ^iluGilgamil b ^iluEn-ki- dH

16. i$-$a-ab-turii- ma

17. li-i-im i-lu-du

18. ii-ip-pa-am 'i-bu- tu

19. i-ga-rum ir-tu^tu

20. ik-mi-is-ma ^tluGilgamil

21. i-na ga-ga-ag-gQrf i li-ip-lu

22. ip-li-ijf uf-fa-lu- ma

23. i-ni-i i-ra-a{-pi

24. x-ra-iu i-ni-fru^A

25. ^u*En-ki-d& a-na la-h-im

26. i^-ia-kar-am a-na ^UnGilgamil

27. il-te-en-ma um-ma-ka

28. li- /*'- id- jfea

29. ri-im-tum la iur pu-ri

30. ^UatNin- sun- na

31. ul-lu e-li mu-ti ri-el-su

4. his hair growing thickly like the

corn.

5. He came forth

6. into his presence.

7. They met in the wide park of

the land.

8. Enkidu held fast the door

9. with his foot,

10. and permitted not Gilgamish to

enter.

11. They grappled with each other

12. goring like an ox.

13. The threshold they destroyed.

14. The wall they demolished.

15. Gilgamish and Enkidu

16. grappled with each other,

17. goring like an ox.

18. The threshold they destroyed.

19. The wall they demolished.

20. Gilgamish bowed

21. to the ground at his feet

22. and his javelin reposed.

23. He turned back his breast.

24. After he had turned back his

breast,

25. Enkidu unto that one

26. spoke, even unto Gilgamish.

27. "Even as one⁵ did thy mother

28. bear thee,

29. she the wild cow of the cattle

stalls,

30. Ninsunna,

31. whose head she exalted more

than a husband.

32. lar-TUrtam la ni-li

33. i'li-iwrkum ^UuEn-lil

duppu 2 kam-ma

lUrtUrUT e-li

4 lurli¹

32. Royal power over the people

33. Enlil has decreed for thee."

Second tablet.

Written upon

240 (lines).

INDEX TO PARTS 2 AND 3

A.

Adab, city, 123, 23. addi, wailing, 117, 31; 137, 22; 161, 12.

afyu, brother, 212, 36. Aja, goddess, 198, 9. al (git), al-gar (gil), a musical instrument, 187-191. See also No. 20 Rev. 7-12. alrbi, compound verb, 189 n. 6. In Ni. 8164 (unpublished) aUgar, al- gar-balag in list with (gii)-d- Id, also an instrument of music. alad, protecting genius, 154, 18. amelil, like a man, 215, 25. Amurrfl, god. Psalm to, 118; 119. angubba, sentinel, 180, 14. Anu, god. 116, i8:26ff. 131, 8;

165, 9; 180, 20. Anunnaki, gods, 114, 17:21; 116, 25; 116 n. 7; 128, 13; 135, 31; 189, 21.

Anunit, goddess, 158, 12; 166, 2. apunnatu, nostrils, pitik apunnati,

217, 28. affammim (?), 215, 18. Arallti, 132, 26; 134, 7. aramu, cover, 198 n. 2. ara\u, be pale, Prt. iriku, 217, 31. artyl, quickly, 199, 28. Aruru, goddess. Lamentation to, 115. Sister of Enlil, 115, 2; 171, 29; 190, 25. Other references, 116, 13:15:18; 117,34f. Asarludug, god, 163, 8; 170, 4.

AS-im-ur, title of Moon-god, 136,12.

dl omitted, No. 19, 2. al-me, disk, 133, 38. ASSirgi, god, No. 22, Rev. 7. Azagsud, goddess, 196, 30:33; 197, 38.

B.

Babbar, god, 116, 24; 139,43; 147,

21; 148,3; 152. Babylon, city, 158, 14; 160,6; 163,

8; 166,4:11. badara, see 200 n. 2. badarani, a

weapon, 133, 36. balag, lyre, 138, 52. bansur, table; title of a goddess, 175, 3-

Bau, goddess, 179, 2; 181,30; 182,

32; 141, 7:10. bitttu, condition, 215, 14. bi'u, cavern, 196, 29. bulukku, crab, 174, 5. burgul, engraver, 185, 8.

C.

Cutha, city. Center of the cult of Nergal, 167, 15.

D.

Dada, god, 192, 6. Dagan, West Semitic god, 149, 21. Damu, title of Tammuz, 176, 7. Deification of kings, 106-9; 127 n. 1. dtpu, shatter, 19 5 n. 16.

DI-BAL, ideogram in incantations,

194, 10. Dilbat, city, 167, 16. Dilmun, land and city, 112,2:4. dimgtil, ditndul, master workman, 150.

dittgir-gal-gal-e-ne, the great gods, theAnunnaki, 114, 21M25; 149, 19.

dumu-anna, daughter of heaven, title of Bau, 179, 5; 181, 28; 184, 28.

dutnu-sag, title of TaSmet, 163, 12. Dungi, king of Ur, liturgy to, 136. duplakku, trencher basket, 216, 17. Duranki, epithet for Nippur, 122, 18; 180, 11.

E.

E-anna, temple in Erech, 123, 30;

125; 148, 12; 213, 18. E-babbar, temple of the sun god, 152; 158, 11; 166, 1. Perhaps read E-barra. E-daranna, temple of Enki in Babylon, 169,25; 170, 29. See BL. 133-

edelu = ederu, be gloomy, 216, 10. t-dub, house of learning, 117, 39. i-gal, palace, No. 19, Rev. 3; 115,

11; 131, 7; 134,22; 158,9. i-gtg = kiffu, 191* n.

E-ibe-Anu, temple in Dilbat, 167, 16.

E-kinammaka, temple, 115, 10. E-kiSibba, temple in Kish, 166, 13. E-kur, temple, 180, 12; 183, 23; 190,7; 146,9; 147,17; 158,8; 160, 4; 166, 17; 169, 23. Emab, E5mab, ritual house of the water cult of Marduk, 163, 7; 115, 4.

E-malga-sud, temple, 181,24; 141,3. E-meteg, daughter of Ninkasi, 144. E-mete-ursag, temple in Kish, 166,

13.

E-namtila, temple, 160, 4; 169, 24. en-a-mwn, en-d-nun, title of In-

nini and Gula, 173, 2. Enbilulu, title of Marduk, 170, 5. E-ninnO, temple, 181, 22. EN-fjf U L-tim-mu, 194 n. 2. EN-KA-KA, bil dababi, 194, 2. Enki, god. Hymn to, No. 20, 113, 7; 114, 10; 116,21; 122,7; 149, 16.

Enkidu, satyr, 213, 3:7:10:11; 214, 6; 215, 11:12:15:34; 216, 13; 219,8:15:25; 131,11; 134,16; 178, 13.

Enlil, god. Liturgy to, 155-184. Regarded as god of light, 157, 1 ff. 158, 3 f. Other references, 114, 19; 115, 2; 116, 19; 131, 6; 136, 5; 139, 40; 149, 22; 146, 37:14; 189, 11:19; ²²°> 33.

Enul, god, 149, 16. Enzu, god, 139, 41; 146,3. eplanu, deeds, 218, 18. tpA, be dark, I² itipH, 196, 29. Erech, city, 125; 149, 13. Erech ribttim, 212, 28; 213, 15; 217, 19:21; 217, 3:6. eri-azag, holy citv, lsin, 141, 8. erida, title, 175, 1. Eridu, city, 113, 20; 136, 13. Erishkigal, goddess, 131, 10; 134, 11.

erlagtugmal, penitential psalm, 118. E-sagila, temple, 152. E-sakudkalamma, temple, 166, 10;

169 n. 4. elendili, a title, 177, 10.

elkar, fixed tax, 188, 9. el-lal, a sacred place, 161, 14. E-temen-anki, temple, 169, 25. E-turkalamma, temple, 166, 14. Euphrates, river, 183, 12; 183, 20. E-zida, temple, 166, 12. Ezina, grain goddess, 174, 9. Ezira, reading of the divine name KA-DI, 177, 11.

F.

Fara, modern Arabic name for the site of I sin (?), 177 n. 4.

G.

GAB, baked bread, 200, 33. GAB-LA L, a cake made with honey,

195, 22; 200, 35. GAR-lunu = epitan-lunu, 198, 13. galan-gula, title of NinS, 119 n. 2. gepar, dark chamber, 123, 3of., 148,

10; 161, 18. Gibil, god, 197, 3.

gl-g&l (gis), interlude, 151 n. 1; 182, 33-

gigunna, 114, 23.

Gilgamish, king of Erech, 207; 211, i:ijf. 212, 17:37; 213, 2; 217, 21; 218, 9:20:24:29 and below 2; 219, 10:15:20:26. Derivation of name, 208. See also No. 16 Rev. 11 15; 197,42; i24f. gilsa, a sacred relic, 132, 22. Girra, Irra, god, 174, 7; 177, 12. girru, lion, 215, 29. Girsu, city, 181, 23. Guanna, deity, No. 16 Rev. II 18. Guedin, province, 129, 28. Gunura, goddess of healing, 176, 6. gupru, mighty, 214, 33. Gutium, land, i2off.

H.

Hallab, city, 125; 141. fyanabu, grow thickly, Prs. iftannib, 219, 4.

%apapu, embrace, 212, 34. bas$inu, axe, 212, 29:31. fcarbatu, waste place, 200, 39. Harsagkalamma, temple, 166, 14. Hubur, mythical river, 197, 42. i&lu, a bird, 199, 31. a bird, 199, 31.

I.

Ibi-Sin, king of Ur, 151 n. 2. ibsi, liturgical expression, 120, 5. lgigi, heaven spirits, 116 n. 6. IGI-NAGIN-NA, 194,11. itnib, weapon, 131, 8. tni-ib, ibid, n. 3.

imin, seven. Seven lands, 130, 35;

seventh day, 134, 18. Immer, god, 177, 8. Indag, god, consort of Gula, 173, 3. Innini, goddess, 123. Liturgy to, 184; 123, 29. Consort of Shamash, 148, 4. Other references, 154, 21. iffur lami, unclean birds, 195 n. 10.

IShara, goddess, 218, 22. lsin, city, 122, 15; 176, 4. Ishme-Dagan, i78ff. Son of Enlil, 181, 29; 182, 32. Liturgy to, 143.

K.

KA-DIB-BI, iibit pi, 194, 10. KAK-DIG, a weapon, 130, 4. kakkitu (?), weapon. PI. kakkiatum, 218, 16.

KAK-SIR, a weapon (?), 130, 4.

kalama, the Land, Sumer, 138, 25; 141,5; 147,22; 150,4; 154, >7; i77> 9. kanami = kalama, land, 120, 8. KA+NE, a new ideograph, 153 n. 10.

kasH, bind. 1²likti$u, 198, 20. Kenurra, chapel of Ninlil, 114, 22; 123, 20; 160, 4; 166, 18; 166, 8; 169, 24. Ke§, city, 115, 11; 123, 22. kelda-aiag, a relic, 132, 27. ki, kin for gim=kima, 120, 6. KI-AG-MAL, r&mu, 194 n. 4. Kidurkazal, daughter of Ninkasl, 145.

ki-malla, to bend. tig-{u ki-ma-al-la nu-gi-gi, "Thy neck wearies not in bending," 168, 2. [Correct the translation.] ki-in-gin, ki-en-gin, Sumer, 115, 24;

134, 19; 189, 17. KI-SAR, l$akkara tatabbit, 199, 29. Kish, city, 129, 30; 166, 12. i kil- (ki)-lu, so read, No. 5 Obv. 8. Kullab, city, 149, 14; 173, 1. fcwnitt, gum**, reed basket, 150 n. 3. kur gal, "great mountain," title of Sumer, 114, 11. Of Enlil, 114, 19; 182, 5. KURUN-NA, 196, 34.

KU$-KU-MAL₉ 194, 11.

L.

gore. Prt. 219, 12:17. labu, panther, 215, 29:32. Lagash, city, 181, 23:26. Labama, goddess of Chaos, 113, 5. Laws, promulgated by Dungi, 138,

Libit-lshtar, king, 141.

IMu, garment, 214, 27:29; 215,26.

Ligirsig, a god, 113, 3. lilaiag, epithet of a deified king, 141, 1.

Lillaenna, goddess, 192, 5. limenu, be evil. 11¹ ulammenu-inni,

*97> 7. Lugal-dlg, god, 197, 5. lu'&tu, pollution, 195, 19.

M.

Magan, land, 112, 2:5.

maialu, couch, 218, 22.

malalu, shear, 195, 20.

Mamit, 200, 41.

mandatu, form, 195, 21.

mal-gar (gi), a musical instrument,

191, 10. mangu, disease, 195, 19. Marduk, god, 151. markasu, leader, 150. masH, seize, 195 n. 5. main, to forget, 216, 7. Me-azag, daughter of Ninkasi, 144. mefyru, fellow, 218, 21. MebuS, daughter of Ninkasi, 144. Melufclja, land* 112, 6. Meslam, temple in Cutha, 167, 15. mesH, a tree, 159, 23. muk, now, but now, 217, 26. Mulgenna, Saturn, 137, 18. Mulmul, gods, 142.

N.

nMu, water bottle, 198, 17. nadttu, temple devotee, 188, 7. nag&, shout. Prs. inangu, 215, 19. ndku, embrace, 218, 26. namaltH, cattle, etc., 213,12:17:214,

1; 219, 14. Namtar, god, 197, 3; 132, 24. Nan&, goddess, 192, 7.

Nannar, god, 115, 12; 116,23; 133,

38; 137, 11; 150, 2. Nergal, god, 131,6. Nidaba, goddess, 191. tti-gdl, cattle, 121, 6. nimir — ligir, 174, 4. ninda, linear measure, 133, 41. Ningal, goddess, No. 19, 5; 148, 3;

151, 3. NingiSzida, god, 133, 34. Nin-isinna, goddess, 122, 16; 191,

15.

Ninkasi, goddess, 144.

Ninki, goddess, 149, 16.

Ninlil, goddess, 116, 20; 123, 20;

137, 12; 146, 14. Ninmada, daughter of Ninkasi, 144. Ninmab, goddess, 116, 22. Ninmenna, epithet of Damgalnun-

na, 190, 27. Ninsun, goddess, 219, 30; 208 n. 6;

129; I3¹* 16 (?). Nintudri, goddess, 123, 26. Nin- tudra, 137, 16. Creatress of man and woman, 192. Ninul, goddess, 149, 16. Ninura&, god, 191, 12; 146, 12. Ninzuanna, goddess, 122, 13. Nippur, city, i{2, 8; 122, 18:19; 160, 3; 169, 21; 180, 11; 149, 18; 158,7; 165,16. NI-SUR (amelu), 196, 35. Nudimmud, god, 199, 25. No. 20, 10.

nugiganna, epithet of Innini, 185, 2. nUn apsi, unclean fish, 195 n. 11. Nunamnirri, god, 190, 28; 146, 13;

180, 10:13:17. niw-wr, epithet of Amurrfl, 119, 3. Nusiligga, daughter of Ninkasi, 144. Nusku, god, 146, 7; 163, 13.

P.

Pabilsag, god. Son and consort of Gula, 173 n. 3; 176, 5. A form of Tammuz. pananumma, formerly, 217, 25. Panunnaki, goddess, consort of Marduk, 163, 9. patajtu, fashion, break, 214, 4. paturru, a weapon, 200, 37. Pleiades, 142.

R.

ratMu, demolish, 219, 19. Rimat ^Ninsun, 208 n. 6; 219, 29. RuSkiSag, goddess, 132, 28. RU-TIG, an epithet, 141, 2.

S.

sa-bar; sa-sud-da, liturgical note,

182, 31. labfii, cruelly, 215, 30. Sagilla, temple, 158, 15. E-sagila,

160, 5; 166, 5; 166, 11. lafcatu, be astounded, 216, 10.

Arabic salfita. sajfibatu, desire, comfort, 216, 18. lakapu, fell. I² ihakpu, 215, 30. falHtu, enmity, 199, 27. SamaS, god, 197, 4:8; 198, 10:13;

199, 25:31. §amaS-3um-ukin, king. Incantations for, 193-200; 199,23. Samsuiluna, king, 151. SAR-DI-DA, a relic, 133, 37. Serpent adversary, 183, 21; 148, 12. Seven, sacred number. Seven gods,

196, 3°- Ship, in legend, 113, 2. Silsirsir, a chapel. Sin, god. Hymn to, No. 19. $ippu, threshold, 219, 13:18.

Sippar, city, 158, 10; 160, 5; 166, 19.

sirgidda, long song, 140, 54. SiriS, daughter of Ninkasi, 144, SiriSkaS, daughter of Ninkasi, 144. SiriSkaSgig, daughter of Ninkasi, 144.

sirsagga, first melody, 117, 28; 139, * ⁴⁸-

SU-AN = kat Hi, 194, 12. See also

$U-^dINNINI, 194, 12. $U-NAM-ERIM-MA_t 194, 13. $U-N AM -L U-GA L-LU, 194, 13. subura, earth, 175, 3. su-ud, su-ud-dm, epithet of goddess of Suruppak, 177, 10 and note 4. tufturu, hair (?), 215, 23. sukkal-iid, title of Nebo, 163, 10. Sulpae, god, No. 16 II 22. Sumer, land, 113, 21; 114, 11; 136, 2.

sumugan, title of Girra, 177, 12 and note; 179, 3.

T.

Tablet of fates, 132 n. 3. Tammuz, ancient ruler, 208. Liturgy to, 191. Other references, 126; 208; 131,20. tapatu, seize, capture, II² uttappil,

215, 31. terrieru, cook, 196, 35.

Tigris, river, 183, 12. Tummal, land, 190, 9; 191, 10.

U.

ud, spirit, word, 150, 14; 158, 16;

159, 17:24. ul-al-tar, 191 n. 6. ulinnu, girdle cord, 195, 20. UlmaS, temple of Anunit, 158, 13; 166, 3.

Ur, city, 134, 21; 137, 6. Lamentation for, 150. Other references, No. 19, 47:8:i6:28:Rev. 5; i5*> 3- Ur-azag, king of lsin (?), 140 n. 2. Ur-Engur, king of Ur, 126 ff. urinu, spear (?), 173, 3. ursaggal, epithet for NinuraSa, 165,

11. For Enbilulu, 170, 5. ulumgal, 117, 33.

Z.

l&bu, flow. li~{u-bu, 198, 16. Cf. gdm = za'ibu, mitirtu, words for canal, SA1. 691-3. lag-sal, liturgical note, I03f. No. 21 end.

^-0*1,138,34; 139, 38; 140,56. Ibtu, be enraged, 1 l^l uzinu-inni, 197, 6.

ZI-TAR-RU-DA = nikis napiUi, 194 n. 6.

DESCRIPTION OF TABLETS

Number in this Volume.	Museum Number.	Description.
I	7771	Dark brown unbaked tablet. Three columns. Lower edge slightly broken. Knobs at left upper and left lower corners to facilitate the holding of the tablet. H. 7 inches; W. 6$; T. i-J. Second tablet of the Epic of Gilgamish.

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UNIVERSITY OF PENNSYLVANIA

THE UNIVERSITY MUSEUM

PUBLICATIONS OF THE BABYLONIAN SECTION Vol. X No. 4

SUMERIAN LITURGIES AND PSALMS

BY

STEPHEN LANGDON

Professor of Assyriology at Oxford University

PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM

1919

CONTENTS

rage

INTRODUCTION................. 233

SUMERIAN LITURGIES AND PSALMS:

Lamentation of Ishme-Dagan Over Nippur.......................................... 245

Liturgy of the Cult of Ishme-Dagan ......................................................... 258

Liturgical Hymn to Innini 260

Psalm to Enlil... _. ............. 265

Lamentation on the Pillage of Lagash by the

Elamites.............................. 268

Lamentation to Innini on the Sorrows of Erech .. 272

Liturgical Hymn to Sin 276

Lamentation on the Destruction of Ur...................................................... 279

Liturgical Hymns of the Tammuz Cult............................................................ 285

A Liturgy to Enlil, Elum Gud-Sun ......................................................... 290

Early Form of the Series ^dBabbar-Gim-k-ta.... 309

Liturgy of the Cult of Kesh 311

Series Elum Didara, Third Tablet ......................................................... 323

Babylonian Cult Symbols 330

(3)0

INTRODUCTION

With the publication of the texts included in this the last part of volume X, Sumerian Liturgical and Epical Texts, the writer arrives at a definite stage in the interpretation of the religious material in the Nippur collection. Having been privileged to examine the collection in Philadelphia as well as that in Constantinople, I write with a sense of responsibility in giving to the public a brief statement concerning what the temple library of ancient Nippur really contained. Omitting the branches pertaining to history, law, grammar and mathematics, the following risumS is limited to those tablets which, because of their bearing upon the history of religion, especially upon the origins of Hebrew religion, have attracted the attention of the public on two continents to the collections of the University Museum.

Undoubtedly the group of texts which have the most human interest and greatest literary value is the epical group, designated in Sumerian by the rubric iag-sal} This literary term was employed by the Sumerian scribes to designate a composition as didactic and theological. Religious texts of such kind are generally composed in an easy and graceful style and, although somewhat influenced by liturgical mannerisms, may be readily distinguished from the hymns and psalms sung in the temples to musical accompaniment. The iagsal

compositions^[261] are mythological and theological treatises concerning the deeds and characters of the great gods. 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 tablets, one (very incomplete) on the Creation and the Flood published by Dr. Poebel, and one (all but complete) on Paradise and the Fall of Man. Next in importance is a large six column tablet containing a mythological and didactic hymn on the characteristics of the virgin mother goddess.² A long mythological hymn in four columns' 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 Innini⁴ are good examples of this group of tablets in the Nippur collection.⁶ One of the most interesting examples of didactic composition is a hymn to the deified king Dungi of Ur. 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 publication.⁶ I 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

¹ So far as the term is properly applied. Being of didactic import it was finally attached to grammatical texts in the phrase ^dNidaba lag-sal, "O praise Nidaba," i. e., praise the patroness of writing.

¹ Poebel, PBS. V No. 25; translated in the writer's Le Pobne Sumtrien du Paradis, 220-257. Note also a similar epical poem to Innini partial duplicate of Poebel No. 2$ in Myhrman's Babylonian Hymns and Prayers, No 1. Here also the principal actors are Enki, his messenger Isimu, and "Holy Innini" as in the better preserved epic. Both are poems on the exaltation of Innini.

*Ni. 920$ published by Barton, Miscellaneous Babylonian Inscriptions, No. 4. This text is restored by a tablet of the late period published by Pinches in JRAS. 1919.

* Ni. 7847, published in this part. No. 3 and partially translated on pages 260-264.

⁽ Undoubtedly Ni. 11327, a mythological hymn to Enki in four columns, belongs to this class. It is published as No. 14 of this part. A similar jagsal to Enki belongs to the Constantinople collection, see p. 4$ of my Historical and Religious Texts.

* Historical and Religious Texts, pp. 14-18.

to restore the lost paradise.¹ The poem mentions the flood which, according to the Epic of Paradise, terminated by divine punishment the Utopian age. The same mythological belief underlies the hymn to Dungi. Paradise had been lost and this god-man was sent to restore the golden age. There is a direct connection between this messianic hymn to Dungi and the remarkable Epic of Paradise. All other known hymns to deified kings are liturgical compositions and have the rubrics which characterize them as songs sung in public services. But the didactic hymn to Dungi has the rubric [^dDungi] {ag-sal, "O praise Dungi." It would be difficult to claim more conclusive evidence than this for the correctness of our interpretation of the group of iagsal literature and of the entire mythological and theological exegesis propounded in the edition of the Epic of Paradise, edited in part one of this volume.²

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 religion. That they are of prime importance is universally accepted.

From the point of view of the history of religion I would assign the liturgical texts to the second group in order of importance. Surprisingly few fragments from the long canonical daily prayer services have been found. In fact, about all of the perfected liturgies such as we know the Sumerian temples to have possessed belong to the cults of deified kings. In the entire religious literature of Nippur, not one approximately complete canonical prayer service has survived. Only fragments bear witness to their existence in the public song services of the great temples in Nippur. A small tablet^[262] 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 Sumer. Long liturgical services were evolved in the temples at Nippur as we know from a few fragments of large five column tablets.^[263] 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 ideas. Characteristic of these final song services is the titular litany as the penultimate song and a final song as an intercession. A considerable number of such perfected services exist in the Berlin collection. These were obtained apparently from Sippar.[264] The writer has made special efforts to reconstruct the Sumerian canonical series as they existed in the age of Isin and the first Babylonian dynasty. 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 2> pp. 155-167/ In the present and final part of this volume another Enlil liturgy has been largely reconstructed on pages 290-306.⁶ From these two partially reconstructed song services the reader will obtain an

approximate idea of the elaborate liturgical worship of the late Sumerian period. These were adopted by the Babylonians and Assyrians as canonical and were employed in interlinear editions by these Semitic peoples. 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 services. 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 columns. Obviously the priestly schools of the great religious center at Nippur possessed these perfected prayer books but their great size was fatal to their preservation. It must be admitted that the Nippur collection has contributed almost nothing from the great canonical Sumerian liturgies which surely existed there.

Much better is the state of preservation of the precanonical liturgies, or long song services constructed by simply joining a series of kitubs or songs of prostration. These kilub liturgies are the basis of the more intricate canonical liturgies and in this aspect the Nippur collection surpasses in value all others. Canonical and perfected breviaries may be termed liturgical compositions and the precanonical breviaries may be described as liturgical compilations, if we employ "composition" and "compilation" in their exact Latin sense. Since Sumerian song services of the earlier type, that is litufgical compilations, are more extensively represented in the Nippur temple library than in any other, 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 religion. If we may judge from the literary remains of

Nippur now in the University Museum, the priestly schools of temple music in that famous city were extremely conservative about abandoning the ancient liturgical compilations. These daily song services, all of sorrowful sentiment and invariably emphasizing humility and human suffering, are constructed by simply compiling into one breviary a number of ancient songs, selected in such manner that all are addressed to one deity. In this manner arose intricate choral compilations of length suitable to a daily prayer, each addressed to a great god. Hence we have in the temple libraries throughout Sumerand Babylonia liturgies to each of the great gods. Even in the less elaborate kihib compilations there is in many cases revealed a tendency to recast and arrange the collection of songs upon deeper principles. 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 type. I need not dilate here upon the great influence which these principles exercised upon the beliefs and formal worship of Assyria and Babylonia, upon the late Jewish Church and upon Christianity. The personified word of god and the worship of the great mater dolorosa, or the virgin goddess, are ancient Sumerian creations whose influence has been effective in all lands.

As examples of the liturgical compilation texts the reader is referred especially to the following tablets. On pages 290-292 the writer has described the important compiled liturgy found by Charles Virolleaud.^[265] It is an excellent example of a Nippurian musical prayer service. It contained eleven kiSubs, or prayers, and they are recast in such manner that the whole set forth one idea which progresses to the end. The liturgy has in fact almost reached the stage of a composition. And in these same pages the reader will see how this service finally resulted in a canonical liturgy, for the completed product has been recovered. On pages 309-310 will be found a fragment, part of an ancient liturgy to Enlil of the compiled type. Here again we are able to produce at least half of the great liturgy into which the old service issued. In the preceding part of this volume, pages 184-187, is given the first song of a similar liturgy addressed to the mother goddess.

Undoubtedly the most important liturgical tablet which pertains to the ordinary cults in the Nippur collection is discussed on pages 279-285. The breviary, which probably belongs to the cult of the moon-god, derives importance from its great length, its theological ideas, especially the mention of the messengers which attend the Logos or Word of Enlil, and its musical principles. Here each song has an antiphon which is unusual in precanonical prayer books of the ordinary cults.^[266]Students of the history of liturgies will be also particularly interested in the unique breviary compiled from eight songs of prostration, a lamentation for the ancient city of KeS with theological references. This song service was popular at Nippur, for remains of at least two copies have been found in the collection. A translation is given on pages 311-323.

The oldest public prayer services consisted of only one psalm or song. A good number of these ancient psalms are known from other collections, especially from those of the British Museum. In view of the conservative attitude of the Iiturgists at Nippur it is indeed surprising that so few of the old temple songs have survived as they were originally employed; ancient single song liturgies in this collection are rare. The following

list contains all the notable psalms of this kind. Radau, Miscellaneous Sumerian Texts No. 3^[267] 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 afflictions. Radau, ibid., No. 16 has the rubric ki-lu² sir-gal^dEnlil, "A prayer of prostration, a great song unto Enlil." A psalm of the weeping mother goddess similar in construction to Radau No. 3 is edited on pages 260-264 of this volume.' No. 7 of this part, edited on pages 276-279, is an excellent illustration of the methods employed in developing the old single song psalms into compiled liturgies. Here we have a short song service to the moon god constructed by putting together two ancient psalms. The rubrics designate them as sagar melodies,⁴ or choral songs, and adds that it is sung to the lyre.⁶ An especially fine psalm of a liturgical character was translated on pages 115-117. It is likewise a lament to the sorrowful mother goddess.

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 excavated. Prayers of the private cults are almost entirely nonexistent. Later Babylonian religion is rich in penitential psalms written in Sumerian for use in private devotions. These are known by the rubric erfag&unga, or prayers to appease the heart. Only one has been found in the Nippur collection,® and none at all have been recovered elsewhere. Seals of Sumerians showing them in

¹ Translated by Radau on pages 436-440.

* Abbreviation for ki-iub-gii-da=liru, strophe, song of prostration.

* No. 3 of the texts in part 4.

* sa-gar—pitnu h nu, choral music, v. Zimmern, ZA. 31, 112. See also the writer's PBS. Vol. XII, p. 12.

' nar-balag. The liturgists classified the old songs according to the instrument employed in the accompaniment. See SBP. p. ix.

' See page 118 in part 2.

the act of saying their private prayers abound from the earliest period. Most of these seals represent the worshipper saluting a deity with a kiss thrown with the hand. The attitude was described as lu-illa,ox "Lifting of the Hand." Semitic prayers of the lifting of the hand abound in the religion of Babylonia and Assyria. Here they are prayers employed in the incantation ritual. 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 hand.' In Sumerian religion these were apparently purely private prayers unconnected with the rituals of atonement. At any rate the Nippur collections in Constantinople and Philadelphia contain a large number of incantation services for the atonement of sinners and the afflicted. These resemble and are the originals of the Assyrian incantation texts of the type utukku limnuti, and contain no prayers either by priest {kilub in later terminology is the rubric of priest's prayers in incantations) or by penitent {Su-il-la's). The absence of prayers of private devotion in the temple library of Nippur is absolutely inexplicable. Does it mean that the Sumerians were so deficient in providing for the religious cure of the individual? Their emphasis of the social solidarity of religion is truly in remarkable contrast to the religious individualism of the Semite. But the Sumerian historical inscriptions often contain remarkable prayers of individuals. The seals emphasize the act of private devotion. The catalogue of their prayers states that they possessed a good literature for private devotions. When one considers the evidence which induces to assume that they possessed such a literature, its total absence in every Sumerian collection is an enigma which the writer fails to explain.

In the introduction to part two of this volume¹ the writer has emphasized the peculiarly rich collection of tablets in this collection pertaining to the cults of deified kings. In the present part is published a most important tablet of that class. This liturgy of the compiled type in six kilubs sung in the cult of the god-man Ishme-Dagan, fourth king of the I sin dynasty, is unique in the published literature of Sumer. Its musical intricacy and theological importance have been duly defined on pages 245-247. With the publication of these texts the important song services of the cults of deified kings are exhausted. In addition to the texts of this class translated or noted in part two, I call attention to the very long text concerning Dungi, king of Ur, published by Barton, Miscellaneous Babylonian Inscriptions No. 3. In that extremely long poem in six columns of about 360 lines² there are no rubrics, which shows at once that it is not a cult song service. Moreover, Dungi had not been deified when the poem was written. 11 is really an historical poem to this king whose deification had at any rate not yet been recognized at Nippur. It belongs in reality to the same class of literature as the historical poem on his father Ur-Engur, translated on pages 126-136.

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 study. 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 Literature, 1918, 45-50. The twelfth song of a liturgy to Ishme-Dagan published by Zimmern from the Berlin collection is translated on pages 52-56 of the same article. Finally a long liturgy to

¹ Pages 106-109.

¹ Less than half the tablet is preserved.

Libit-Ishtar, son of Ishme-Dagan, likewise in Berlin, has been translated there on pages 69-79.¹ Since the Berlin texts probably came from Sippar their existence in that cult is important. For they prove not only the practice of cult worship of deified kings in that city, but the domination of Isin over this north Semitic city is thus documented for a period as late as Libit-Ishtar.

Nearly all the existing prayer services in the cults of the deified kings of Ur and Isin are now published and translated. 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 effect. A few, and especially the Ishme- Dagan liturgy published as No. 1 of this part, reveal theological speculation and an effort to give the institution of god- man worship its proper place in their religion. 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 Nippur.⁸

Oxford, July 9, 1919.

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13856 (No. 1) Lamentation of Ishme-Dagan Over Nippur

The liturgical character of this tablet is unique among all the numerous choral compositions of the Isin period. 11 is a large two column tablet containing six long kilub melodies. Liturgies of such kind, compiled by joining a series of kilubs, or melodies, attended by prostrations, 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 connection, but as a whole they are apparently original compositions so arranged that they develop a motif from the beginning to the end of the liturgy. Choral services composed of kilubs in the cults of deified kings have been found^[268]wherein the deeds and personality of the king are sung, his divine claims are emphasized and his Messianic promises rehearsed. But the liturgy here published resembles in literary style the classical lamentations which always formed the chief temple services of Sumer and Babylonia. It more especially resembles the weeping mother liturgies, but here Ishme-Dagan appears in the lines of the service in a r61e similar to that of the sorrowful mother goddess of the ordinary liturgies, as he weeps for Nippur.

"Her population like cattle of the fields within her have perished. Helas my land I sigh."

So reads a line from the second melody.

Lines of similar character occur repeatedly in the laments of the mother goddess as she weeps for her people in the standard liturgies. In other words, the cult of the deified kings issues here into its logical result. The god man created to live and die for his people usurps the sphere of the earth mother herself. And like her he is intimately associated with the fortunes of mankind, of nature and all living creatures. The great gods and the hosts of their attendants rule over man and the various phases of the universe from afar. But the mother goddess is the incarnation of fruitful nature, the mother of man whose joys and sorrows she feels. So also in this remarkable liturgy the deified son of the great gods lives among men, becomes their patron and divine companion.

The tablet contained originally about fifty lines in each column, or 200 in all. About one-third of the first column is gone. The first melody contained at least fifty lines and ended somewhere shortly after the first line of Col. 11 of the obverse. It began by relating how Enlil had ordered the glory of Nippur, and then had become angered against his city, sending upon it desolation at the hands of an invader. When we take up the first lines of Obv. 11 we are well into the second melody which represents Ishme-Dagan mourning for fathers and mothers who had been separated from their children; for brothers who had been scattered afar; for the cruel reign of the savage conqueror who now rules where the dark-headed people had formerly dwelled in peace.

At about the middle of Obv. II begins the third melody which consists of 38 lines extending to Rev. I 19. In this section the psalmist ponders upon the injustice of his city's fate, and looks for the time when her woes will cease, and Enlil will be reconciled.

The fourth section begins at line 24 of Rev. I and ended near the bottom of this column which is now broken away. Here Ishme-Dagan joins with the psalmists weeping for Nippur- Section 5 began near the end of Rev. 1, and ends at line 16 of Rev. II. Here begins the phase of intercession to Enlil to repent and revenge Nippur upon the foe. Section 6, beginning at Rev. II 17, probably continued to the end of the column and the tablet. Here the liturgy promises the end of Nippur's sorrow. Enlil has ordered the restoration of his city and has sent Ishme- Dagan, his beloved shepherd, to bring joy unto the people.

After sections 2 and 3 follows the antiphon of one or two lines. The ends of sections 1 and 4 are lost but we may suppose that antiphons stood here also. Section 5 does not have an antiphon. Since section 6 ended the liturgy it is not likely that an antiphon stood there.

Obverse. Col. I (About eighteen lines broken away.)

1 t&g ba-ra-pad-da

2. ^d'A-nun-na-ge-ne na-ba-an-ri-gi-

el-dm

3. ub-lu-ukkin-na? ki di-gal tar-ru

4. el-bar-e si-di ba-ra-an-{u-uP-dm

5. dingir-bi-ne ki-dur ba-ab- gar-ra^A

1.

2. The Anunnaki he caused to take

their seats.^[269]

3. In the Assembly Hall, place

where the great judgments are decided,

4. Decisions to arrange he caused

them to know.

5. These gods he caused to take

up there their abode.

6. iug-ld^-bi im-lub-ba aga-bi im-

ri-a

7. ki-lugal du-a{ag^[270] kin-stg¹ unic*-

gal-ba

8. tin^[271] Idl bal-bal-e mu-iu be-ib-

tar-ra

9. Nibru-(ki) uru gil-gig-da gal-la-

bi-lu

10. uku~sag-gig-ga ni-im-li-ib-tc-en-

na

11. ki-d&r-ba gH-ni a-gim^[272] ba-ra-an-

lub

12. ab stg-gan-d&g-ga-gim e-ne sig-

gan-ba-ra-an-dug

13. uru lag-bi er-gig sig- bi

14. m-na* dam⁷ dingir ga-la-an-bi

li-bi nu-tar-ri^[273]

15. i-gu-la 1a-pa-ag ib-fu-a-bi

16. i-ri-a-stid-gim galu nu-un-tur-tur

17. Nibru-(ki) uru ki ligir-ligir-gal-

gal-e-ne lu-im^ma-an-IJA dm

18. a-na-dl A-gu i-ni-in-de-et^[274]

6. Their clean sacrificial food he

gave, their crowns he clothed upon them.

7. In the king's place, the throne

room, the kinsig of the vast abode,

8. The libation of wine and honey

yearly he decreed.

9. For Nippur the city whose

shadow extends afar

10. The people, the dark headed, he

caused to have reverence.

11. But its habitations he cursed..

12. Like scattered cows he scattered

them.

13. The city's interior is filled with

weeping,

14. While the consort, its divine

queen, is not solicitous for her.

15. The great house which knew the

cry of multitudes,

16. Like a vast building in ruins

men enter not.

17. In Nippur, the city where great

princes were prosperous,

18. Why have they fled?

19. uku sag-gig gu-sa-gi-a^[275] udu-gim

be-tb-^-a

20. e(?)-en-te KAK-RU* er a-nir

lag PA-tJI-BAD-a

21. en-M bar^[276] be-ib- ill

22. lag nu-ub-li-tug-e

23. **ub **d-ld mu-un-tuk-a-ri^b

24 gig-ga a-a na

25 stg ne ba-d&r-ru-ne-el

26 gar-ra-bi er-lu ba-ab-bi^ne

27 lub-ba tur-ru-ba-ne

28 sir-ri-el ba-ab-bi-ne

29 ki-dur-bi kar-ra

30 im-li-sir-sir-e^ne-el*

31 ne-ne-tUg

32 ga(?)n^ti-gim

33 **i^[277]

(End

19. The people, the dark headed,

all of them like sheep

20. How long shall loud crying(?),

weeping and wailing distress (?) the heart?

21. How long shall the soul be terri

fied?

22. And the heart repose not?

23. To the drum and cymbals 1 sing.

24 sorrowfully (?)

25 brick they dwell.

26 in tears they speak.

27 are made small.

28 in misery they speak.

29 whose habitations are

desolated.

30. Unto they have hastened.

31 ?

32 like one that knows not

33 is in confusion.

Col. I.)

Col. II (About fifteen lines broken away.)^[278]

1 gdl 1..........................................

2 -e ba-ab-d&g-dm^[279] 2................................

3 ma-lal im-mi............... 3

4 gul-nu-{u~ne nig-dug

be-ib-tar-ru~ul-dm

5. t-lu-gig inwne

6. nam-lu-g&l-bi mdl-anlu-gim lag-

ba mi-ni-ib-tll-la-al

7. a ka-na-dm-mu im-me

8. ki-el kalag tul-tul-ld-bi-ne sur^[280]-ri-

-el tni-ni-ib- sal-la-dl

9. il-a-bi im-me

10. lel-bi itni-dugud lig-gd-gim di-e-

be-ib-sud-dm*

11. er-lt% nu- gul-^A e

12. i-e db amar-bi kud-du gim ni-

bi-lil ur-gtg-ga^h irn-gub

13. sig-stg* ni- mal- mal

14. balag-di^[281] lu-ad-dug-ga-ge*-nt um-

me-da-ii-a-di-gim

15. mu-bi er-ra mi^ni-ib-bal-bal-e-ne

16. uru &-mu*un-bi sag-ib-ta-an-dtm-

ma

17. igi-ni 54 kHr-ra ib-ta-an-gar-ra

ad-e-el ba-an-ara-dl

4 evil they know not, good

they have decreed.

5. Bitter lament I¹ utter.

6. Her population like cattle of the

fields within her have perished.

7. Helas! my Land! 1 sigh.

8. Maid and young man and their

children cruelly have been scattered far and wide.

9. Tearfully 1 sigh.

10. Their brothers like a rain storm

have fled afar.

11. 1 cease not to weep.

12. The household like a cow, whose

calf has been separated from her, stand by themselves with sorrowful souls.

13. They have lapsed into the mis

ery of silence.

14. Oh sing to the lyre! Thewailers

like a child nursing mother who cries in woe

15. because of them devised lamen

tation.

16. The city whose lord had been

magnified,

17. In whose presence a hostile rule

has been established, with sighing they have caused to walk.

18. £-{id kur-kur-ra igi-lu ba-an-gln-

na

19. uku sag-gig-gi ul-it^[282] be-ib-tub-ba 20• a-na ib-ag a-na im-ga-lanwna-bi¹

21. il*mu-unr-bi ib-ta-kdi sag-ki-a mur

un-du

22. ki-iub*- ghr 2 kam

23. me-gal iag-bi^A ba-ra-an-h-a-dl gu-

glg-ga nu-maP-al

24. gil-gt-gdl-bi-im^[283]

18. As for the faithful temple,

which in the lands excelled all,

19. (Where) the people, the dark

headed, reposed in security;

20. What has done it, what has de

stroyed it?

21. Its lord is a fugitive, he hastens

in flight.

22. A melody with prostrations.

Second section.

23. The meaning of the great decrees

they have glorified. Sorrowful words they restrain not.

24. This is its antiphon.

25. uru u-mu-un-bi Sag ba-da-an-

dib-ba

26. en-lH la-ba-li-gur-ru sug*-dm~bi

nu- urn- im me

27. sig-bi a^naAu glr-ib-ta-an-gar

28. tu(gu) {a-pa-dg md-md-bi ab-ta

ib-ta- an-dal

29. i ? sig nar-balag dg-tf-ba*

25. The city whose lord is distressed,^[284]

26. Until when shall it not return

(to its rest)? Until when shall its " How long" not be spoken?

27. Why are its brick walls trodden

underfoot ?

28. The doves screaming flew from

their nests.

29. The temple the sweet

voiced flute,

252

30 be-in-gl

31. Entirely destroyed.

32. Sd&-na^[285]

33. 6 ni*nu-tuk-gim si-ga

34. dg-me-bi nu-a{ag-a{ag-ga

35. fu-lug-bi kur-kur-ra nu-ub-da-

sug^[286]-a-gim

36. lu-be-in-kal tug-ni ib-ta-an-{ig

37. dg-gig-ur-ra a a-le-ra mu-un-di

38. ta-te³ egir na-&m-ga-lim^A du-a la-

ba-an-kalag

39. dg-el-du-a-gim gur-ri^b 1ag-be-in-

bi

40. sfg-&i a-na-al ib-ta-an-l 30. 3¹-

32. The temple violently

33. The temple like one without rev

erence

34. Its regulations unholy ones....

35. Its cult of ablutions like those

which had not been chosen above those of all lands

36. He has demolished, its wealth

he seized away.

37. In misery of soul how long shall

I utter lament?

38. Why after the destruction has

been done is it not respected?

39. As one who accomplishes pure

things this one has uttertd a curse:—

40. "Why rise her brick-walls in effulgent glory?"

Reverse, Col. I

1. gig-an-bil*-ba lag-ba er be-in-[tf-

em]

2. d-le kHr dg-gfg be-ib-aga-a

3. &~mu-un-bi im-gul-dm lu-bi be-

in-gt-dtn^[287]

4. uru~bi e-bi in-gul-gul-dm

5. tir-bi in-sir-ra-dm litim*-e-ne in-

ra-dm

1. Night and day within her wail

ing is made.

2. Now the stranger has wrought

insult.

3. Its lord like a storm wind their

hands have removed(?)

4. Their city, their temple, he has

destroyed.

5. Its foundation he laid waste, the

skilled workmen he transported.

6. dam dumu-bi lag-ba mi-tti-in-

dig-ga-dm

7. uru-bi uru-lub-ba im-ma-ni-in-

tu-ra-dm

8. mu-un-ga-bi ni-e be-in-mt-ra-dm^[288]

9. uru-gdl-la-bi nu-gdl-la mi-ni-in-

tu-ra-dm?

10. dim-ma-bi glr ib-ta-an-k&r-ra-dm

11. iug-bi in-siig^dm lil-e be-in-stg-

dm

12. A-kal-a-bi ib-ta-an-kar-ra-dm

13. ga-{u-bi mi-ni-ib-til-la-dm

14. i-e kur dg-rig* be-ib-aga-a

15. a-le-ir-gig im-me er be-ib-lu^lu

16. balag-dt galu i-lu ba-ab-bi-dm

17. lag nu-{i-ba-bi mu-un-na-ni-ib-

iHi

18. u-mu-utt-bi mc-bi ba-ra-an-l-a-

dV

19. d-bi nu-mu-un-tag-ga-dm li-bi

nu-tar-ra-dm

6. Wife and children within her he

slew.

7. Their city a subjected city he

caused to become.¹

8. Its property he himself took as

plunder.

9. Their city which was he has

caused to become a city which is not.

10. Its works of art he placed a

hostile foot upon.

11. Its garments^[289] he seized away,

the winds tore them in shreds.

12. Its food and drink he pilfered.

13. Their infants(?) he caused

to perish.

14. The temple a stranger plun

dered.

15. Bitter sighing 1 utter, tears 1

pour out.

16. Oh sing to the lyre, he that

speaks the songs of wailing.

17. Their hearts which are not glad

it will pacify.

18. The decrees of their lord they

have glorified.

19. He^[290] concerns himself not with

their oracles; he cares not for their future.

20.

ki-lub-gH ykam-ma-dm 20. A melody with prostrations. * Third section.

ai. me-gal-gal-la-ni a-gim ba-ra-an-

el

22. d-bi la-ba-an-tag-ga-dm li-bi nu-

tar-ra-dm

23. gil-gi-gdl-bi-im

24. murlu $ir-ra^[291] na-dm-tar-gig-ga

tntP-ul^[292]

25. me ib-li-en*-ne-en er im-li-lel-

M-en

26. d-le balag-di sir-^u- tie

27. IjAR-dur-ra^mu ma-ar ba-bi-ne-

dm

28. i-di-Hi kul-a im-ma-slff-ga-mu

29. galu^b-bi er-ra ma-an-md^md-me-

hm

30. d-le lag-{u*-mu ne-tdb-tdb-ba-mu

31. d-le dur-ra-bi ma-ar galu mu-da-

an-{u-dm

32. a-rd gig-ga lag-sir-ra-mu

33. u-a tur-ra-mu er-ra ma-an-tuk-

dm

34. il i-du-a ki-dur-a-ne-ne

35. nar-e-el ba-ab-gar-ra nt-tuk ba-

ab-tur-ra-dm

31. His great decrees thus he has

ordered.

32. He has concerned himself not

with their oracles; he cared not for their future.

23. This is its antiphon.

24. He of melodious song the sor

rowful fate weeps for.

25. Sound of mourning he causes to

arise; lamentation he utters.

26. Now oh sing to the lyre! They

that know the melodies

27. My shall speak for me.

28. Now I am filled with sighing.

29. Her population offer prayers to

me.

30. Now my intercession, my plead-

ing(?),

31. Now mightily the population

unite with me in making known.

32. Upon ways of pain my mercy⁷

33. Oh woe! my children weep for.

34. In the house, the well builded

temple, in their dwelling,

35. Sound like one chanting is raised

and praise is diminished.

36. galu erim-eka na-dm^mu ib-iil-la

37. er-ra ma-pad^[293] (?)ma-an-md-md-

ne-dm

38. lag dg-glg-ga ib-slg-mu ad-bi-lu

PI-gd*-bi di-ib-led-di-ne-dm

39. er-bi ugH^[294]-md mu^un-md-md-dam

40. E+SAL⁴ lag-i^i-du ma-ar ma-

[an-tuk-tuk-e-ne-dm]^s

41. ^d'Mu-ul-lil

36. The foe has caused my land to

perish.

37. They beseech

38. My heart which is filled with

misery by their wailing

may they calm.

39. Their weeping is made unto me.

40. In the mother goddess' sanctu

ary prayer to me they offer.

41. Enlil

(About twelve lines broken away.)⁶

Reverse II

1 1..........................

2 2..........................

3 3..........................

4. [.. mu-ra-ab-]ditg mtp- na-ab 4

5 Ug-ga-gim......... 5

6. [ m]u-ra-ab-d&g mwna-ab¹ 6.

7 aga- a- mu 7.

8 mu- na- ab 8.

9. [ \ma-a\r xa]l4a 9.

10 Ib-du-e KA*mu-ma- ab 10.

11 &ar-ra-ge-el lag-i^i-du 11.

12. arrul* ma-ra-iuk-tuk⁹ 12. Have mercy upon me.

13. lag'iu lag-stg ib-ta-ba-e lag-lag

ma-ra-an-gar-ra-me( sic!)^[295]

14. sag-{U{i-{i- Pgil-lub-ba-ia ul-lu^%

ma-ra-an-md-md

15. dg-kur-ri ja-ar⁴ i-ri-ib-aga-e lu-bi

di-ib-g't-gi⁵

16. uru-ki-a lu-bar-ri nu-{u-a mur-

ri^[296] de-ib-sig-gi

17. ki-lub gu ykam-ma-dm

13. Thy heart whose portion has

been affliction become for me a glad heart.

14. Thy head which is held aloof

turn unto me to glorify thy portion.

15. The hostile deeds which he did

unto thee be returned unto his hand.

16. In the city which knew not for

giveness let there be given the cry of multitudes.

17. A melody of prostrations. Fifth

section.

18. d-le u-mu-un-{u gu-lub-ba kur

me-e-li-in-ra-dm

19. arruV ma-ra-an-tuk-dm na-dm-^u

in-tar-ra-dm

20. sig'iu a-le-ir ib-ta-an-i-a ib-si

be-in-d&g-ga-dm

21. iar-ldg-gi-\u-ra^% ma-ra-ni-in-tu-

ra-dm

22. ^d'Nin-urala malkim kalag-ga

sag-\u be-in-tuk-dm⁹

23. dun-4-a-tti gil-ib-li-in-gub-ba-

dm¹¹

24. i-kur kalag-kalag du-du-ii-dam d-

mu-unⁿ ba-an-ag-dm

18. Now thy lord anger upon the foe

will direct.

19. He will have mercy and will

decree thy fate.

20. Unto thy brick walls where

lamentation arose he will command "it is enough."

21. Thy happy soul he will cause to

return for me.

22. Ninurash the valiant guardsman

will sustain thy head.

23. His pastor^[297] he will establish

over (the city).

24. Ekur like (a temple) which has

been tenderly built he will make

25. dg-du-bi ki-bi be-in-gt-dm

26, 27. gi-g&n-na-bi^[298] ki-gi-gl-bi ud-

gitn kar-kar- bi¹

28. sug*-ba-la-tum-ium-mu in-na-an-

dug-ga- dm

29. gar^tf kur-ri ib- 4m

30. m*⁵ ib-bir-a-bi ki-bi-tu in-gar-ra-

dm

31. fw-Zw/f erlm*-e lu-be-in-ld-a-ba

32. a^ag-gi el-e- bi

33. uru-a^ag nam-lub-da-ni in-na-

an-dug-ga-dm

34. Il-me-^dDa-gan sib kenag-gd- tti-ir^[299]

35 W(?) ul-ldr-ldr-ri-da

36. in-na-an-dug-ga-dm

37 nam-tar-ri-da-ni

38 -ra-dm

39 DU-ra-dm

25. Its beauty he will restore to its place.

26,27. That its great dark chamber be restored to its place, that it shine like day

28. Unceasingly he commands.

29. The ordinances the stranger has

placed in confusion.

30. The ritual utensils which have

been scattered he will restore to their place.

31. The rituals of hand-washing

which the wicked caused to lapse into disuse,⁷

32. To cause to be holy and pure

33. In the holy city which has been

consecrated he commands.

34. For Ishme-Dagan his beloved

shepherd

35 to cause rejoicing

36 he commands.

37. The holy whose fate has

been decreed,

38 ......

39 ......

(About twelve lines broken away, in case this section continued to the end of

the tablet.)

I IOO5

Liturgy of Ishme-Dagan (No. 2) Col. ii.

5.

6.

7-

me,¹

15. ki-ur ki-gal-e^[300] nam lu-ga-ma-ni-

tar

16. ^d En-kt en-gal erida-(ki)-ga-ge

17. ganun {id-mag sag-md ga-ma-

ni-in-uS(?)

15. May render me my fate in

Kenur the vast place.

16. May Enki the great lord of

Eridu

17. Sustain(?) my head in the ritual

chamber, the faithful, the far- famed.

Reverse I

5. ki-ur gal-la li-bi tar-ri-ge

6. ^d'En-lil-li d-bi gu-mu-da-na-dg

7. dug-diig-ga a-a ^dmEn-lil-ld-M

8. ^d H-me- ^dDa-gan me-en gu-mu

ge-in-h-ri

9. ka-la-l-a lugal-md-lu gil-tug-ni^[301]

ge-im-li-ag

10. ki-en-gi-ra nig-si-sd ge-ni-in-gar

11. Nibru-(ki) an-gim gti, ge-im-mi-

ul

12. 6-kur-ra me-bi gu-mu-un-ur-ur 13- u-a-ba li-be-[in-tar]

garia^K ki-ta lub-ba-bi ki-bi ge-

[mu-un-gi]

^d En-lil-ld me kal-kalag-[ni]

^d Il-me-^d Da-gan me-en

^d Nin-lil-ld

5. Of the great Kenur its care....

6. Of Enlil his oracle be proclaimed.

7. Unto the words of father Enlil—

8. Ishme-Dagan am I—verily my

neck 1 will turn.

9. To the utterance of my king

may 1 lend my^[302] ears. 1 o. In Sumer justice may 1 institute.

11. Nippur may I exalt like heaven.

12. Of Ekur its decrees I will deliver.

13. Of the plans(?) unto their care

may I give heed.

14. The sacred relics which have

fallen from their places may 1 restore to their places.

15. Of Enlil his precious decrees—

16. 1 am Ishme-Dagan—1 will....

17. Of Ninlil her I will....

7847

Liturgical Hymn to Innini (No, 3 and duplicate No, 4)

Col. I

1. nin me-dug-ga^l babbar dalla-i-a

2. sai^iid me-lam gur-ru mag

^dtUrala-a

3. nu-gig an^na nin(?) slr-gal-gal-la

4. aga-{i-di .... nam~en*na turn-

ma

5. me-imtn-bi lu-sd-d&g-ga

6. nitMfiu me-gal-gal-la sag-slr-bi

\a-e me-en

7. me-mut-ila me lu-ptrM, mu^e-

lal

8. me~mu-^Akin me gab-pi be-tab

9. ulumgal-gim kur-ra sub ba-e-slg

10. ^dImmer-gim ki tu-gi-a* ^d%Alnan

la-ba-h-gdl

11. a-ma-ru kur-bi-ta l-de

12. sag-kal-an-ki-a dingir-ri-bi* me-

en

1. Oh lady of the good decrees,

that risest splendidly like the sun.

2. Faithful woman, bearing a sheen

of terrible splendor, beloved of UrashS,

3. Heavenly virgin, queen(?)* of

the great songs,

4. Who puttest on a faithful crown,

who hast been created fit for rulership,

5. Whose hand attaineth the seven

decrees,

6. My queen, of the great decrees

their directress¹ art thou.

7. The decrees thou bearest; the

decrees thou holdest in thy hand.

8. The decrees thou directest; the decrees thou claspest to thy breast (?)

9. Like a champion thou subduest

the foreign lands.

10. Like the storm-god in the place

of the curse the grain-

goddess thou leavest not.

11. A whirlwind upon their lands

thou sendest.

12. Oh leader of heaven and earth

their divinity thou art.

13. ne-ne-ne-ra kalam-ma a-an-mal

14. dingiri-ir^[303] mt-s\g-gd* nin-ur-ra-

ti-a^%

15. enim-a{ag-anma-ta enim dug-dug

16. gar^a-gal-gal-la gar {u a-ba

mu- un-

17. kur-gul-gul ud-de-da ba-e-sig

18. mag ^d'En-lil-ld kalam-ma im-

mi-ni-ri

19. d-aga ^d Nin-lil ba-gub-bi me-en

20. nin-mu {a-pa-dg-xu-Su kur ni-

gam-gam-e

21. ni-me-lam-ra^-p^da nam-lii-g&l-

lu

22. nig-me-gar g\r-bi u-mu^ri-gub

23. m^-fc me-fcul^b-bi lu~ba-e-ri-ti

24. i-Zu er-ra-^u gdl-la-ra-ab-Ul( ?)

25. nir-gal-gal-la sil-ba mu~ri-du

26. igi-mi-la gar ma-ra-ta-si-ig*

27. nin-mu d-ni-fa enim-enim-ni-

dUg-e

28. td-ul-gim ni-dti-dfane

13. For them thou didst create the

Land (of Sumer).

14. That givest orders unto the gods

(?), queen that guidest the universe.

15. That utterest command by the

holy order of Anu.

16. The great decisions who (but

thee) knoweth to teach?

17. Thou that shatterest the moun

tains, by a spirit of wrath thou art filled.

18. Beloved of Enlil, thou hast

founded the Land.

19. Thou art she that hast effected

the mandate of Ninlil.

20. My lady, at thy cry the lands

quake.

21. At the fear of thy splendor let

mankind

22. With shouting await thee.

23. Fittingly they have received

their terrible decrees from thee.

24. Thy lamentations and mourn

ings let them wail for thee.

25. Unto the temple the chief singers

shall walk the streets for thee (? ?).

26. From before the face of battle

they hasten unto thee.

27. My lady, of thy jury they speak.

28. The spirit^[304] like an onrushing

storm rushed over them.

29. ud ka-ra-ta. uku im-da-ab-ra-ra

30. ^d'Immer-da tu- mu-da-an-gi-gt-in

31. im-$ul-im-gul-da im-da-kul-u-ne

32. glr-fa sil kul-ii i-ni- si

33. balag a-nir-da i4u mu-un-da-ab-

bi

34. nin-mu ^dA-nun-na dingir-gal-

gal-e^ne

3 5. su-din-{fcu)-dal-a-gim^l dul-de mu- e-li-ba-ra-al

36. igi-glr-a-ta-la¹ ba-lag-gi-el-a[305]

37. sag-ki glr-a-fa sag~nu-mu-un~ne-

gd-gd⁴

38. lag-ub-ba-ia ba-a ni-te-en-[te-en]

39. lag-fcxd-la-{a te-[rn-tt-en-na-dm}

40. nm ^jr-ni ftfg [.. . .-ni- .. .. ]

41. ib-ba nu-te-rn-[te-en ]

42. nitt-kur-ra-dirig-ga

43. iar*-sag ki^a ba

44. kd-gal-a

29. The spirit with a loud cry anni

hilated the people.

30. By the storm god they were

accursed.

31. By the storm winds they were

brought to woe.

32. Thy foot hastens restless in the

street.

33. Upon the lyre of weeping they

utter lamentation.

34. Oh my lady, the Anunnaki, the

great gods,

35. Like a flying sudin-bird from

the crannies hasten unto thee.

36. When before thy feet they run,

37. Unto the presence of thy feet

they attain not.

38. Thine angry heart who shall

pacify?

39. Thine evilly disposed heart let

become calm.

40. Oh lady, whose soul is magnani

mous; oh lady [whose is

41. Whose wrath is unpacified

Lady that stormeth over the

mountains

The mountains (?) thy place (?)

44. The great gate

COL. II

1. galba^a nu

2. ki ^ku*lu~&b

3. ka-sir-la(?)*

4. nir-da-mi-bi^[306]

5. uru tul dinig-di-bi mer-i-in-si-

[si]

6. kal-lag-gan-bi -IH ma-ra-

ab-mu-[mu]

7. uru-iagin-ra li-be-in-dug-ga^A

8. a-a uku-^a li-be-in-el-a-a

9. ka-aiag-iu di-in-dug-dug gir-{a

ie-ib-gi

\o. Id-ab-bi-ta £ul ge-ib-ta-an-tf-ni

11. sal-bi dam-a-ni-ta Idg-ga-na-dl

an^B-da- ab- bi

12. gig-u-na-la^[307] na-an-ba-ni-ib-gt-gi

13. nig-aiag lag-ga-na nam-mu-da-

an-bur-ri

14. u-gul-ix-ix-x dumu-gal ^d Zu-en-

na-dl

15. nin dingir-ra dirig-ga^[308] a-ba ki-\a

ba-an-tum

16. mc-ii-de nin-gal nin-e-ne

17. uru-aiag-ta l-a ama-uku-ni-ir

dirig-ga⁸

1. Its frost

2. 3

4. Their afflictions

5. Their city, an arid habitation,

the whirlwinds have filled.

6. Their workmen in

supplicate thee.

7. For the brilliant city they mourn

in song.

8. The father thy creator sends

forth cries of distress for it.^[309]

9. May thy holy mouth speak the

command and thy feet return.

10. From her midst mayest thou

cast the cruel one.

11. Let a woman with her husband

speak kindly.

12. During the nights forever let her

return unto him.

13. That which is pure in her heart

may she disclose.

14. Fervid intercession unto the

great son, Sin,

15. Oh lady surpassing the gods

who beside thee brings?

16. Establisher of decrees, oh great

lady, their lady,

17. Thou that risest from the holy

city, thou that surpassest his^[310]child-bearing mother,

18. gal-iu igi-gdl nin kur-kur-ra *

19. li-g&l kalama-{u~a sir-a^ag-^u

ga-a-an-dug

20. dingir {i-me-a tum^ma ki-bi dug-

-ga-bi

21. lag-sud-du sal-lid Idg-ldg-ga me-

ga-mu~ra-ab-dug (?)

22. mi-ib-a^ag-gd &u^nu-e-h-in-tu~ri

23* en me-en tn- -ul~an-na me-en

24. gi^ma-sd-ab ni-gur-ru kelda-bi-

diig

25. ki-sig-ga be-in-gar md-e nwmu-

un-ne -ti-li

26. ud-de ba-nim ud-el da(?)-bil

27. gi$-gig ud-de ba-nim ? -da im~mi-

du

28. KA-ldl-mu Ju-? a-ba-ab-tum

29. ninda-4nur-ldg-ldg-mu da-ta ba-

e-de-gi

30. nam-mu ^d,En-lil lugal an-ki

31. an-ra enim-mu^na-ab an-e fca-ba-

du£-e

32. a-da-lam an-ra enim-mu-na-ab

an-e mu-e-tub

33. nam-lugal-an-ni sal-e ba-ab-kdr-

ri-en

18. 1 ntelligent and wise, oh queen of

the lands,

19. Oh breath of life of thy Land,

1 will recite thy holy songs.

20. Divinity who has been made

agreeable unto the fury of battle, whose words unto their place

21. Thou of the unsearchable heart,

who purgest faithfully, I will relate thy decrees.

22. The holy mi-ib weapon verily

thou causest to enter upon (the foe).

23. "A ruler am I, a ruler of

heaven am I.¹" .

24. The reed censer 1 bear and I

arrange the ritual(P).

25. At the parentalia 1 place it; and

these things I cease not to do.

26. By day I and daily renew

27.By night and day I and in

.. .am clothed(P)¹

28. My of honey I bring.

29. By my pious offerings of baked

cakes thou wilt be pacified.

30. Something Enlil lord of heaven

and earth

31. To Anu spoke as a command and

verily Heaven is opened.

32. Now unto Anu he has spoken

the command and thou causest Heaven to shudder.

33. The royal power of Anu thou a

woman hast seized.

¹ Here begins abruptly a passage spoken by the goddess herself. This is not unusual in liturgical texts.

⁹ The sign is not dul.

15204 (No. 5)

Psalm to Enlil Containing a Long Intercession by the Mother Goddess

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 based.^[311]The title, drabu-(gu) drabu-(gu) mu{u Mrra munmdllalu i&e almSnna, arranged in seven dactyls, does not appear in the catalogue of old songs given in the Assyrian list, IV Raw. 53 Col. III. Since the greater part of the psalm consists in an address of the mother goddess to Enlil on behalf of Nippur, the composition is defined as an adoration of "my mother,"² an epithet applied to Innini by the singers in most liturgies. The psalm begins with twelve lines sung by the choir and addressed to Enlil. They then in lines 13-15 introduce Innini whom they represent in discourse before Enlil in lines 16-47. This part of the song service contains refrains characteristic of public worship. Theologically the text illustrates one of the most profound principles of Sumerian religion, the sympathy and concern of the virgin mother for mankind.⁸ The great daily services of the standard prayer books represent her as a mater dolorosa and she with Tammuz shares the vicissitudes of mortal life. Our text is unique and noteworthy for one salient fact. It illustrates the scenes so common on Babylonian seals, where the mother goddess stands in intercession before the god, 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 deity.

266

1. ard-bu-(gu) ard-bu-(gu) mu-{u

kur-ra mu-un-ma-al-la-lu

2. \a-e al*me-en-na

3. ^d'Mu^ul-lil ard-bu-(gu) mu-{u

kur-ra mu-un-ma-al-al-la-lu

4. ia-e al-me-cn~na

5. ^d'Mu-ul-lil lag-sud-du c-nc-em

lid- da

6. gu ki-ma-at^[312] e-ne-em di- di^[313]

7. muriu kur-ra mu~un-ma-al-la-lu

{a-e al-me-en- na

8. mur{u kur-ra mu~un-ma-al-la-lu

9. dtig-ga-fu kur-ra dm-da-ma-al-

la-tt

10. iag-a-iu kur-ra dm-da-ma-al-la-

lu

11. uru-me-a^[314] an ni-bi nam-dub ki

ni-bi nam-sig

12. nibru~(ki)-a an ni-bi nam-dub

ki ni-bi nam- stg

13. ama mu-gig-gi ama nu-bar-ra

ama-mu ni-mi-ni-in-gi-gi

14. ^d'[ ]-e ga-la-an urii-bar-

ra-ra⁸

1. Oh bird arabu, arabu^l, thou art he whose name is proclaimed in the world.

3. Oh Enlil, araburbxxd, thou art he whose name is proclaimed in the world.

5. Enlil of unsearchable heart, of

faithful word.

6. He that bends the neck, that

speaks the word.

7. Thou art he whose name is pro

claimed in the world.

8. At thy name which is pro

claimed in the world,

9. At thy discourse which is pro

claimed in the world,

10. At thy aid which is wrought in

the world,

11. In my city heaven trembles of

itself, earth quakes of itself.^[315]

12. In Nippur the heaven trembles

of itself,earth quakes of itself.

13. The mother virgin, the mother

courtesan, my mother began discourse.

14. She the divine queen

of the villages,

15 ni-mi-ni-in-gi- gi

16 ku-a-iur dt

17 -ila ku-gar-ra}-{u-de

18. [^d'Nin-lil-da?]* ga-la-an keHki)-

a-ge

19 £en mu-e-da-ab-tar-ri 15 discoursed.

When in thou dwellest,

When in thou makest

thy abode,

With Ninlil (?) queen of KeS

19 thou decreest.

20 ge me-ri-mur-W

nu-GA-e

21. [a-a-tnu lu~]lu-mu-ur^[316] su-din-&u

ab-ba-ge

22. me-ri-mu-lu nu-GA-e

23. ^d'Mu-ul-lil-]-e lag-sud-da

24. [u-mu-un e-ne]-em \i-da

25. [gu ki-ma-al e-]ne-em di-di

26 ge me-ri-mu^lu nu-

GA-e

27. [^dMu-ul-lil ?]-e me-rt-mu-lu w^[317]-

GA-e

28 -ra ga-dm-li-rd

29. [me-rt\-mu-lu ga-mu-ni-ib-GA

30. ga-dm-li-

ri

31. me-ri-mu-lu ga-mu-ni-ib-GA

32. ^d Mu-ul-lil-ra lu-mu-lu ga-mu-

ni-ib-GA

20. "[As 1 was ] my foot I

lifted not.⁶

21. To my father, my benefactor, as

a sudin-bird of the sea,^[318]

22. My foot 1 lifted not.

23. [To Enlil of] unsearchable heart,

24. [Lord] of faithful word,

25. That bends the neck, that speaks

the word,

26. [As I was ] my foot I

lifted not.

27. [But unto Enlil] 1 would lift my

foot.

28. Unto.... verily 1 will go;

29. My foot I will lift.

30. To my father, my benefactor,

verily I will go;

31. My foot 1 will lift.

32. Unto Enlil my hand I will raise;

33. me-ri-mu-H ga-mu-ni-ib-GA 33. my foot 1 will lift.

268

34. me-e ^dMu~ul-lil-ra um~tna di-til

35. fu^[319]-mu-na-da- ab- dug

36. a-a-mu lu-lu-mu~ur ab-ba di-til

37. tu^mu-na-da-ab- dug

38. gu-gu gu-si-di tu-mu~na-dm-mar

39. urk-me-a ama dumu di-im-me

40. dumu ama di-im-me

41. nibru~(ki)-a ama dumu-di-im-me

42. dumu ama di-im-me

43. uf-e sil-bi &e-im-li-ib-le-gi-en

44. e-ne-em ^d'Mu^ul-lil-ld UZ-di^[320]

mdl-bi

45. ge-en-Zi-ib-te-gi-en

46. ^dm Mu>-ul-lil-ra uru-ni le-ib nibrur

(ki)

47. ga~mu-na-ab-gi

48. ni-na-teg ni-na-teg ama-mu ni-

feg

34. I unto Enlil will say, " May the

mother live/' 36. Unto my father, my benefactor, I will say, " May the father live/'

38. Words which set aright all

things 1 will say.

39. In my city may the mother hail

her son, may the son hail his mother.^[321]

41. In Nippur may the mother hail

her son,

42. may the son hail his mother.

43. To ewe and her lamb may he be

propitious.

44. May the word of Enlil be pro

pitious to the she-goat and her kid.

46. For Enlil, his city, brick-walled

47. Nippur, unto its place I will

restore."

48. She offers devotion, she offers

devotion, my mother offers devotion.

2154 (No. 6)

Lamentation on the Pillage of Lagash by the Elamites

This neatly written but seriously damaged single column tablet carried when complete about fifty-five lines. In style the liturgical lamentation has a striking resemblance to the lamen- tation on the invasion of Sumer by the people of Gutium, published in the author's Sumerian Liturgical Texts, 120-124. The same refrain, "How long? oh my destroyed city and my destroyed temple, sadly I wail,"distinguishes both compositions.¹ Other lines are common to both threnodies. The contents are similar to the lamentation on Lagash published in Cuneiform Texts of the British Museum, Vol. XV 22, of which Zimmern has published a variant VAT. 617 Rev. II 10-42, in his Sumeriscbe Kultleider. A translation of the British Museum text will be found in the author's Sumerian and Babylonian Psalms, p. 284, an edition which can now be improved.

1. a-a[ ]

2. ? dingir[ ]

3. a uru-gul-la t-[gul-la-mu gig-ga-

bi im-mi]

4. ud-ba enim ud-dam bi-[ ]

5. enim ^d En-lil-U [ ]

6. ^d En-lil galu nam-tar [ ]

7. En-lil-li nitn-[ ]

8. ^dt Mil-mil^[322] dumugu [ ]

9. ^d'Nin-mar-{ki)-ra-ge gA [ ]

10. a^ag dag-^agin md-gal-gal-la

bal-[........ .]

11. nin nig-ga-lii igi-[ ]-ti-

la a a\ag pi-el

1. Father [

¹ See lines 3, 23, 31 and 44 below and lines 5, 14, 21, 27 and 34 of the parallel text in the volume cited above.

¹ This refrain occurs also in Sumerian Liturgical Texts, 121, 5; 122, 14, 17; 123, 21, 27, 34, where it characterizes a lamentation for various cities of Sumer destroyed by an invasion from Gutium. The translation given above is preferable to the interpretation accepted in my previous volume.

³ Title of Sin in CT. 25, 42, 5. Note also that dumugu is a title of Sin, 11 Raw. 48, 33, and CT. 24, 30, 5.

12. nin-e KA. ? gim NE-a im-da-ra? 12. The queen

13. ki lagal-(ki) nim-ki lu-ni-a im- 13. The land of Lagash he abandoned

ma-li-in-gl unto the hand of Elam.

14. ud-bi-a nin-e ud-da-ni 14. At that time his wrathful word

sd-nam-ga^[323]-mu-ni-ib-dug verily attained the queen.

15. ⁴ Ba-& galu-sukal-lu-gim ud-da- 15. His wrathful word attained unto

ni sd- nam-ga-mu-ni-ib-dUg the divine Bau even as a

messenger.

16. me-li-e-a ud-de lu-ni-a im-tna- 16. Woe is me, the spirit of wrath

li-in-gi into her hand he entrusted.

17. ud uru gul-gul-e lu-ni-a im-ma- 17. The spirit of wrath that destroys

li-in-gi the city into her hand he

entrusted.

18. ud e gul-gul-e lu-ni-a im-ma-li- 18. The spirit of wrath that destroys

in-gi the temple into her hand he

entrusted.

19. [uru?] ^d Dumu-ii-abiu-ge-ta ki 19. In the city(?) of Tammuz of

nir-la-ki-ba-ge im²-ma ba-an- the sea, the place of wailing teg terror it caused.

nir-lag-(ki) uru nam-libir- 20. The city........................ nirsag, city of..

ka ni-kar-kar-ge i{i-ba-ab-dug with fire it con

sumed.

uru(?)-ni Nina-(ki)-a 21 of her city Nina it

kur-ri ba-ab-gar⁴ seized away to the mountains.

22. [5i]rflr*-(ifci) ki-dur kenag-ga-ni 22. Sirar her beloved habitation an

gul-gdl-e ba-ab-lub evil one has overthrown.

23. [a uru]-gul-la e-gul-la-mu gtg-ga- 23. How long? my destroyed city,

bi^[324] im-me my destroyed temple, sadly 1

wail.

24. [gi-p&r]¹ aiag nam-en-na-ba lu- 24. Of the holy "Dark Chamber"

ba-e-ld-lal the priestly rites are suspended.

25. [ett]-bi gi-par-ta ba-da-an-kar ki- erim-e ba-ab-KA(du)^[325]

26 KU-si-na ^dtNannar-ka da-

dugud ba-li-iti-du

27 gan kaskal-gid ^d Nannar-

ka tur-dugud

28 kar-ra-gim ib-ri ba-

ra-.

29 gim ib-ri ba-att-de

i-im-gul-gul-lu-ne¹

30 a^ag-ga-bi im-tf-ir-

tf-ri-*t-ne -e-nc

31. [a uru-gul-]la t-gul-la-mu gig-ga-

bi interne

32. [gt-pdr] a jag nam-en-na-ba lu-

ba-e-ld-lal

33. [tn]-bi gl-pdr-ta ba-da-att-kar ki-

erim-e ba- ab- du

34 gid-da-bt [ ]a-nir

ba-an-da-di

35 -bi nu gud-du sag me-te-

a-dl li-be-ib-gdl

36 KA ib-bi ba-ra-an-

kdd*

37 a-ri-a-e

ba-da-ab-lal

38 ka lu-erim-e ba-an-?

39 -da(?)-ab-ag

40. ^ -sug-ga ba-an-du

25. Its high priest from the "Dark

Chamber" has been taken and unto the land of the foe has gone.

26.

27.

28.

29 they destroyed.

30. Of the its holy they

shattered and

31. How long? oh my destroyed city

and my destroyed temple, sadly I wail.

32. Of the holy "Dark Chamber"

the priestly rites are suspended.

33. Its high priest from the "Dark

Chamber" has been taken and unto the land of the foe has gone.

34.

35.

36.

37 has bound

with him(?)

38. The of the the foe has

39.

272

40. ki LU a-ri tur-dugud-

gim ba-gtd

41. dingir Nin [...] md [ ] gir

kur ba-ra-an-ku

42. ^dt Nin-lt-ga-ge im na er-

ni-M-m

43. a um-gul4a i-gul-la-mu gig-ga-bi

im-me

44. gl-pdr-a^ag nam-en-na-ba* fu-

ba-e-ld-[laJ\

45. en-bi gi-pdr-ta ba-[da-an-kar ki-

erim-e ba-ab-KA (du)]

46. ^d'Nin-a-{u~ge

47. ^d'Nin-$ar-sag

49-...........

50, a uru-gul-la l-gul-la-mu glg-ga-

bi im-me

41 like a ruined cattle

stall has been destroyed.

42. As for the goddess Nin

her....the foe has set his foot.^[326]

43. Ninliga weeps bitterly.

44. How long? oh my destroyed city

and my destroyed temple, sadly I wail.

45. Of the holy " Dark Chamber"

the priestly rites are suspended.

46. Its high priest from the "Dark

Chamber" has been taken and unto the land of the foe has gone.

47. Ninazu³

48. Ninharsag

49. Like a dove

50. How long? oh my destroyed city

and my destroyed temple, sadly I wail.

13859 (Poebel No. 26)

Lamentation to Innini on the Sorrows of Erech

This well preserved single column tablet is published by Poebel in PBS. V 26. The composition reflects the standard theological ideas found in the canonical psalms and liturgies. The mother goddess Innini is represented as a divine mother wailing for the misery of her city and her people. The calamity consists in the pillage of the city and its holy places by a foreign invader, who is repeatedly compared to an ox. Like the ordinary psalms of public service the singers abruptly introduce the goddess speaking in the first person as in lines 16; 18-20; 33-4. But the lamentation does not have refrains and at the end the style approaches nearly that of a prayer. The tablet also bears no liturgical note at the end. For these reasons and because of the general impression which the lines leave with the present interpreter, 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 breviary.

Obverse

1. {abar aga-[{u?] im-gur-gur-ri

2. til-igi-da^[327]-{u im-bi-bi-ri

3. licP-gUrlig su&ur-su-lal (ga)-da..

......... -kur

4. eg ia sig eg-eg £a su-lum-ma-gim

im-bul-[ ]

5. gud-dam ra e-sir unug-(ki)-ga-ge

Idr-dm mu-na-ab (?)- ul

6. Idr-ra gtt-KU-A¹ mu-na-an-dur-

Oh pure one thy(?) crown over

awes.

Thy proceeding arrow scatters

the...

Meal of the bean to the

beared skate-fish thou givest to eat.

She that gives fish to the stream,

in the streams fish (as numerous) as dates she causes to dart about.

Rushing like an ox in the street

of Erech like a multitude(P) he followed*

Multitudinously in the habita

tions they dwelled.

iattam-a-ni lugal gab-gdV ki-gub-

bu-ne ba-ra-l

ugnim-e igi-im- ma- an- slg

li-du-a luri-ni-in-g\ u&

lu-na be-in-iub

ni^[328]-nag-a-{u ni-nag-a-^u

a^h nu-e-nag amal-\u um-mi-ni-

nag

ni-nag-a-^u ni-nag-a-^u

kal nu-e-nag ul*-{u um-mu-ni-

nag

gud-dam e^[329] e-sir unug-(ki)-ga-ge

Idr-dm ma-ra-mi-u-ul

lar-ra-dm gil-KU-A ma-ra-dur-

ru-ne-el

mhn* a-na-ag-en sal-e md-a ma-

an-diig-ga sal-un-ne^[330] mln-ne- en

gud-dam e ib-tag-ra be-in-ra ni-

{tt^[331] e-ne-ib-ul

far-ur d nam-ur-sag-gd-mu lu-

nu-um-ma-U

7. Her precentor,⁸ the defender

king, whither they go, went up.

8. The hosts of peoples she beholds.

9. The singer refuses to chant and

from his hand has thrown the drum.

10. Thou drinkest not; thou drink-

est not.

11. Water thou drinkest not, but

thy sheepfolds drink.

12. Thou drinkest not; thou drinkest

not.

13. Beer thou drinkest not, but thy

prot£g£s drink.

14. Like an ox going forth in the

streets of Erech like a multitude^) he pursues thee.

15. In multitudes they have taken

up their abodes in the habitations.

16. As for me what shall I do? I

who have bestowed care. A sacred devotee I am.

17. Coming forth like an ox, hasten

ing in destructivefury he came; even thee thyself he pursued.

18. The lar-ur weapon, arm of my

heroic power 1 have taken not in my hand.

19. I &allab-irui a-gil-^-bi dal-la mi-

ni-gi^[332]

20. gtl-dal i-an-na pa-ba mi-ni-in-

kud

21. giid-dam sil-H im-ma-na-ra-i

22. gud-dam e e-sir unu-(ki)-ga-ge

l&r-ra mu-nt-in-gai

23. Idr-ra gil-KU-A-a-na mu-ni-in-

dig

24. gil-tg kd-gal-la im-tna-an-gUr-

g&r

25. a-tu^-na-ka tm-ma-an-h

26. lu-PE& dumulu-PE$ ^d Innini-

g*

27. ien-urudu mu-na-an-bar-rt-ia-

d&g*

28. gud-dam ra im-ma-an-ra-a&

29. gud-dam e er-im-ma-an-Iub⁷ stg-

s\g-ni^md-mal^%

19. Of my temple in Hallab its treasures he has hidden far away.

20. Of the tallu⁸ of Eanna its PA he broke off.

21. Like an ox he came up against thee on the highways.

22. Like an ox going forth in the streets of Erech he slaughtered

muItitudes(P).

23. Multitudes in their habitations he caused to die.

24. The doors of the city gate he shattered.

25. Her defender he caused to go forth,

26. The fisherman, the son fisherman of Innini.

27. The copper vessels he scattered.

28. Hastening like an ox he has wrought demolition.

29. Coming forth like an ox tears he has caused to fall and misery he caused to be.

30. ^d Innini {ig^[333]-mu sum^ma-ab

31. gud kur-ra ga-mu-ra-ab-sum tur-

\u ga-mu-ra-ab-lu*

32. udu kur-ra ga-mu-ra-ab-sum

amal-{u ga-mu-ra-ab-lu

33. aiag ^d Innini-ge mu-na-ni-tb-gt-

g?

34. a-lag &allab-(ki)-a dur-gar be-e-

gar-ra e-ku^A ni-nad-ba

35. ama-ba^[334] glr(?) &a-ra-ab-tug-e

balag-al^[335] gu-mu-ra-ab-bi

36. ^d Innini nam-ur-sag-[{u]^[336] ga-dm-

dug

37. ^ag-sal-^u dug-ga-dm

30. Oh Innini, grant me favor.

31. Oxen of the mountains I will

give thee; thy stables I will enrich for thee.

32. Sheep of the mountains I will

give thee; thy sheepfolds I will enrich for thee.

33. Holy Innini replied:—

34. "In the plains of Hallab thou

shalt make thy abode where the people repose/'

35. May their hosts attend(?) thee

and proclaim to thee on lyre and harp(?)

36. Oh Innini, I will rehearse thy

valor.

37. It is good to sing thy praise.

8097 (No. 7) Liturgical Hymn to Sin

This liturgical composition consists of two melodies each designated by the rubric sagarram, "It is a sagar " The entire service is sung to the tigii, a kind of flute. In the first melody of fifteen lines the choir chant the glory of the moon god and his city Ur. The second melody of twenty-four lines is apparently an address of the earth god Enlil to his son the moon god. This melody must remain obscure as long as the recurring liturgical phrase db-mu-ba-$i-in-dib is unexplained.

5. [ ]-ni SI uri-ki mu-M ba-

an-sd

6. en ud-sud-du-ge uru-ni-ta

7. ^d'Zu-en-e kidur^[337] ba-ni-in-gar

8. uri-ki uru lag-gi-pad-da-ma

9. i gud-gim ub-im-me

10. lugal-mu sd-rin-na-ni^A

i 1. ki-ma& ki-kal-kal ge-en-na-nam-

ma-dm

12. ^d'Zu-en-e uru kenag-gd-ni

13. el uri-(ki) me-a^ag-a^ag-ga ....

14. lugal-mu bar a

15. [ ]-e nin [ ] gar-ra

16. sa- [gar-] ra- dm^[338]

17. e^{% d}'Nannar [ db -] ju me-a

mu-u-lu en ^d Al-tm-iir 19. uru igi-ila 'el lag [-gdl ul- ] ti^[339]-a-

ni-ma

20. luruppak-gim [nam-£ar-]-gud-e*

gdl-la-bi

21. ... -e db-mu^ba-li-in-dib

22. [e dumu] ^d'En-lil-ld kalama me-a

mu-u-lu en ^d,Al-lm-ur

24. [uru igi-] ila il-lag-gdl ul-[ti]-a-ni

~md

25. [luruppak]-gim nam-&ar-gud-[e]

gdl-la-bi

24. Into my city of the lifting of the

eyes, the home of his own abode, which is his fulness of luxury,

25. Whose design is like Suruppak,

Reverse

1. [ db-mu-ba-] li-in-dib

2. [dumu-sag ^d'En-lil-ld kalama

me-a] mu-u-lu en ^dAl-lm-iir

4. [ud-]-dug-ga [ki-gar-ra mu-lu ga]

-sd-a

5. ^dAl-\m-[iir lag]-gi-pad-da-mu

6. i-mud-[kur-ra-mu]¹ dthtnu-ba-li-

in-dib

7. dumu-sag ^d'En-lil-ld kalama me-a

mu-u-lu

8. ud-dug-gat-ki-gar-ra mu-[lu] ga-

sd-a

9. ^d'Al-\m-iir me-en ki [lag]-gi-pad-

da-mu

10. S~mud-kur-ra[340]mu db-[mu-ba]-li-

in- dib

11-12. lugal tur-a^ag-ga db-\u me-a mu-u-lu lul-pa munsub-nun-na

13. lag-tum-ma bar a la mu-un-du el-e uri-(ki)-mu~[fu]

1. [ ] I have caused him

to be a shepherd (?)

2. [First son of Enlil, in the Land

he is] ruler, lord ASimur,

4. ["He that institutes battle" ]

as a name I name.

5. ASimur the whom my

heart has chosen,

6. In Emudkurramu I caused to be

a shepherd (?).

7. First son of Enlil, in the Land

he is ruler.

8. " He that institutes battle" as

a name I name.

9. ASimur thou art; where my

heart has chosen, 10. In Emudkurramu I have caused

thee to be a shepherd(?). 11-12. Lord of the clean sheepfolds, ruler of the flocks is he, the gIorious(?) hero, far famed shepherd. 13. In the meadow a sanctuary I have built; in the abode of my city Ur,

i-ldg-nam-sar kur Dilmun-na

nam

e-gi-a%ag-bi-a db mu-ba-h-in-dib

dumu-sag ^dEn-lilrld kalama me-a

mu-u-lu lul-pa munsub nun- na

18. lag-tum-ma bar a la-mu^un-du

il-e uri-ki-mu-M

19. i-ldg-nam-sar kur Dilmun-na

nam

20. i-gi-aiag-bi-a db-mu-ba-li-in-dib

21. sa-gar- ra- dm

22. nar-balag^{2 d}Zu-en-na

14. In the temple Sagnamsar¹ which

is in the mount of Dilmun,

15. In the temple of the holy stylus

a shepherd I caused him to be(?)

16. First son of Enlil, in the Land

he is ruler, glorious(P) hero, far famed shepherd.

18. In the meadow a sanctuary I

built; in the abode of my city Ur,

19. In the temple Sagnamsar which

is in the mount of Dilmun,

20. In the temple of the holy stylus

a shepherd 1 have caused him to be(?)

21. It is a sagar melody.

22. Song on the flute to Sin.

7080 (No. 11) Lamentation on the Destruction of Ur

The fragment Ni. 7080 carries the right half of one of the largest literary tablets in the Museum. Broken evenly at the center from top to bottom the right half of this tablet preserves part of Col. 111 and all of Cols. IV, V of the obverse. The reverse correspondingly contains Cols. I, II and half of Col. III. Like so many similar liturgical compositions of the period of Ur this lamentation is divided into a series of kifubs or songs, here of unusually great length. The third song ends at Obv. Ill 38;

¹ The name as transliterated means mudammik musarrt, "Temple of the benefactor of writing." In line 15 its holy reed is mentioned, a mythical stylus symbolic of the god of wisdom, Enki. according to SAK. 6 h.

⁸ nar-balag=tigH_t a kind of flute. Here the word indicates that in the musical accompaniment this instrument was employed. It probably denotes a specific kind of melody. Three other musical instruments have given their names to classes of melodies, the erlemma, balag and me-tf, see SBP. page IX, and BL. page XXXVI1I.

its first line stood in Obv. II, which has been lost. The fourth song began at Obv. Ill 42 and ends at Obv. IV 23, containing thirty-four lines. The fifth song begins at Obv. IV 27 and ends at Obv. V 7, containing forty-seven lines. 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 Enlil. The fifth song, a remarkable ode to the wrathful word of Enlil, has been translated so far as the text permits.

The sixth song begins at Obv. V 11, and probably terminated in the broken passage at the top of Rev. I. Its length was also unusual, having at least forty-five lines. This song was edited on a small tablet Ni. 4584 on which the beginning and the end of the section are preserved. It has been published as No. 10 in Sumerian Liturgical Texts, Vol. X of the Publications of the Babylonian Section. Only a few lines at the commencement of this song have been translated here. From this point onward the language of the liturgy presents such difficulty that the writer has been unable to offer a translation.

Section seven probably ended at the top of Rev. II and refers throughout to the mother goddess who weeps over the ruins of Ur. The eighth song probably began at the top of Rev. II and ended perhaps at the top of Rev. III. It is another doleful ode to the weeping mother and many of its lines are clear and translatable. The entire song is marked by sorrowful refrains: me-li-e-a uru-mu nu-me-a, Oh woe is me, my city is no more.¹ a-uru-mu im-me, How long? oh my city I cry.² me-li-e-a uru-ta t-a-min, Oh woe is me, from the city I depart.® dingir ga-$a-an-gal-men e-ta e-a-men, Great divine queen am I, from the temple I depart.^[341] er-gig ni-lel-lelj She weeps bitterly.^[342]

Only the ends of lines of a large part of the ninth song are preserved in Rev. III. The tenth song probably occupied most of the space in Rev. IV. Speculation concerning the number of songs in the entire liturgy is limited to the number of about 11-13. The liturgy was, therefore, extremely long, attaining to a content of about 500 lines. 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 kilub. A similar condition of editorial redaction is revealed by Zimmern, KL. 200, a small tablet which contains the twelfth song of a liturgy to the deified king of Isin, ISme-Dagan.

The historical event referred to in this liturgy is undoubtedly the destruction of Ur in the time of Ibi-Sin, last of the kings of the Ur dynasty. This calamity left many traces in the temple songs of Sumer, and the Sumerian prayer books of Nippur contain other lamentations on the fall of Ur, written perhaps during the Isin period. The writer has already published a single column tablet which rehearses the same catastrophe, mentioning Ibi-Sin himself and naming the Elamites as his captors.^[343]

Obverse IV

1. Anu may prevent his word.

2. Enlil may order kindness.

3. And may my heart be at peace

from sorrow.

4. [ -]su-ud arad-na sag ki-

ba-da-ab-gdl-la

5. [ ]-nae-ne-em-sur-ragur-

da-bt

6. [ ] ba-da-an-dur-ru-ne-

ei-a

7. ur-ge-im-ma-gid-gid-da ge-im-

ma-lal-ld

8. an-ra a-i-ne-md me-e ge-im-ma-

na-dUg

9. ^d'Mu-ul-lil-ra ni-mu lag-ne-du

ge-im-ma-ag

10. uru^mu nam-ma-gul-lu ge-im-me-

ne-d&g

11. Uri-(ki) nam-ma-gul-lu ge-im-

me-ne-dug

12. uku-bi nam-ma-bir(?)-e ge-im-

me-ne-dug¹

13. an-ni e^ne-em-bi ba-ra-mu-un-

gur

14. ^d Mu-ul-lil-e ni-ldg ge-dm- bi

15. lag-mu ba-ra-be-in-led-di

16. uru-mu gul-gul-lu-ba-da-bi ge-im-

ma-an-?-et

17. Urt-(ki) gul-gul-lu-ba-da-bi ge-

im-ma-an-?-ef

18. uku-bi dig gi-bil-lu dg-bi ga-ba-

an-tar-ri-ei

19. me-e nig-dug-mu mu-ne-sum-ma-

gim?

20. me-e uru-mu-da ge-en-bi mu-un-

da-laUel

21. Uri-(ki) mu-durun-da ge-en-bi

mu-(un)-da-lal-e-el

22. an^ni [dug-ga-ni gur] nu-kur-ru-

dam

4-

5. ' [ ] the angry word be

prevented.

6.

7. The foundations it has anni

hilated, and reduced to the misery of silence.

8. Unto Anu I will cry my "how

long?"

9. Unto Enlil I myself will pray.

10. "My city has been destroyed"

will I tell them.

11. "Ur has been destroyed" will

1 tell them.

12. " Its people have been scattered"

will I tell them.

13. May Anu prevent his word.

14. May Enlil order kindness.

15. And may my heart be at peace

from sorrow.

16. My city which has been de

stroyed may they

17. Ur which has been destroyed

may they

18. Of its slain people may they

decree a new dispensation.²

19. I will offer my meditations unto

them.

20. I (will say to them): "In my

city they have despised the splendor."

21. "In Ur the city of homes they

have despised the splendor."

22. Anu whose words in this man

ner change not.

23. ^dmMtwd-lil-e enim-bi i-a-ni 23, Enlil the going forth of whose

... e-dam word

24. ki-lub-gH 4-kanwna-dm

25. uru-ni ba-da-gul-dm me-ni ba-

da-kur-am

26. gil-gt- gdl-bi- im

24. It is the fourth song.

25. Her city has been destroyed,

her ordinances have been changed.

26. This is its antiphon.

27. ^d'En-lil-li ud-de gu-ba-an-de

28. uku^e le-dm-ld

29. ud ge-gdl-la kalama-da ba-da-an-

kar

30. uku-e le- dm- Id

31. ud dug Ki-en-gi-da ba-da-an-kar

uku-e le-dm- Id

32. ud gul-gdl-e d-ba-da-an-dg uku-e

le-dm-ld

33. kin-gal-ud-da ud-da-gub-ba lu-na

im-ma-an-sig

34. ud kalam-tU-til-e gu-ba-an-de

uku-e le-dm-ld

35. ^d' En-lil-li ^dGi-bil d-tag-a ki-mu-

na-ni-in-[ ]

36. ud-gal an-na-ge gi^ba-an-de uku-

e le-dm-ld

37. ud-galan-ta gu-ni-ib-im-me

uku-e le-dm-ld

27. Enlil utters the spirit of wrath

28. and the people wail.

29. The spirit of wrath prosperity

from the Land has destroyed

30. and the people wail.

31. The spirit of wrath peace from

Sumer has taken and the people wail.

32. He has sent the evil spirit of

wrath and the people wail.

33. The "Messenger of Wrath,"

the "Assisting Spirit" into its hand he entrusted.¹

34. He has uttered the spirit of

wrath which exterminates the Land and the people wail.

35. Enlil has sent Gibil as its helper.

36. The great spirit of Heaven has

been uttered and the people wail.

37. The mighty spirit on high he

commanded forth and the people wail.

284	university museum-	—babylonian section
38.	ud kalam til-til-e a^ag ki.............	38.	The spirit that annihilates the
			Land
39-	im-fcul-e a-mag-e-a-gim.............	39-	The evil storm like a mounting
			inundation..............
40.	gif-dur^1 uru-ge sag-ga{ ni-ag....	40.	The shepherd of the city it slew.
41.	an-na iir-ba ? mu-un-nigitt	41.	Of heaven its foundation it....
42.	tid-da igi-ba-ne mu-un-ne-ne....	42.
43-	bar-bar-ri ne-gtg-edin-na tur(P)..	43-
44.	an-ne-bar-dm ne-gur-gur	44.
45-	an-neiUD-UD i............	45-
46.	kalam-ma l&g-l&g-ga	46.

(Lines 47-55 mostly illegible.)

Col. V. (Lines 1-6 mostly illegible.)

7. Uri-(ki)-ma lug-gim ba-e-gul

.... gim ba-e-bur

7. Ur like a garment thou hast

destroyed, like a thou

hast scattered.

8. ki-lub-gu 5-kam-ma-dm

9. ud ug(?)-dm al-[ ]uku-e

h-am-sd

10. gil- gt- gdl -bi- im

11. ud-ba ud uru-da ba-da-an-gar

uru-bi

12. a-a ^d' Nannar uru dim-dul-dul-da

ba-da-an-[ ]uku-e fc-

dm-U

13. ud-ba ud kalama-ta ba-da-an-kdr

uku-e le-dm-ld

8. It is the fifth song.

9. The spirit of wrath like a lion

.. . .and the people lament.

10. This is its antiphon.

11. At that time the spirit of wrath

upon the city was wrought and the city [344]

12. Father Nannar upon the city of

master workmen and

the people wail.

13. At that time the spirit of wrath

descended upon the Land and the people wail.

14. uku~bi hka-kud-da [nu-me-a bar-

ba ba-e-si]

15. bdd-ba gu [?^[345]]-nin [kaskala im-

ma-an-gar-gar uku-e le-dm-td]

14. Her people without water jars sit without her in desolation

15. Within her in the ways

are placed and the people wail.

16. kd-gal-ma£ gir-gdl-la-[ba ad-a im-tna-] an [BAD]

16. The great city gate and the highways with the dead are choked up.

17. duk?-tun-slr-gim du-a-ba [sag-

bal-e] ba-ab- gar

18. [ ] e-sir gir-gdl-la-ba dd

im-ma-an-gar-gar

17. Like a leather vessel all of her the usurper cast asunder(?)

18. In her streets and roads

corpses he heaped up(?)

3656 (Myhrman No. 5)

Liturgical Hymns of the Tammuz Cult

The obverse of this fine single column tablet contained a hymn in thirty-eight lines to the departed Tammuz. It represents the people wailing for the lord of life who now sleeps in the lower world. Thirteen lines have been completely broken away from the top. The reverse carried a long liturgical song of the cult of this god in which the mother goddess is represented wailing for her ravished lover. Songs of the weeping mother are common enough in these wailings for Tammuz, but all other known examples of this motif represent the major unmarried type of mother goddess Innini-Ishtar wandering on earth, crying for her departed son. The hymn on our tablet reveals in a wholly unexpected manner the close relation between the mother goddess Gula of Isin and Innini. It was known that both sprang from a common source, a prehistoric unmarried goddess, but one had hardly supposed that the liturgists went so far as to intro-
duce the married goddess of I sin in the role of the virgin mother Innini. The great mother divinity of Isin, although attached in a loose way to a male consort Ninurta, in that city retained, nevertheless, much of her ancient unattached character. In the standard liturgies she is almost invariably the type of weeping mother, whereas Innini is this type in the Tammuz liturgies. Since Gula of Isin was the ordinary liturgical type we find the influence of the ordinary liturgies effective in the composition of the Tammuz hymn. It explains the extraordinary phenomenon of the introduction of a long passage (Rev. 3-10) from one of the wailing liturgies. And the short litany refrain lines 11-20 is obviously an imitation of numberless similar passages of the ordinary liturgies in which the goddess wails for various temples; here only for Nippur and Isin, since the composition was written for the services at Nippur in the period of the Isin dynasty. 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 Tammuz, the representative of all human vicissitudes. This edition has been made from my own copy. The tablet was first published by Myhrman, PBS. Vol. I No. 5, and by Radau, BE. 30 No. 2. To these copies I have been able to make only slight additions.

Hymns of the Tammuz Cult

1. KU-?[

2. kalag gil [

3. me-ri kut-ii-[iu^l

1.

2. Oh strong one [

3. Thy weary foot [

¹ Cf. RA. 12,37, 1.

4. d-lirum-lu^kul-u-pi ] 4. Thy weary arms—breast—hands

[ ]

5. a-iu[346]-gurul a-pi [..... ] 5. Oh strong healer, oh healer

[ i

6. kalag ^d Da*mu-tnu [ ] 6. Oh strong one, my Damu [ ]

7. ttwnu ii-tntt~un mu-{i-da [ ] 7. Oh child, lord GiSzida [ ]

8. a-piadam ni-kui-H-a-tu 8. Oh healer, how long husband

................................... wilt thou be weary?

9. a-pi a ttwnu ni-kul-ii- 9. Oh healer, how long son... ..

a-{u wilt thou be weary?

10. i-di (?) \uttu ? [na?] lUrdi 10. When before........... thou

sittest,

11. kalag da-ga-&nwna?-ni \urdl 11. Oh strong one, when ittio his

assembly thou................................

12. a-ri¥ lu-si me-ri a-bcdnmh 12. Alas he whose fingers and feet

na-nam [are bound], my irrigator⁶ is

he.

13. lag-iuAu la-a£-[la-a£-\iu~a-{u 13. Because of thee she wanders far

for thee.

14. kalag ^d Da-mu^mu a-bal-md. na- 14. My sturdy Damu, my irrigator

nam is he.

15. ama-^u muAu er-ri nurkul-u 15. Thy mother she of lamentation

rests not.

16. ama ga-la-an tin-dib-ba tub-bi- 16. The mother, queen who gives

H nurdurun life to the afflicted, tarries

not to repose.

17. u-iub-ba-{a u-fi-ga-fa slr-ri-iu 17. In thy perdition, in thy seizure,

na-ri-bi in melodious sighing she

speaks of thee.

18. kalag a-rin-na-{a u(?) a-tar-ra-{a 18. Oh hero, in thy contumely, in

slr-ri-M na-ri-bi thy removal, in melodious

sighing she speaks of thee.

19. ama-ugu-mu GAR-LUL-LUL-

na-mu slr-ri-iu nu-ul ma-gub- bi

20. kalag idim-[ma me-]en galu-kur-al

21. en me-en galu-kur-dini^[347]

22. unu-[dagal-mu] kur-idim-ma-mu

23. en me-en a-ra-li ki-sag kirud-da-

mu

24. kalag me-en kur-ri-sud-du-lit im-

ma-ab-du me-en

25. ud-me-e-na* ni- ? ?

19. My child-bearing mother, my

lamenter(F) with melodious sighing behold she stands

20. Oh sturdy one, prostrate thou

art, a man of the land of wailing(P)¹

21. Oh lord, thou art, a

man of the land of lament.

22. In my vast chamber, in my land

of misery,

23. A lord am I. In Aralu, place

where I am cast away,

24. A laborer am I. Unto the

faraway land I go. *

25. Daily (?) he [sorrows?]^[348]

Reverse

1. l&-ab-er-ri^b kul-u-a-mu ma-a-a

nad-da-[mu]

2. balag-di Id-ab-er-ri kul-ii-a-mu

ma-a-a nad-da-[mu]

3. ama uru-sag ga-ia-an tin-dib-ba

mln

4. sag-tu-an-na ga-ia-an I-si-in-

(ki)*na mln

5. tu-mu e-a ga-la-an-mu* ^d Gu~nu-

ra

6. ium-lu-a{ag ama i-Mb-ba men

1. I weary with heart woe, where

shall I rest?

2. Oh sing to the lyre; I weary

with heart woe, where shall I rest?

3. Mother of the chief city,^[349] queen

who gives life to the dead am I.

4. First born daughter of heaven,^[350]

queen of I sin am I.

5. Daughter of the temple, Queen

Gunura.

6. Holy tumlu mother of ESabba

am I.

7. En-d-nun^[351] ama gii-an-ni-simln

8. ga-la-an ntgin-mar-ra ki-a^ag-ga

mln

9. ga-la-an dl-U*... ga-la-an La-ra-

ak-(ki) mln

10. ama S-a ^d Alnan ^dA{ag-sud mln

11. Id-ab-er-ri a-le-ir-ri ma-a kul-u-

mu

12. er i-kur-ra-ge ma-a kul-u-mu

13. er kenur-ra-ge ma-a kul-ti-mu

14. er dk-aiag-ga-ge ma-a kul-u-mu

15. er e-dtm-tna^s-ge ma-a kul-u-mu

16. er uru-sag-ga-ge ma-a kul-u-mu

17. er tir-a%ag-ga^[352]-ge ma-a kul-u-mu

18. er I-si-in-(ki)-na-ge ma-a kul-u-

mu

19. er i-gal-ma£-a-ge ma-a kul-u-mu

20. er La-ra-ak-(ki)-a-ge ma-a kul-

ii-[mu ma-a na]-d-da-bi

21. Id-ab dam-e-mu la-ab [tu-mu-]*

mu

22. [ ] ki-el-la Idb mu-ud-na-

mu

7. Enanun mother of lamentation

am I.

8. Queen of Niginmarra,^[353] the holy

place, am 1.

9. Queen of ASte,^[354] queen of Larak.

10. Mother of the temple, ASnan

the divine lustrator^[355] am I.

11. Weeping and sighing where shall

1 find rest?

12. Weeping for Ekur, where shall I

repose?

13. Weeping for Kenur, where shall

I repose?

14. Weeping for Duazagga, where

shall I repose?

15. Weeping for the "House of the

King," where shall I repose?

16. Weeping for the chief city,

where shall I repose?

17. Weeping for the sacred forest,

where shall 1 repose?

18. Weeping for I sin, where shall 1

repose?

19. Weeping for Egalmah, where

shall I repose?

20. Weeping for Larak, where shall

1 repose, where shall he rest?

21. The ravished one my husband,

the ravished one, my son,

22. [In ] the clean place, the

ravished one my spouse,

23. ttMMi-tur tu-[mu

son

] 23. The little son. the

24. 25-

26.

27.

24. ga-la-an [ ]

25. U-ab [ ]

26. AN-NE [ ]

27. sukkal [ j

L. E. a-lab-ba-ni a-ba-bar-ra-ni

L. E. How long his ravishing? how long his absence?[356]

A Liturgy to Enlil, Series e-lum gud-sun (Zimmern KL. No. 11)

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 form. The earliest text of this liturgy is partially preserved on the Tablet Virolleaud published in the Revue d'Assyriologie, Vol. XVI. The fragment was brought to Europe in 1909 by the assyriologist Charles Virolleaud, having been purchased by him during his excavations in Persia. It is light brown and varies from the center to the edge by two inches to one inch in thickness. The fragment is from the upper left corner of a large three(?) column tablet. About half of the first melody is preserved on the obverse. The reverse preserves the last two melodies. From their rubrics we learn that the entire series contained eleven sections. This tablet has the rubric ki-iub-gu after each strophe. The titular litany* occupies as usual the next to the last place but only the opening lines giving the motif and a few titles are given. The redactor indicates the remaining titles by a rubric "(Recite the title) of a

¹ The edge has the figure 48 which indicates the number of lines on the reverse and left edge.

* See also the same idea in SBP. 312, 12 and KL. 25 II 41,

'Concerning the titular litanies, see PBS. X 156, 173, etc.

god until they are finished." The rubric is in Semitic which shows that the redaction was done by Semitic scholars.

The series as it finally issued from the hands of the liturgists in the Isin period was written upon a huge five(?) column tablet, the lower half of which has been published by Zimmern, Alt- sumerische Kultlieder, No. 11. Each column contained about fifty lines. There are no gii-gi-gal or antiphons after the melodies, ten of which I have been able to restore. By borrowing from old songs and other liturgies the redactors have greatly increased the length of this service. At least ten songs have been lost on Cols. Ill, IV of the obverse and I, II of the reverse.

The late Assyrian redaction is mentioned in the catalogue of prayer books IV Raw. 53 I 13 and in BL. No. 103 Obv. 13. SBH. No. 21, edited in SBP. 112-119, is tablet one of the late Babylonian School¹ and contains the first four songs, duplicates of the first four on K.L. 11. SBH. No. 25, edited in SBP. 120-123,® carries on the obverse two songs (e-lum di-da-ra and me-e ur-ri men) found on Col. Ill of K.L. No. 11, Rev., or the two last melodies before the titular litany. A fragment published by Meek in BA. X pt. 1, No. 11, contains the end of e-lum di-da-ra and all of me-e ur-ri men. SBH. 25 and Meek No. 11 belong to the series e-lum di-da-ra, entered in the Assyrian catalogue, IV Raw. $3a 8, and form tablet one of that service.

The titular litany of the e-lum gud-sun series is identical (except for some variants) with the famous titular litany of the mother goddess series mu-ten NU-NUNUZ gim-ma, tablet five, edited in SBP. 149-167. Portions of the titular litany of the Enlil series have been edited in PBS. X 155-167, see pages 163-4. The titular litany of ni-ma-al gu-de-de occurs at the end of tablet two of that series, SBP. 24-9 = BL. 72-3. Not every series has a theological litany of this kind, which ordinarily comes before the er-lem-ma, or intercessional song at the end. The song to the "word," which occurs in all series, is partially preserved on Obv. 111 and begins a-ma-ru na-nam. The indispensable song to the weeping mother comes just before the titular litany. This little nine-line melody me-e ur-ri-mln me-e khs-mht must have been a national religious song. It was copied into another Enlil song service as we have seen. The same song introduces tablet four of an Innini series of which we have only the end of tablet three, K. 2759, in BL. 93 f.

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 baranara, SBH. No. 22 = SBP. 126 f. A fragment of some unknown series, K. 8603 = BL. 14 also employs this song in the body of its text.

1. e-lum gud-sun mu-^u kur-kur-lu^[357]

2. ii-mu-un-e* kur-kur-ra gud-sun

3. u-mu-un dug-ga-fi-da gud-sun

4. ^d' Mu-ul-lil a-a ka-na-d^-gd gud-

sun

5. sib sag-gig-ga gud-sun

1. Exalted one, bull that over

whelms, thy name is on the lands.

2. Lord of the lands, bull that over

whelms, thy name, etc.^[358]

3. Lord of the faithful word, bull • that overwhelms, etc.

4. Enlil, father of the Land, bull

that overwhelms, etc.

5. Shepherd of the dark-headed

people, bull that overwhelms, etc.

6. Thou of self-created vision, bull

that overwhelms, etc.

7. am GlR^[359]-na sd-sd gud-sun 7. Wild bull who directs his hosts,

bull that overwhelms, etc.

8. u-lul-la ku-ku* gud-sun mu-{u 8. Thou that sleepest the sleep of

kur-kur-H perversity, bull that over

whelms, thy name is on the lands.

9. mu-lu kur-ra mu-ma-al-la-lu an 9. When thy name is laid upon the

. ni-bi nam-dub lands the heavens tremble of

themselves,

10. ki ni-bi nam-stg 10. and the earth quakes of itself.

11. ^d Mnriil-lil e-ne-em-^u kur-ra- 11. Oh Enlil, when thy word is laid

dm ma-ma-al-la-M upon the lands,

12. d&g-ga-pi kur-ra-dm ma-ma-al- 12. When thy command is laid upon

la-lH the lands,

13'. da£-a-{uJzur-ra-dm ma-ma-al-la- 13. When thy command¹ is laid upon

lu the lands,

14. an nt dub stg* ki ni-bi nam-stg 14. The heavens tremble of them

selves, the earth of itself quakes,

15. ama [nu]^[360]-gig-gi ama nu-bar-ra 15. The harlot mother, the hiero-

dumurni mi-ni-in-gi-gi dule mother slays her son,

16 ga-la-an uru bar-ra-ra 16 queen of the city, outside

dumurmi mi-ni-in-gi-gi the city slays her son.

17 dumurni mi-ni-in-gi-gi 17........................................ slays her son.

18. e-lum.................... e-me-em-iuria 18. Oh exalted__ at thy word..

kur-ri ni-in-gi-gi the foreign land thou reducest

to the misery of silence.

19. ^d'MuriiUil mu-lu ? A.......... 19. Enlil lord of................. ^[361]

20. kur-ri ni-in-gi-[gt] 20. the foreign land thou reducest to

the misery of silence

21. e-lum fa-e e-ne-em^fu an-e umr 21. Oh exalted one, as for thee, thy

ma-[dtig] word in heaven speak

22. an-e ib-[................................ J 22. and heaven shall

23. ^d'Mu-ul-lil ia-e e-ne-em-^u ki-e 23. Enlil, as for thee, thy word on

umr[ma-diig] earth speak

294

24. ki ttu-utn-[ ]

25. dim-me-ir a-tu-a^[362] um-ma-dug

26. ^dam an-ki am uru 1i-ba-ge um-

ma-dug [ ]

27. ama i-mag-a^{3 d}' [Dam-gal-nun-na-

ge\

28. um-ma-dug [ ]

29. ^d' Asar-lii-dug-e [dumu uru it-ba-

g*\

30. um-ma-dug [ ."]

31. ^d' id ama uru tf-ba-ge um-[ma

dug.... ]

32. ^d'A-?*-c ga-ia-[an ab-su-ra-ka-di^[363]

um-ma-dug ]

3 3. [sukkal-{id mu-dug-ga]-sd-a-ra

um-ma^[364]

34. [ud-di du(D- du(l)-)dug tu-dm

mi-ib-gdl

35. ie-e-dm ama-gan-ra dumu-ni

em-md-na-ad{ \)-du^[365]

36. ie-e-dm ama-gan-ra ga-la-an uru^[366]

bar-ra-ra dumu-ni tf-em-md- na-ad(l)-du

24. and earth shall not

25. God of libation speak [and

heaven shall.. . and earth shall not.. .. ]

26. Divine wild ox of heaven and

earth, wild ox of the good city¹ speak, etc.

27. Mother of the house of the

famous one, Damgalnunna,

28. speak, etc.

29. Marduk, son of the good city^[367]

30. speak, etc.

31. River goddess, mother of the

good city speak, etc.

32. Zarpanit queen of speak,

etc.

33. Faithful messenger, calledjby a

good name, speak, etc. { < 4

34. [The spirit] reduces [all things]

to tribute.^[368]

35. How long shall the child-bearing

mother reject her son?

36. How long shall the child-bearing

mother, queen of the city, cast aside her son?^[369]

37. te-e-dm ama-gan-ra ga-la-an

sun-na-ra^[370] dumu-ni 1%-em-md- na-ad-du

38. a urk-a mu-lu im-me-a-ra^[371] dumu-

ni {t-em-md-na-ad-du

39. a ki-dagar-ra-dm Nippur-dm ib

el-ga-a-ra?

37. How long shall the child-bearing

mother, the wild-cow queen, reject her son?

38. How long in the city shall he of

wailing reject his son?

39. How long in the wide land, in

Nippur, in the region of the vast abode?

40. a-gal-gal lel-su-su mulu ta-{u

mu-un-fu^4,

41. lum a-gal-gal Ul-su-su mulu ta-

\u mu-un-^u

42. ^d'mu-ul-lil u-mu-un kur-kur-ra

Obv

1. u-mu-un dug-ga-{i-da^b

2. ^d'mu-ul-lil a-a ka-nag-ga

3. sib sag-gig-ga

4. i-de-du£ nt-te-na

40. Flood that drowns the harvests,

who comprehends thy form?

41. Exalted, flood that drowns the

harvests who comprehends thy form?

42. Enlil lord of the lands, who etc.

II

1. Lord of the faithful word, who

etc.

2. Enlil father of the Land, who

etc.

3. Shepherd of the dark-headed

people, who etc.

4. Thou of self-created vision, who

etc.

5. am erin-na sd-sd

6. u-lul-a dur-dur

7. lag gi-u gi-u Id-ab tug-e tug-e

8. lag an-na gi-u gi-u

9. lag ^d mu-ul-lil gi-u gi-u

10. lag ur-sag-gal gi-u gi-u^[372]

5. Hero who directs his hosts, who

etc.

6. Thou that sleepest the sleep of

perversity, who etc.

7. Oh heart be reconciled, be recon

ciled, oh heart repose, repose.

8. Oh heart of Anu be reconciled,

be reconciled.

9. Oh heart of Enlil be reconciled,

etc.

10. Oh heart of the great hero, be

reconciled, etc.

11. ni-ma-al-e lid al-ma-aP [li-]e*

nap-tan-na al-la-ka-nu

12. ni-ma-al-e ni-ma-al-e

13. ni-ma-al-e {id al-ma-al

14. [kur-gal ^dten-lil-]da lu-en-ne ba-

tug

15. [a-a ^d'mu-ul-lil] lu-en-ne ba-tug

16. [kur-gal ^d' en-lil-]lu-en-ne ba-tug

17. [a-a ^d' mu-ul-lil] lu-en-ne ba-tug

18. ii-mu-un am uru-{i-ib-(ki) su-

en-ne-ba-tug

19. ama-e-mag^h-a ^d' dam-gal-nun-na

20. ^dtasar-lu-dug dumu uru {i-ib-(ki)

21. mu-ud-na-an-ni ^d'apin^e-nun-na-

an-ki

11. Kneaded bread for the feast I

set,

12. Kneaded bread, kneaded bread,

13. Kneaded bread for the feast I

set,

14. By the Great Mountain, Enlil,

it has been blessed.

15. By Father Enlil it has been

blessed.

16. The Great Mountain Enlil has

blessed.

17. The Father Enlil has blessed.^[373]

18. Lord, hero of the sacred city,

has shown grace.

19. Mother of the house of the

famous one, Damgalnunna, has shown grace.

20. Asarludug, son of the sacred

city, has shown grace.

21. His wife Zarpanit has shown

grace.

22. ^d id ama urU ii-ib-(ki)

23. ^d'a-ri-e ga-la-an ab-su-di^[374]

24. sukkal-^id mu-dug-ga-sd-a lu-ba-

e-en

25. ni-ma-al-e tf-ib ni-ma-al-la-ta

26. li'ib ni-ma-al-la-ta ni-ma-al-e

li-ib-bi de-kur-e^[375]

27. ^d' mu-ul-lil-li ii-ib-bi-kur \x-ib-

bi de-kur-e

28. ki an dur-ru-na-lu uku[376]-e gar-

ma-an-{t-en

29. [^d A-nun-na^x-]ki an dur-ru-na-lH

uku-e gar ma-an-^t-en

30. e-e dm-ba-al ne-sag^mag^b e-e am-

ba-al

31. a-tu-iu ma-mu lu-lufc-ge a-tic-tu

ma-mu

32. e-e ud-ld-ab-lu e-dam ud-lul-lu

e-dam

33. ltd-da ne-sag-e lu-si-sd e-dam

34. ud-dau-gul-ma-ma lu-si-sd e-dam

35. ud-da an dim-me-ir mu-^u an-ni

Iu-^u-dam

36. ^d am-an-ki am uru-^i-ib-(ki) an-

ni lu-^u-dam

37. ^d en-lil ma-gun^{1 d} en-lil gun-uku- e gar-ma-an-{i-en

22. River goddess, mother of the

sacred city, has shown grace.

23. Zarpanit queen of etc.

24. Faithful messenger, called by a

good name, has shown grace.

25. The kneaded bread which has

been well made,

26. Which has been well made, the

kneaded bread may he eat graciously,

27. May Enlil graciously eat; yea

graciously eat.

28. Where Anu sits may the people

hasten.

29. [The Anunnaki.] Where Anu

sits let the people hasten.

30. To the temple he enters, the

mighty priest of sacrifices to the temple enters.

31. A libation he offers, the priest of

hand washing a libation offers.

32. To the temple at mid-day go up!

at sun-set go up.

33. Daily to direct the sacrifices go

up!

34. Daily to direct the prayers go

up!

35. Daily Anu merciful god⁶ on high

proclaim.

36. The hero of heaven and earth,

hero of the sacred city on high proclaim.

37/ To Enlil let all the land, to Enlil let all the people hasten.

298

38. an-ni a-ma-an-tu an-gic (?) an-ni

a-ma-an-tu Id-ab dm-ma-ab -tug-e

39. im-ma-an-a-tu a am-ma-ab-tug-e

40. ^d am-an-ki am uru-tf-ib-(ki) dm-

ma-ab-tug-e^l

38. Unto heaven verily 1 will libate

water, unto the canopy of heaven, unto heaven verily I will libate water. The heart I will appease.

39. I will pour out a libation, the

father I will appease.

40. The hero of heaven and earth,

the hero of the sacred city I will appease.

	Col.	III
	(Here began a melody of which ten lines at least are lost.)
ii.	S-....[ta(= KL. 11 Obv. Ill i)l	11.
12.	unugal(?)-da... .[ta ]	12.
13.	dii-sag-dt^2-ta [ ]	13.
14.	i-bi-tur-ta ^d [ ]	14.
•5-	il l-bhr-ta [ ]	15.
16.	i-an-na-[ta ]	16.
"7-	le-ib [ ]	17.
		18-22 ..
23-	i [ )	23-
24.	da (?) [ ]	24.
25.		25.
26.	[mu-un-]tug-ga-ta [ ]	26. He has been pacified [
27-	mu-un-tug-ga-ta [ ]	27. He has been pacified [
28.	mu-un-tug-ga-ta [ ]	28. He has been pacified [
29.	mu-un-tug-ga-ta lag ^d' [ ]	29. He has been pacified, the heart
	mu-un-tug-ga-ta kur-gal ^d'm[u-	of [has been pacified]
30.		30. He has been pacified, the great

ul-lil mu-un-tug-gd-ia] mountain [Enlil has been

pacified]

31. edin-na ? -a erida (ki)-ta 31. In the plain of Eridu ..

32. a-ma-ru na-nam kur al-gul-gul

33. u-mu-un-e e^ne-tm-md-ni a-ma-

[ru na-nam]

34. Idb-bi e-lum-e a-ma-ru na-[nam]

35. Idb-bi ^d'mu-ul-lil a-ma-ru na-

nam

36. H-mu-un-na lag an-lu an nt-ne

ba-ni-ib-gam-ma-[ne]

37. ^d*mu-ul-lil e-ne-em ki-iu ki nt

stg-ga-ni

38. e-ne-em-ma ^d a-nun-na gil-li-em-

el-[a-ni]^b

39. e-ne-em-ma-ni a-{u nu-tuk lim-

lar nu-[un- tuk]

40. e-ne-em-ma-ni a-ma-ru \i-ga gab-

lu-gar nu-un-tuk^[377]

32. A tempest it is shattering the

mountain.

33. The word of the lord is a tem

pest.

34. The heart^[378] of the exalted is a

tempest.³

35. The heart of Enlil is a tempest.

36. The heart of the lord is in heaven

and the heavens waver of themselves.⁴

37. The word of Enlil is on earth

and the earth trembles of itself.

38. The word which brings woe to

the spirits of earth.

39. His word a prophet has not;

a magician it has not.

40. His word is an onrushing tem

pest, an adversary to oppose it has not.

(Here followed Obv. IV; eight or ten lines continued this melody to the word. Their contents were similar to SBP. 100, 49-57 ff.)

Reverse 111^[379]

1. The faithful messenger, he

called by a good name.

2. The god who satiates with milk

and grain, sag^[380]

300

3. an-ki-bi-da im-mi-ib-£un-gd

4. ki-an-bi-da im-*mi-ib-&nn-gd

5. ud e-kur-ta kiir-gal ^d'mu-ul-lil

[im-mi-ib-gun-gd]

6. i-lam-ma^A-ta ama-gal ^dnin-lil im

[-mi-ib-gun-gd]

7. an-ni-gar-ra^[381]-ta erel^{z d}mu-ul-

[-lil im-mi-ib-fcun-ga]

8. e-lum di-da-ra de-en^[382] ga-dm-dur

9. di-da-ra e-lum di-da-ra dS-en ga-

dm-dur

10. ii-mu-un-e kur-kur-[ra-ge di-da-

ra]

11. [u-tnu-]un-e dug-ga-^i-da di

12. ^d mu-ul-lil a-a ka-nag-gd di

13. sib sag-gtg-ga di

14. i-di-dui m-te-na di

15. am erin-na sd-sd di

16. u-lul-la dur-dur di

17. me-e bur-mafc-a kal ga-an-na-ab

nisak-ka

18. ama-gim dugud*-da da-mu-un-lal

3. Heaven and earth it has pacified.

4. Earth and heaven it pacified.

5. When in Ekur the .great moun

tain Enlil it pacified,

6. [When] in Elamma the great

mother Ninlil it pacified,

7. In Annigarra the consort (sister)

of Enlil it pacified.

8. The exalted who walketh forth,

where tarries he?^[383]

9. Who walketh forth, the exalted

who walketh forth, where tarries he?

10. The lord of the lands, who

walketh forth, where tarries he?

11. The lord of faithful word, who

etc.

12. Enlil, father of the Land, who

etc.

13. Shepherd of the dark-headed

people, who etc.

14. He of self-created vision, who

etc.

15. Hero that directs his hosts, who

etc.

16. He that sleeps the sleep of per

versity, who etc.

17. I in a great bowl will pour out

wine to him.

18. I like a wild ox will bow down to

the mighty one.^[384]

*

19. urU'iu al-gul-gul ga-an-na-ab-

dUg

20. kenur i-nam-ti-la al

21. 1imbir-(ki) i-bdr-ra al

22. urU'iu tin-tir-(ki) al

23. i-sag-ila bdd-si-ab-ba-(ki) al

24. e-p-da i-mag-tt-la al

25. e-te-me-en-an-ki al

26. i-ddr-an-na al¹

27. gi-er-ra ba-md ga-an-na-ab-dug^[385]

28. ud ma-ra mu-un-^al-la-ta i-de-a-

ni nu-gub

29. ^d'mu-ul-lil-li mu-un-^al-la-ta i-de-

[a-ni nu-gub i-di-nam-mtMtn- du-ru]

30. ^d'mu-ul-lil-li i-de-a-ni nu-gub

i-de-nam-mu-un-du-ru

19. "Thy city is destroyed/' will I

say to him.

20. " Kenur and Enamtila are de

stroyed," will I say to him.

21. "In Sippar Ebarra is destroyed/'

etc.

22. "Thy city Babylon is destroyed/'

etc.

23. " Esagila and Barsippa are de

stroyed," etc.

24. "Ezida and Emahtila are de

stroyed," etc.

25. " Etemenanki is destroyed,"

etc.

26. "Edaranna is destroyed," etc.

27. "Wailing on the reed-flute

ascends in her,"⁸ will I say to him.

28. When I am overjoyous in his

presence may I not stand.

29. As to Enlil when I am over-

joyous in his presence may I not stand.

30. In the presence of Enlil may I

not stand; may he behold me not.

31. tne-e ur-ri-mbi me-e kds-mhnt

32. a i-ne al-dib a i-ne al-dib

33. [nin]-uru-ma ama-gal ^d'nin-lil-ld

[min\

34. [^d*a]-ru-ru SAL+KU ^dmu-ul-

lil-ld [mbt]

35. [nin?]u-a galan ni-ib-bur mbi

31. I am a stranger and a fugitive.

32. The risen waters seized away;

the risen waters seized away.

33. Queen of city and house, great

mother Ninlil am I.

34. Aruru, sister of Enlil I am.

35. A queenly caretaker, queen of

Nippur I am.

36. [galan] a%ag-ga^[386] galan ma-gi-a

men

37. ma ma-al-la-lii ma ma-al4a-lu

38. ^dmu-ul-lil [umun?] kur-kur-ra

ma

39. [erelYmu mu-un-til ma

36. An holy queen, queen of the

convent I am.

37. In the builded house, in the

builded house,

38. Enlil [lord] of lands in the

builded house,

39. My consort dwells not in the

builded house.

40. At the end of this column began a long titular melody.*

(Lines 1—11 of this melody, i. e., 40-51 on KL. 11, III, are supplied by Tablet Virolleaud, Rev. 1-11, and restores the entire section.)

Reverse IV(?)

1. ^d,Mu-ul4il4i dam-a-ni ^d Nin-

lil-li

2. An ^dtUrala ki-se-gu-nu-e*

3. ^d En-ki ^d'Nin-ki En-ul ^d Nin-ul

4. ^d'En-da-lurim^ma ^d'Nin-da-

lurim-ma

5. ^d'En-du-a{ag-ga ^d,Nin-dti-a{ag-

ga^h

6. ama ^d'Nin4il a-a ^dMu-ul4il

7. ^dmEn-ut4il4a* ^d' En-me-en-ldr-ra^[387]

8. nin-{i-an-na^[388] ga-la-an gar-sag-

gd*

1. Enlil and his consort Ninlil (we

will pacify). ( = Tab. Vir. Rev. 12.)

2. Anu-UraS kisegunu.

3. Enki and Ninki, Enul and Nin-

ul.

4. EndaSurimma, NindaSurimma.^[389]

5. The Lord of Duazag, the Queen

of Duazag.

6. Mother Ninlil and father Enlil.

7. Enuttilla and EnmenSarra.

8. Ninzianna and Ninharsag.

stephen langdon—sum 9. ^d'$ul-pa-Z^[390] en ^gi*banlur-ra

10. ama le-en-tur^[391] dim-me-ir imin

11. u-mu-un si^[392]Nipru-(ki) u-mu-un

kalag-a

12. gii-de-de^h ga-la-an Nipru-(ki)

13. dingir dumu-sag^{6 d} ga-la-an mu-

un-ga-ra

14. ^dmNusku [d-]mag dingir-gidim [i-

kur-ra]

[15. ama i-a-ge ^d'Sa-idr-nun-na]

[16. ^d'$e-ra-ag gidim i-lar-ra ] [17. lamma-ldg-ga me-lam-an-na]

18. dumu [sukkal-gal ^dt Nannar

^dtZuen-na

19. ^dmEn-[nu-NUNUZ-{i ^d'Nannar^[393]

dam ^d'Nannar-ge]

20. nu-banda-[ma& ^dtMu-ul-lil-la-{i-

ge]

21. ^d\En]-bu-[ul-e dumu e-lab-ba]

22. lul-a[n-na umun &ar-sag-&al-ge]

23. ^dga-la-[an-gal-e ama-an-na-ge)

9. Sulpae, lord of the sacrificial

board.

10. Mother Sentur, (mother) of the

seven gods.^[394]

11. The lord light of Nippur, mighty

lord.

12. The loud crying, queen of

Nippur.

13. Divine first born daughter, di

vine queen of treasures.

14. Nusku of mighty message, di

vine spirit of Ekur. [15. Mother of the temple, Sadar-

nunna.] [16. Serah spirit of ESarra.] [17. The propitious spirit whose splendor is supreme.]

18. The son, [great messenger, Nan-

nar-Sin.]

19. Zir [spouse of Nannar].

20. [The august] prefect, [divine

Enlilzi]^[395]

21. [Enbul son of ESabba.]

22. Hero of [heaven, lord of the

great mountain.]

23. Ningal [heavenly mother.]

24. ^dga-la-[an an-na dl-ni-gi-ge^[396]]

25. mu-ud-[na~ni ^d'Ama~u$um-gal-

att-na]

26. ama u-[mu-un-na gdian sun-]na

27. u-[mu-un banda u-mu-un

nun-na

28. an-na mu-tin-an-na (Here supply twenty-eight

24. The queen of heaven [who alone

is strong.]

25. Her husband [Tammuz.]

26. The mother of the lord,^[397] Ninsun.

27. Lugalbanda lord of ESnunak.

28. The heavenly sister-in-law, GeS-

tinanna.³

ies=SBP 154, 24-156, 51.)

^dmEn-d-nun ama gfcan-ni-si

^d'NINDA+GUD* amar ?ag-gi-

ra⁶

^d'Su-nir-da^[398] en lul-mi-ra

dumu-ldg-ga ga-la-an kdr*-nun-

na-ra

ga-ia-an dig-ga dingir4um-ma^[399]

ur-sag

H-mu-un uru^li-gal u-mu-un

e^gid-da

V(?)

1. Enanun mother of loud weeping.⁴

2. Ninda-Gud, the radiant son.

3. Sunirda, queen, heroine of

battle.

4. The pious daughter, Ninkar-

nunna.^[400]

5. Queen (?) of the dead, Lumma

the heroic.

6. Lord of the grave, lord of the

seizing hand.

7. ^d'Ir^[401]-ra-gal ku-a-nu-si-ra²

8. lamma-ldg-ga sil-gig edin-na

9. ^d'Nin-sig-ge ^d'Gulkin-banda-ra

10. u-mu-un nig-nam-ma-ge ljU-^k

kur-kur*

11. sal-si*-a ^dBa-6^[402]-tdg-ga

12• u-mu-un ni me en^[403] ga-la-an

abfu

13. ^dmAlnan ^d*A{ag-sug¹⁰ mun-galu^[404]-

sal-sal

14. [u-mu-un] sa-a^[405] ki-sd^iZ dumu

nun-ra

15. [gidim uru-]ma ur sag-imin

16. [^d'Gi-bil mu- ? ?]-na^lb mu-ten ur-

sag

17. [^d'Ut-ta-ed-di mu-lu] ki-a^ag-ga

18. [umun ma-da sub-be an-na ]

7. Great Girra, hero unopposable.

8. The good genius of the dark

ways of the plain.⁸

9. Ninsig GuSkinbanda,

10. Lord of whatsoever is, the

sculptured form.

11. The earth woman, beneficent

Bau.

12. Lord of might, lord of decrees,

priest of the deep.®

13. ASnan the divine cleanser, the

loud crying.

14. Lord of light, director of the

earth, and the daughter of the prince.¹⁴

15. The demon of my city the dog

of seven heads.

16. Gibil warlike man.

17. Uttaedde lord of the holy place.

18. [Lord of the land, light of

heaven.]¹⁶

306

19. [umun d-%u umun e^[406]-gid-da ]

20. [ga-la-an-ne-da umun mu-^i-da]

21. [ ] du-a

22. [ ]-ga

23. [^dmIr-ri-el ur-sag ga-la]-an-subur

24. [dingir ama e-uru^sag-gd galan

tin-dib-ba]

25. [sag-gd an-na galan] 1-si-in-na

26. [^d'Pa-bil-sag u-mu-]un La-ra-ag-

g<*

27. [^d'Gu-nu-ra dim-gal\ kalam-ma

28. [^d'Da^mu Idg-ga u-]mu-un gir-

su-a

29. [^d'Immer u-mu-un] ni-dH-an-na

30. [ ] id-da-ra

31. [u-mu-un li ka-nag-]gd li kur-

kur-ra

32. [^d'Su-ud-da-am du-mu nun-na

ama i-]lab-ba

19. [Lord Nergal, him of the seizing

hand.]

20. [Allat and NingiSzida]^[407]

21. [ ]

22. [ ]*

23. [IrriS, the heroic] lord of the soil.

24. [The divine mother of the tem

ple of the chief city^[408] queen who gives life to the dead.]

25. The lofty browed queen of Isin.

26. Pabil-sag^[409] lord of Larak.

27. Gunura bar of the Land.

28. The pious Damu lord of the

flood.⁶

29. Immer lord of terror.^[410]30 the river.^[411]

31. Lord of the souls of Sumer, of

the souls of the lands.

32. Suddam, daughter of the prince,

mother of ESabba.

About twenty-four lines completed this column and ended the liturgy. The void is to be completed by part of the titular litany, SBP. 160, 19-164, 38, and by a short intercession similar to the fragmentary intercession at the end of KL. No. 8. It is possible that the eleventh and last section on Tablet Virolleaud was retained as the final melody of this later redaction.

Reverse of Tablet Virolleaud (The titular litany)

1. i-e sub-da sub-da [mu-un-lafc-en-ne-en]

To the temple with prayer, with prayer let us go.^[412]

2. balag¹ l-e dirig sub-da [mu*un-la£-en-ne-en]

To the lyre unto the temple which surpasses all let us go.

3. balag nigin-na-e sub-da ^d'Mu-[ul-lil-ra mu-un]

To the lyre unto the merciful one with prayer, [unto Enlil,]

4. balag dtm^me-ir mu-lu sub-da ^d'Mu-ul-[lil-ra mu-un]

To the lyre unto god, the lord, with prayer, unto Enlil [let us go].

5. dim^me-ir lu-gdl-lu-ne-en sub-da mu-un-la£-en-[ne-en]

Unto him who is god of his people with prayer let us go. . 6. me-en-ne i-e tub a-ra-pi-a mu-un-lag-en-ne-[en] We "Oh temple repose" in prayer come

7. me-en-ne ki-e tub a-ra-^u-a mu-un-lag-(en)-ne-en ^d'Mur[tU4iUra]

We "Oh earth repose" in prayer come, unto Enlil (come).

8. u-mu-un Id-ab tub-e-da in-gd?-lafc-(en)-ne-en ^d Mu-[ul-lil-ra]

To pacify the heart of the lord behold we come unto Enlil.

9. Id-ab £un-gd bar &un-gd-da in-gd-la£-ne-en ^d'Mu-[ul-lil-ra]

To pacify the heart, to pacify the soul, behold we come to Enlil.

10. me-en-ne Id-ab u-mururwia mu-un-tub-{en)-ne-en ^d'Mu-{uL>liI]

We will pacify the heart of the lord, yea of Enlil.

11. id-ab anrna Id-ab ^d Mu^ul-UUld mu-un-tub-(en)-ne-en

The heart of Anu and the heart of Enlil we will pacify.

12. ^d'Mu-ul-lil-ld dam-a-ni ^d'Nin-lil-ld

[The heart of] Enlil and his wife Ninlil [we will pacify.]

13. ^d-En-ki^d'Nitirki^d'En-mul^dNin-mul^[413]

The heart of Enki, Ninki, Enmul and Ninmul [we will pacify.] 14 i-lu a-di ig-ga-am^ma-ru

A god until they are finished.^[414]

ki-lub-gti \o-kam-ma^x The tenth strophe.

(The Recessional)

15. ii-mu-un-mu ia-e babbar^[415] uru^md ur-sag-gd me-en

My lord thou art, light of my city, a hero thou art.

16. l&b-bi-mu u^mu-un kalag-a ur-sag-gd me-en

My illumination, oh valiant lord, a hero thou art.

17. u-mu-un kalag-a ur-sag-gd me-en kalag-ga-na me-en

Oh valiant lord, a hero thou art, its* defender thou art.

18. ^dBabbar-gim ia-e ? en-na an-ni tur-tur-ne-[en]

Like Shamash thou art into heaven enters.

19. ^d'N annar-gim ki dumu-^u an-na(?)^A na-an-gir-ri-[ne-en]

Like Nannar where thy son^[416] in heaven hastens.

20. u-mu-un-mu enem-pi galu-ra⁶ na-an-na-ab-tf-[em]

My lord thy word on man has fallen. 2\. enem-iu galu ki^[417]-kal-ra na-an-na-ab-tf-[em]

Thy word on him of the foreign land has fallen.

22. enem-iu galu en-na nu-leg-ra na-an-na-ab-{i-[em]

Thy word on men as many as are not obedient has fallen.

23. u-mu-un-mu uru-{u-a i-ni a-sar-sar-ra*

My lord beneficent waters in thy city cause to spring forth.

24. a-a ^d,Mu-ul-lil ki-bur-ta-bur-ta uru-fu-a l-ni

Father Enlil in thy city cause to come forth.

ki-tub-gu 1 \-kam-ma The eleventh strophe. 25. siib-bi le-ib i-kur-ra-ta ki-na gi-gi-ra.

A prayer for the brick walls of Ekur, that it return to its place.

ki-lu-bi-im A song of supplication. 26. al-tU e-lum gud-sun

It is finished, the series "Exalted, bull that overwhelms."

11359 (Myhrman No. 8) Early Form of the Series ^dBabbar-gim-e-ta

Ni. 11359, published by Myhrman, PBS. I. No. 8, is the left upper corner of a large four column tablet. It contained a series of ki-lub melodies which formed the prototype of the later Enlil series of which three tablets have been edited by the writer, see Sumerian Liturgical Texts 167. It stands to the completed series as the similar tablet of the e-lum gud-sun series, Tablet Virolleaud, is related to its completed canonical form in Zimmern, KL. 11. Both Ni. 11359 and Tablet Virolleaud show the evolution of two great Enlil liturgies arrested midway in their evolution. They still consist of unmethodically joined melodies. Both have the same rubric at the end. The first melody of ^dBabbar-gim-l-ta after line four agrees with the first melody of the Enlil series ii-bu-ii sud-du-dm in Zimmern, KL. 8 and 9 after line five of that series. A duplicate will be found in BL. pp. 37-39, which see for critical notes on the reconstructed text.

Obverse I

1. ^dBabbar-gim i-ta [ ]

2. ii-mu-un gan

3. a-a * Mu-ul-lil u-[mu-un kur-

kur-ra

4. Mu-ul-lil il-mu-[un d&g-ga-fi-

da)

5. am-nd-a gud-di sig-gan-nu-di

1. Like the sun-god arise

2. Oh lord

3. Father Enlil, lord of the lands.

4. Enlil lord of faithful word.

5. Crouching wild ox, bull that

rests not.^[418]

6. Enlil herdsman of the wide

earth.

7. urmu-un mu erin-na-[ni sag-ma-

al ki

8. u-mu-un id erin-a-[ni ga-eri-dm

da-]ma-[la]

9. u-mu-un ki-dur-a-ni [uru ir-ir]

10. ki-nd-a-ni d-dg-[gd-e gal-{u]

11. a-a ^d'Mu-ul4il uru-[ta Nibru-ki] \2. i-kur i-lag-gi-pad-da-ta

gi-gun-na gil-tir-lim [^erin-na-

ia

[ ]Sel-du-a-ka lel-mul [

ta]

[ ]si-ra e-u-[di- ta ]

[ ]lu e babbar nu-[{u-ta]

[i]-gi-dim-dim-ma i-de [nu-bar-

ri-ta]

[ ]mag dug-li dug-[du£-ta]

20. [

[e(?)]-ku-a ^gi[419]ik-[ku-igi-lal-a-ta\

]-silim-ma mu-mar- [mar-ra-ta]

7. Lord who summons his toilers, recorder of the earth.

8. Lord who causes to abound oil for his toilers, milk for the newly born.^[420]

9. Lord whose abode is the city of weeping.

10. In whose chamber oracles are interpreted.

11. Father Enlil in (thy) city Nip- pur.

12. In Ekur temple of (thy) heart's choice.

13. In the great dark chamber of odorous forest and cedar.

14- In

15. In the house of vision,

16. In house which knows the

sunlight not,

17. In the house of the "reed of sorrowwhich eye beholds not,

18. In the great causing prosperity to abound,

19. In Ekua gate of the lifting of the eyes,

Reverse II

sub-bi le-ib e-[kur-ra-ta?] ki-na- an-gi-gi-ra²

21. Prayer for the brick walls of Ekur that it be restored to its place.

ki-lu-bi-im 22. It is a service of prostrations.

Liturgy of the Cult of Ke§ (Nippur Fragments and Ashmolean Prism.)

KeS and Opis, two closely associated but unlocated southern cities of Sumer, lay apparently somewhere in the region between Erech and Suruppak. So closely were they united that the same cult of the great mother goddess obtained in both.¹ According to II Raw. 60a 26, Innini of Hallab was the queen of KeS. The Sumerian liturgy, BL. p. 54, names Nintud as the goddess of this city, but the list of mother goddesses in PSBA. 1911 PI. XII calls her by the name Ninharsag,² where she is associated with Ninmenna, epithet of the earth mother in Adab a city near Suruppak. A fragment, No. 102 in BL., reads her title at KeS as Aruru. These various epithets all refer to the earth mother whose principal married type is Ninlil. In fact one liturgy actually names Ninlil as the goddess of KeS, SBP. 24, 74.' On the other hand, a cult document of the Neo-Babylonian period names Kallat Ekur, the bride of Ekur, as the goddess of U-pi-ia or Opis, VS. VI. 213, 21.³ The bride of Ekur is Ninlil. Thus the twin cities KeS 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 (atm?) and KeS seems to have become confused in writing with KiS a famous city near Babylon. 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 cult.¹ Of the names Ninharsag, Aruru, Nintud, Ninmah, Innini of Hallab, we are not certain which one applied especially to Ke5 and Opis. In any case the liturgy which we are about to discuss had some special name for the goddess here. In a refrain which recurs at the end of each melody the psalmists say that the god of Ke§, that is probably Igidu,² was made like ASSirgi, or Ninurta, and that its goddess was made like Nintud, hence the special name of the mother goddess in this liturgy cannot have been Nintud.

So far as the text of this important liturgy in eight melodies can be established, it leads to the inference that, like all other Sumerian choral compositions, the subject is the rehearsal of sorrows which befell a city and its temple. Here the glories of KeS, its temple and its gods are recorded in choral song, and the woes of this city are referred to as symbolic of all human misfortunes. The name of the temple has not been preserved in the text. But we know from other liturgies that the temple in KeS bore the name UrSabba.³ The queen of the temple UrSabba is called the mother of Negun, also a title of Ninurta in Elam.⁴ The close connection between the goddess of KeS and Ninlil is again revealed, for Negun is the son of Ninlil in the theological lists, CT. 24, 26,112. Therefore at Ke$ we have a reflection of the Innini-Tammuz cult or the worship of mother and son, mother goddess Ninlil or Ninharsag, and Igidu or Negun.⁶

KeS and Opis must have been closely associated with both Erech and Suruppak, and of traditional veneration in Sumer. Ke3 is mentioned in a list with Ur, Kullab (part of Erech) and Suruppak, Smith, Miscellaneous Texts 26, 5. Gudea speaks of a part of the temple in Lagash which was pure as KeS and Aratta (i. e. Suruppak).^[421] The various mother goddesses of Eridu, Kullab, K£5i, LagaS and Suruppak are invoked in an incantation, CT. 16, 36, 1-9. The first melody of the Ashmolean Prism contains a reference to the horse of Suruppak.

The textual history of this liturgy is interesting. The major text is written upon a four-sided prism now in the Ashmolean Museum of Oxford. The object is eight inches high, four inches wide on each surface and is pierced from top to bottom at the center by a small hole, so that the liturgy could be turned on a spindle. The writer published a copy of this prism or prayer wheel in his Babylonian Liturgies. The elucidation of this exceedingly difficult text was lightened somewhat by the discovery of a four column tablet in Constantinople, which originally contained the entire text. It was afterwards published as No. 23 of my Historical and Religious Texts. Since the edition of these two sources, the Nippur Collection in Philadelphia has been found to contain several fragments of the same liturgy. A portion of the redaction on several single column tablets had been already published by Radau in his Miscellaneous Sumerian Texts, No. 8 ( = Ni. 11876), last tablet of the series containing melodies six, seven, and eight. 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 Paradise, p. 19.

314 UNIVERSITY MUSEUM—BABYLONIAN SECTION

•

Another tablet, also from a single column tablet redaction at Nippur, has been recovered in Philadelphia, Ni. 8384.^[422] This text utilized here in transcription contains a section marked number 4 on that tablet but all the other sources omit it. Hence this redaction probably contained nine melodies. The new melody has been inserted between melodies three and four of the standard text. If evidence did not point otherwise the editor would have supposed that Ni. 8384 and 11876 belonged to the same tablet. But Ni. 8384 has melodies four, five and six of its redaction with the catch- line of the next or its seventh melody which partly duplicates the Radau tablet. Moreover, these two tablets have not the same handwriting and differ in color and texture of the clay. Finally a small fragment, Ni. 14031, contains the end of the second melody and the beginning of the third on its obverse. The reverse contains the end of the sixth melody. This small tablet undoubtedly belongs to the four column tablet in Constantinople. The two fragments became separated by chance when the Nippur Collection was divided between Philadelphia and the Mus6e Imperial of Turkey. Ni. 14031 will be found in my Sumerian Liturgical Texts, No. 22.

Under ordinary circumstances a text for which so many duplicates exist should have yielded better results than I have been able to produce. But the contents are still obscure owing largely to the bad condition of the prism. My first rendering of the interesting refrain in which I saw a reference to the creation of man and woman was apparently erroneous. The refrain refers rather to the creation of the mother goddess of Ke§ and to her giving birth to her son Negun.*

Col. I (Lines 1-22 defaced)

23. [S ke]l-{ki)-dug-ga du-a

24. [!(?)] £N-tfAR-(ki)-dug-gudu-a

25. [i ] nun-gim an-na dirig-ga

26. [i ] a^ag-gim ? -si ri-a

27. [(] an-na-gim mul kur-kur-ra

28. [I ] tur-gim ki-a-ta $ur-sur-ra

29. [i -]gim mur-du ninda*-gim

gu-nun-di^z

30. [i.....] bi-ta lipti kalam-ma

31. [i ] bi-ta 1id Ki-en-gi-ra

32. [i ] ib-gal an-e-ri^h ul-sa

33. [S ]-da-gal an-e⁶ ul-sa

34. [i ] gal an-e ul-sa

35. [e- ] -na [an-e] ul-sa

23. [Temple] in holy Ke5 builded.

24. [Temple(?)] in holy EN-ljAR

builded.

25. [Temple] like nun, like

heaven exceeding all.^[423]

26. [Temple] like the pure

clothed in

27. [Temple] like heaven the illumi

nation of the lands.

28. [Temple] like tur in the

earth founded.

29. [Temple] like roaring, like a

young bull bellowing.

30. [Temple] in whose the hearts

of the creatures of the Land

^ a

31. [Temple] in whose the soul

of life of Sumer

32. [Temple], great IB, attain

ing unto heaven.

33. [Temple], great —da, attaining

unto heaven.

34. [Temple], great attaining

unto heaven.

35. [Temple ], attaining unto

heaven.

COL. II

1 an-ki

2 abpi..

3. i anrni(?) lu*[

1 heaven and earth.

2 of the nether-sea.

3. Temple which Anu

4. ^d'En-lil-li zag-lu

5. ama ^d'Nin-tud el-[bar-kin ]

6. S Kel-ki na

7. £hI-ljAR-(kiy-gim rib-ba* galu

li-in-[ga-an-tum-mu]

j +

8. ur-sag-bi Al-lir-gi-gim rib-ba

9. ama li-in-ga-an^A-ii-tud

10. nin-bi ^d'Nin-tud-gim rib-ba-ra a-ba^[424] er-mu-ni-in-dug

11. gu 2 kam-[ma-dm]

12. £ an-lii gud-da ki-M ^[425]

13. £ an-lu ki-lH

14. £ an-lu sikka^[426] ki-lu udu-[gim. ..

15. ^ ki-lu ddr-[bar-gim

......... ]

16. £ an-H gim.. . .ki-l& ddr-

bar-gim

17. £ an-lu mul-gim stg-ga ki-lu

babbar-gim ia-e lag-[lag?]

4. Enlil above all

5. The mother, Nintud oracles....

6. Temple in KeS

7. Like EN-IjAR it has been made

surpassing; verily man has brought solicitude for it.³

8. Its hero like ASSirgi has been

9. made surpassing; the mother* verily has borne him.

10. Its lady like Nintud has been

made surpassing. And then wailing began.

11. It is the second song.

12. Temple, in heaven resplendent,

in earth

13. Temple, in heaven , in

earth

14. Temple, in heaven {like) a wild

goat, on earth like a sheep..

15. Temple, in heaven (like) in

earth like a roe

16. Temple, in heaven like ,

in earth like a roe

17. Temple, in heaven like a dragon

gleaming, on earth like the sunlight thou shinest.

18. e an-lu babbar-gim l-a ki-lu

^d'Nannar-gim

19. i an-lu kur-ra ki-lu idim-ma

20. t an-ki 3 gu-ma-bi na-nam

21. £N-IjAR-(ki) gim rib-ba galu

li-in-ga-an-tum-mu

22. ur-sag-bi ^d'Al-lir-gt-gim rib-ba-

[ra]

23. [ama] li-in-ga-an-u-tud

24. [nin-bi] ^d'Nin-tud-gim rib-ba-ra

a-ba er-mu-ni-in-dug

18. Temple, in heaven like the sun

arising, in earth like the new moon

19. Temple, in heaven shining,^[427] on

earth loud crying.*

20. Of the temple of heaven and

earth three are its attendants.

21. Like EbJ-IjAR it has been made

surpassing; verily man has brought solicitude for it.

22. Its hero like ASSirgi has been

made surpassing; the mother

23. verily has borne him.

24. Its lady like Nintud has been

made surpassing. And then wailing began.

25. [gti] $-kam-ma-[dm]

25. It is the third section.

8384.

1. [e- ] nt-gal-ar an-ni mu-

mag sd

2. [i ]-gal ^d'En-lil-li nam-

ma-ni gal tar-ri

3. [e] d-nun-gdl ^d,A-nun-ge-ne kalam

sigi(?)^s ldm(?)-mu

4. i ki-dur im-dub-bu^K dingir gal-

gal-e-nc

5. e an-ki-bi-da gil-gar-bi ni-gar me

el lu-ba-e-tag

6. i kalam ki-gar-ra \ag-gar-ra ui-

sa

1. [Temple ] in splendor

blazing, which Anu with a far-famed name has named.

2. [Temple ] great, whose fate

Enlil has grandly decreed.

3. [Temple] of the Anunnaki,

in the Land starlike gleaming.

4. Temple, peaceful dwelling place

of the great gods.

5. Oh temple whose design in

heaven and earth has been planned, thou art possessed of pure decrees.

6. Temple erected in the Land,

where stand the chapels of the gods.

7. i-kur £e-gdl ka-^al ud-^ah-^al-li

8- I ^d'Nin-£ar-sag-gd {i-kalam-ma ki-bi-lu gar

9. i-£ar-sag-gal lu-lu£-£a ium-ma

nig-nam-ma-ni ni^k&r

10. ( da-nu ka-dl-bar nu-gd-gd

11. i kalam-dagal-M Id-a

12. [(] kalam Idr u-tud numun gil-

isimu tuk-tuk

13. [i] lugal u-tud nam kalam-ma tar-

ri

14. [£] bdr-bdr kar su^kin-diir-bi ag-dl

15. EN-ljAR-(ki)-gim rib-ba galu

h-in-ga-an-tum-mu

16. ur-sag-bi ^d' Al-lir-gi-gim rib-ba

ama li-in-ga-dm-u-tud

17. nin-bi ^d'Nin-tud-gim rib-ba-ra

a-ba er-mu-ni-in-dug

18. [g& 4]-kam-ma-dm

7. Mountain house, radiant with

abundance and festivity.

8. Temple in whose place Ninhar-

sag has instituted the breath of life of Sumer.

9. Great mountain house, made

worthy of the rituals of purification, of its possessions nought changes.

10. Temple ceases not to

render decision.

11. Temple unto the wide

Land bearing.

12. [Temple] causing the multitudes

of the Land to produce offspring, causing the seed to send forth sprouts.

13. Temple that gives birth to king,

decreeing the fate of the Land.

15. Like &N-UAR it has been made

surpassing; verily man has wrought solicitude for it.

16. Its hero like ASSirgi has been

made surpassing; the mother verily has borne him.

17. Its Lady like Nintud has been

made surpassing. And then wailing began.

18. It is the fourth section.

Ashmolean Prism, Col. II

26. [uruY-in-ga-dm uru-in-ga-dm

lag-bt a-ba a-mu-utirfu^[428]

27. i Kel-ki uru-in-ga-dm lag-bt a-

ba a-mu-un-^u

28. lag-bi-a ur-sag ur-sag-e-ne si-

mu-un-si-di-e-ne

29. el-bar-kin-dtig-ga lu-gal mu-un-

du-d&

30. i-e gud-udu^A-dam gud-dm^ma-

gur-ri(?)-en

31. ?-e tum-ma-dm lu£-lu&-

32. i-e gud-ldr-ra-dm^h al-dug-[ga?]

33. i-e udu-ldr-ra-dm al-dtig-[ga?]

34. gil-KU-LIL(?)-ne* gii-LlL^ma-

dm gdl-li

35. gil-KU-dd' ^r

26. It is a city, it is a city! Its

secrets who shall understand?

27. The temple of Ke§ is a city!

Its secrets who shall understand?

28. Within it the heroic ones admin

istrate.

29. The oracles proclaimed grandly

it executes.

30.

31-

32.

33.

34-

Col. Ill

2. **A-TU-GAB-LlS-dam an-da-

PI-PI-SAL(?)

3. fcar-sag-da m&-a^% an-da-stg-stg-

[ga-dm?]

4. EN-tJAR-(ki)-gim rib-ba galu

li-in-ga-ticm-mu

2.

3.

4. Like EN-HAR it has been made

surpassing; verily man has wrought solicitude for it.

5. Its hero like ASSirgi has been

made surpassing; the mother verily has borne him.

320

6. nin-bi ^d'Nin-tud-gim rib-ba-ra a- ba er mu-ni-in-dufc

6. Its lady like Nintud has been made surpassing. And then wailing began.

7. [gu^l 4-kam-ma-dm

7. Section four^[429] it is.

8. .. 9. e [

10. e [ )-la ni [ ] fu* [ ] wr [ ]

11. lag-bi-a ur-sag ur-sag-e-ne si-mu-

un-si-di-c-ne

12. ^d,Nin-&ar-sag-gd ulumgal-dm

lag-ki im-[ ]

13. ^d'Nin-tud ama-gal-la tud-tud mu-

un-[ )

14. ^d'$ul-pa-i-a pa-te-si-ge nam-en-

na mu [ ]

15. ^d Al-lir-gx^K ur-sag-gd /4B*-mu-

[........ 1

16. ^d'Urumal ligir-gal-dm^[430] edin-iia-

an¹ mu-da-an-[ ]

17. e-e sikka lu-lim^[431] gu-dm-ma-gur-

. ri»

18. iN-tfAR-(ki)-gim rib-ba galu

h-in-ga-an-tum-mu

19. ur-sag-bi ^d'At-fir-gi^[432]-gim rib-ba

20. ami li-in-ga-a-an-ii-tud 8

9-

10.

11. Within it the heroic ones admin

istrate.

12. Ninbarsag/>&fc*</it in the bosom

of the earth like a python.

13. Nintud the great mother

14. Sulpae the priest king lordship

15. ASSirgi, the champion,

16. UrumaS great prince in the

(heavenly) plain has

17. The temple assembles the rams

and bucks.

18. Like EN-HAR it has been made

surpassing; verily man has wrought solicitude for it.

19. Its hero like A52irgi has been

made surpassing; the mother

20. verily has borne him.

21. nin-bi ^d'Nin-tud-gim rib-ba-ra^[433]a-ba er-mu-ni-in-dug

e ykam-ma-dm

e ud-gim ki-gal-la gub-ba

am-lag-lag-gitn edin-na sug-sug-

1pi

[ ) e gar-ra e [ ]

[ \-bi-ta [ ]

[ -}ta[ )

28-30.

31. [ ]ra[ ]

32. [ ] gar nu [ ]

33. [ ] an-l&r ki-iar

34. [ ]bi la-ga-ma ki-ul-sa

35. [ ] na-ra-ab Uri-(ki)-ka kel-du

36. iN-UAR-(ki)-gim rib-ba? galu li-in-ga-an-tum-mu

21. Its lady like Nintud has been

made surpassing. And then wailing began.

22. It is the fifth^[434] section.

23. The temple like the sun on the

vast foundation stands.

24. Like a white bull on the land

scape it reposes.

25.

26.

27.

(28-30 illegible or lost on all the variants.^[435])

3i-

32.

33.

34.

35.

36. Like £N-HAR it has been made

surpassing; verily man has brought solicitude for it.

Col. IV

1. ur-sag-bi ^d,Al-lir-gi-gim rib-ba-

ra

2. ama-a^[436] $i-in-ga-an-u-tud

3. nin-bi ^d'Nin-tnd-gim rib-ba-ra a-

ba er-mu-ni-in-dug

4. e⁶ 6-kam-ma dm

1. Its hero like ASSirgi has been

made surpassing; the mother

2. verily has borne him.

3. Its lady like Nintud has been

made surpassing. And then wailing began.

4. It is the sixth section.

5. i-a?ag LU-bi i^[437]

6. i-KeHki)-a?ag LU-bi 6*

7. e-a en-bi ^d'A-nun-na-me-el

8. nuril-bi dim-e-an-na-nu-eP

9. kisal-e lugal-bur-ra-dm mu-un-

gub

10. en-dug lag tAg-kd nam-mi-in-lal

11. a-iu-e umun ^dEn-ki NE-GAB

in-{ ]

12. tu-e mu- e- gub

13. Idl a-lag-ga ki-a^ag-ga-dm mi-

[

15. [

16. [ [

17- [ [

14. en isimu-e* abkal ubar-e-ne til ki- dm-ma-gdl-li-el ]lel-a-ni S U-mu-un-

15.

16.

17.

sig-gt-ne^[438]] RU URU RU murni- ib-bi-we

\-ma-ge gig-ga^[439] mi-ni- ib-ia

(?)

] d-lal-e gu-^u mi-ni-ib- bi

]?-ra-ge sufc-sufc mi-ni- ib-ia

] dug-gi si-&a-ba-ni-ib di

5. The sacred temple whose (?) is

6. The sacred temple of KeS whose

? is....

7. In the temple whose high priests

are the Anunnaki,

8. Whose sacrificial priests are the

dim of Eanna,

9. The aisle treads.

10. (The temple) unto which a be

neficent lord has shown solicitude

11. The libator(?), lord Enki

12. The baptizer treads thee.

13-

14. The lord Isimu, the councilor

in sorrow abounds.

. .the bound cry like birds 7

.. .in desolation abounds. may direct aright.⁷

18. [ ] ka-^al-bi al-dug

19. [ -]dug ka-^al-bi al-dug

20. [ ]-{al-bi a-mu-un-KU

21. [ ]-£ar-$ag-gd nitt-bi [?-]

bi dm^mu-un-KU{?)

22. £N-JjAR-(ki)-gim rib-ba galu

h-in-ga-an-tum-mu

23. ur-sag-bi ^d%Al-lir-gi-gim rib-ba

ama li-in-ga-an-u-tud

24. nin-bi ^d'Nin-tud-gim rib-ba-ra

a-ba er-mu-ni-in-dug

25. [[440](?)¹] 7-ham-ma-dm

18. Of its joy was sweet.

19. Of its joy was sweet.

20.

21.

22. Like EN-HAR it has been made

surpassing; verily man has brought solicitude for it.

23. Its hero like ASSirgi has been

made surpassing; verily the mother has borne him.

24. Its lady like Nintud has been

made surpassing. And then wailing began.

25. It is the seventh section.

Third Tablet of the Series " The Exalted One Who Walketh" (e-lum didara) (No. 13)

The series elum didara is entered in the Assyrian liturgical catalogue, IV Raw. 53a 8, and the first tablet of this Enlil liturgy has been found in the Berlin collection and published by Reis- ner, SBH. No. 25.² The Berlin tablet belongs to a great Babylonian temple library of the Greek period redacted by a family of liturgists descendants of Sin-ibni. A fragment of the same first tablet of another Babylonian copy has been found, BM. 81-7-27, 203.³ The catch line of tablet two is lost on SBH. 2$ and no part of tablet two has been identified. In 1914

I copied BM. 78239 ( = 88-5-12, 94) the upper half of a large tablet carrying according to the colophon ninety-six Sumerian lines. The number of lines provided with an interlinear translation on this fragment is only two, which increases the actual number of lines to ninety-eight. Probably a few more should be added for Semitic lines on the lost portion. This tablet, also from a Babylonian redaction, belongs to an edition made by another school of liturgists and contains tablet three of elum didara.

The third tablet of elum didara began with a melody nin-ri nin-ri gH-am-me to the mother goddess Bau (1. 2), who in line 7 is identified with Nan<L Lines 3-6 introduce by interpolation other local forms of the mother goddess, as a concession to cities whose liturgists succeeded in inserting these lines before the canon of sacred songs were closed in the Isin period. Hence Babylon is favored by a reference to Zarpanit in line 3; Barsippa by a reference to TaSmet in lines 4-6. Bau or Gula wails for Nippur whose destruction is here attributed to the moon-god, Sin. The introduction of a long passage to the moon-god in the weeping mother melody of an Enlil liturgy is unusual. The entire passage reflects the phraseology and ideas of the well-known Sumerian hymn to the moon-god magur a^ag anna.¹ The composer desiring to utilize these fine lines makes a setting for them by describing Sin as the god who visited Nippur with wrath, regardless of the inconsistency of placing such a passage in an Enlil song service which attributed the sorrows of Nippur to Enlil himself.

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 didara.² It is prob- able that the first melody of tablet three of both series was identical. Melodies are always identified by their first lines and when these, agree we assume that the entire melodies are identical. Since the musicians referred to all melodies by their first lines it was manifestly impossible to begin two different melodies with the same line. But tablet three of the weeping mother liturgy muten nu-nunu^-gim begins its first melody¹ nin- ri nin-ri gii-dm, etc., otherwise both melodies differ completely. This is the first known of example of two different melodies bearing the same title. It is curious indeed that an Enlil, a Ninurta and a mater dolorosa series all begin their third tablets in the same manner.

The obverse of BM. 78239 breaks away before the end of the melody nin-ri ninri gu-dm-me. Here forty-five Sumerian lines are lost; one or two melodies at least stood in this break. For the last passage on tablet three, the scribe borrows the first melody of the Ninurta series gud-nim kurra} The litanies which begin these melodies or series of addresses to Ninurta differ greatly in the two redactions. Since SBH. No. 18 belongs to a Ninurta series the addresses therein are much more extensive. The composer of the Enlil series elum didara obviously introduced this irrelevant melody to obtain the fine passage to the weeping mother, Rev. 10-21 on BM. 78239. These lines are lost on the Berlin text SBH. No. 18. On the whole the liturgy elum didara is more inconsistent in the development of ideas than any song service of which extensive portions are known. Only tablets one and three are as yet identified and neither of these is much more than half complete.

ru-ba-tum (rubatum) li-si-ii dli i-lcs- si ina lal-la-ra-ti

i. nin-ri nin-ri gu-dm^me uru in-

ga-dm-me u-li-li

2. a galan-mu nu-nunu^-ldg-ga u

3. i-gi-a e-sag-il-la[441] u

4. dumu-sag ^d'Urala-a u

5. dumu-sag e-i-bc- ^d'A-nu-um u

6. galan gU-ur-a-sig ud-lal-a-ge u

7. galan-mu ^d'Na-na-a u

8. 6-{u i-iu-lH u

9. uru-pi uru-fu-lu u

10. dam-%u dam-^u-lu u

11. dumu-pi dumu-{u-lu u

12. le-ib-lu le-ib-gx-gl U

13. safcar-lu sa£ar-gt-gi^A u

14. si-*n&^h aiag an-na U-ir-ma-al-la

ni-ie-na dirig-ga-^u-de ia-e dirig-ga-{U-de

15. na-an-na-ru el-lu la la-me-e e-til

ra-ma-ni-lu ina lu-tu-ru-ti-ka at-tam

The princess, the princess, in misery shouts the wailing of the city.^[442]

1.

2. How long my queen, the pious

woman, in misery?¹

3. The bride of Esagila in misery?

4. First born daughter of Urasha

in misery?

5. First born daughter of the temple

Ibe-Anum in misery?

6. The obedient queen, she the..

...in misery?

7. My queen Nana in misery?

8. (How long) shall thy temple for

thy temple in misery be?

9. Thy city for thy city in misery be?

10. Thy wives for thy wives in

misery be?

11. Thy sons for thy sons in misery

be?

12. (How long) for the brick walls

shall the brick walls restored wail?

13. For the dust shall the restored

dust wail?

14. Bright horned light of heaven

mighty of itself, in thy excellence, yea thou in thy excellence,

¹5*

16. a-a ^d'Nannar si-mi a\ag an-na

le-ir-ma-al-a ni-te-na

17. a-a ^d'Nannar umun-c an-ldr

18. umun ^dtNannar umun ^d'Al-\m-

iir-ra^x

19. umun gu-la galu nin-fcul-ma-al-

la uru-iu ni-te-en-na le-ir-ma- al-la ni-te-cn-na

20. uru-iu Nippur-(ki) galu nin-gul-

ma-al-la uru-ju

21. nigin kalam-ma-^u d-si ma-ni-

ib-bi

22. [uru?] kalam-ma-da-ju gig-ga-an-

na-ag-eS

23. [ ]fu-ga* {galu) a-ba an-

24. [ ]{u-gd pag-da^[443] ma-an-

ld-lal-la-ai(?)*-et

25 %u ba-ni-ib-gul

26 fu ba-ni-ib-sig-sig

27 fjUL-AS-A (gloss) e-ga

28 A-AN UUL...c-ga ib....

29 ......

327

16. 0 father Nannar bright horned

light of heaven, mighty of itself, (in thy excellence, yea thou in thy excellence),

17. Father Nannar, lord of all the

heavens,

18. Lord Nannar. lord of the rising

light,

19. Great lord, who himself has

wrought evil to thy city,¹ mighty of himself,

20. As for thy city Nippur, he who

has wrought evil to thy city,

21. All thy Land

22. Thy city and land are afflicted

with woe.

23 .In thy....and thy the

scribes are driven away.

24. In thy and thy the

augurers are exiled.

25. Thy is destroyed.

26.

27.

28.

29......

Reverse

1. [gu-ud nim] kur-ra [mu-lu ta-iu 1. Exalted hero of the world, doth mu-un-iu] any one comprehend thy

form?^[444]

2. [kar-ra-]du la-ku-u la ma-a-tim

kat-tuk [man-nu i-lam-mad]

3. alim-ma umun ur-sag-gal

4. ur-sag-gal umun si ^dMu-ul-lil-

ld-ge

5. alim-ma abil e-kur-ra

6. ur-sag-gal umun e-lu-me-DU*

7. umun e-lag-mag-a umun-e e-i-be-

lu-gud

8. umun sukkal-mag-di* gal-ukkin

^d'Nusku-ge

9. ^d'Mal-tab-ba ^d'Lugal-g\r-ra

10. dug-ga-iu mu-lu ta-{u mu-un-{u

11. iafc-a-iu mu-lu

12. e-ne-em-fu mu-lu

13. edin-na di-di edin-na le-dm-du

14. ama galan tin-dib-ba edin-na

15. nin galan nigln-gar-ra edin-na

16. nin galan Lara-ak-(ki)-ge* edin-

na

2.

3. Honored one, lord, great cham

pion.

4. Great champion, lord, light of

Enlil.

5. Honored one, son of Ekur.^[445]

6. Great champion, lord of ESume-

du.

7. Lord of ESamab, lord of E-ibe-

Sugud.^[446]

8. Lord, great messenger, the her

ald Nusku.

9. The twin god, Lugalgirra. .

10. As to thy commands, who com

prehends thy form?

11. As to thy succor, who compre

hends thy form?

12. As to thy word, who compre

hends thy form?

13. She wanders on the plain, on

the plain she wails.

14. The mother, queen who gives

life to the dead, on the plain wails.

15. The queen, lady Nigingar, on

the plain wails.

16. The queen, lady of Larak, on

the plain wails.

17. nin galan I-si-in-na-(ki) edin-na

18. nin ama e-dur^[447]-a%ag-ga cdin-na

19. ntn ama $U-fj/tL-BI[448] edin-na

20. ^dBa*u nu-numu{ Idg-ga edin-na

21 .SI S-rab-ri-ri umun ^d'Sd-kut- ma£-a edin-a

17. The queen, lady of Isin, on the

plain wails.

18. The queen, mother of the holy

city, on the plain wails.

19. The queen, the mother,

on the plain wails.

20. Bau, the pious woman, on the

plain wails.

21. The abode, Erabriri, of the

lord Sakutmah on the plain wails.

22. e-lum-e la-lu u-u-a u-u-a

23. 96-dm mu-lid-bi-im duppu 3-kam

e-lum di-da-ra nu al-til

24. gab-ri Bdr-sip-(ki) kima labiri-lu

la-fir-ma barim duppu ^d'BU- ik-sur mdri-lu la ^d'BU-ilkun-

ni

25. mar Iddin-^d'Papsukkal pa-lift

^d,Nabu ina lar-tum la ulielir u ina me-ril-tum la u-la-bi*

22. Oh honored one, the exuberant,

alas, alas.

23. Ninety-six is the number of its

lines. Third tablet of Elum didara, unfinished.

24. Copy from Barsippa, according

to its original, written and collated. Tablet of BSlik§ur son of Belishkunni,

25. son of Iddin-Papsukkal wor

shipper of Nebo. In fraud he has not translated it and with wilful readings has he not published it.

6060 (No. 12)

Babylonian Cult Symbols

Ni. 6060, a Cassite tablet in four columns, yields a notable addition to the scant literature we now possess concerning Baby- Ionian mystic symbols. A fragmentary Assyrian copy from the library of ASurbanipal was published by Zimmern as No. 27 of his Ritual Tafeln. The Assyrian copy contains only fifteen symbols with their mystic identifications, in Col. II of the obverse. The ends of the lines of the right half of Col. I are preserved on Zimmern 27, and these are all restored by the Cassite original. The obverse of these two restored tablets contained about sixty symbols with their divine implications. Most of them are the names of plants, metals, cult utensils and sacrificial animals, each being identified with a deity. A tablet in the British Museum, dated in the 174th year of the Seleucid era or 138 B. C., Spartola Collection 1 131, published by Strassmaier, ZA. VI 241-4, begins with an astronomical myth concerning the summer and winter solstices¹ and then inserts a passage on the mystic meanings of ten symbols. The myth of the solstices runs as follows:

"In the month Tammuz, 1 ith day, when the deities Minimi and Katuna, daughters of Esagila,² go unto Ezida³ and in the month Kislev, 3d day, when the deities Gazbaba and Kazalsurra, daughters of Ezida, go unto Esagila—Why do they go? In the month Tammuz the nights are short. To lengthen the nights the daughters of Esagila go unto Ezida. Ezida is the house of night. In the month Kislev, when the days are short, the daughters of Ezida to lengthen the days go unto Esagila. Esagila is the house of day." The tablet then explains the Sumerian ideogram gubarra = Alrat, the western mother goddess Ashtarte, and says that ASrat of Ezida is poverty stricken.^[449] But ASrat of Esagila is full of light and mighty.^[450] Some mystic connection between ASrat or GeStinanna, mistress of letters and astrology,* scribe of the lower world, and the daughters of night and day existed. This cabalistic tablet here refers to a mirror which she holds in her hand and says she appeared on the 15th day to order the decisions. The 15th 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. 160 days.^[451] For some reason ASrat, here called the queen,^[452] appears to order the decisions, probably the fates of those that die. The phrase "The divine queen appeared" is usually said of the rising of stars or astral bodies, but the reference here is wholly obscure. As a star she was probably Virgo. 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 figures. The pantomime represented the passing of light, the reign of night and the judgment of the dead. Clearly an elaborate ritual attended by magic ceremonies characterized the ceremony. 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 sinner. Obviously some connection exists between this mystagogy and the myth described. The commentary is probably intended to explain the hidden powers of the objects employed in the weird ritual, at any rate the mystery is thus explained.^[453]

(i) Gypsum is the god Ninurta.^[454] (2) Pitch is the asakku-demon.[455] (3) Meal water (which encloses the bed of the sick man) is Lugalgirra and Meslamtaea.^[456] [A string of wet meal was laid about the bed of a sick man or about any object to guard them against demons. Hence meal water symbolizes the two gods who guard against demons. See especially Ebeling, KTA. No. 60 Obv. 8 Iisurrd ialamme-lu, "Thou shalt enclose him with meal water."] (4) Three meal cakes are Anu, Enlil and Ea.^[457] (5) The design which is drawn before the bed is the net which overwhelms all evil. (6) The hide of a great bull is Anu. [Here the hide of the bull is the symbol of the heaven god as of Zeus Dolichaios in Asia Minor.]

(7) The copper gong⁶ is Enlil. But in our tablet II 13 symbol of Nergal and in CT. 16, 24, 25 apparently of Anu. The term of comparison in any case is noise, bellowing.

(8) The great reed spears which are set up at the head of the sick man are the seven great gods sons of IShara. The seven sons of IShara are unknown, but this goddess was a water and vegetation deity closely connected with Nidaba goddess of the reed.¹ The reed, therefore, symbolizes her sons.

(9) The scapegoat is Ninamasazagga. Here the scapegoat typifies the genius of the flocks who supplies the goat. See, however, another explanation below Obv. II 17.

(10) The censer is Azagsud. The deity Azagsud in both theological and cult texts is now male and now female. As a male deity he is the great priest of Enlil, CT. 24, 10, 12, and always a god of lustration closely connected with the fire god Gibil, Meek, BA. X pt. 1 No. 24, 4.² But ordinarily Azagsud is a form of the grain goddess who was also associated with fire in the rites of purification. As a title of the grain goddess, see CT. 24, 9, 35 = 23, 17; SBP. 158, 64 A-sug where Zimmern, KL. 11 Rev. Ill 11 has A^ag-sug. She is frequently associated with Ninfoabursildu and Nidaba (the grain goddess) in rituals, Zimmern, Rt. 126, 27 and 29; 138, 14, etc. The censer probably symbolizes both male and female aspects, the fire that burns and the grain that is burned. See below 11 9, where the censer is symbol of Urasha a god of light.

(11) The torch is Nusku the fire god in theNippur pantheon. Below (11 10) the torch is Gibil, fire god in the Eridu pantheon.

The mystic identifications do not always agree, 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 determined. Each god was associated with an animal and a plant and with other forms of nature over which they presided. When the cult utensils are symbols the term of comparison is generally clear.

Below will be found such interpretations of these mysteries as the condition of the tablet and the limits of our knowledge permit. Most difficult of all are the metal symbols which begin with Obv. I 10. Here silver is heaven, but it can hardly be explained after the manner of the same connection of Zeus Dolichaios with silver in Kommagene. The cult of this Asiatic heaven god is said to have been chiefly practiced at a city in the region of silver mines.¹ That is an impossible explanation in the case of Anu whose chief cult center was at Erech. The association of gold with Enmesharra, here obviously the earth god, is completely unintelligible. In Obv. I 31 he is possibly associated with lead or copper as the planet Saturn. In lines I 14-18 the symbols are broken away, but they are probably based upon astronomy. Metals seem to be connected with fixed stars and planets on the principle of color. The metallic symbolism of the planets was well known to Byzantine writers who did not always agree in these matters. Their identifications are certainly a Graeco- Roman heritage which in turn repose upon Babylonian tradition.² The following table taken from Cook, Zeus, p. 626, will illustrate Graeco-Roman ideas on this point:

Kronos—lead (Saturn); Zeus—silver (Jupiter); Ares—iron (Mars); Helios—gold (Sun); Aphrodite—tin (Venus); Hermes —bronze (Mercury); Selene—crystal (Moon).

Our tablet preserves only the names of the deities at this

¹ So A. B. Cook, Zeus, 632. I would, however, entertain doubts concerning this explanation of silver as the emblem of the Asiatic Zeus and of Jupiter Dolichenus. The identification of this metal with the sky god in Babylonia and Kommagene surely reposes upon a more subtle idea. [For the explanation of silver=Anu and gold = Enlil, see p. 342.]

* The Sabeans, a pagan Aramaic sect of Mesopotamia at Harran, are said to have assigned a metal to each planet. Since a considerable part of their religion was derived from Babylonia we may consider this direct evidence for the Babylonian origin of the entire tradition. For an account of the metals assigned to the planets by the Babylonians, Persians, Greeks and Ssabeans, see Bousset in Arcbiv fur Religionswissenscbaft 1901, article on "Die Himmelreise der Seele." The order of the planets, taken from the Byzantine list above, is based upon their relative distances from the sun.

point, and if metals stood at the left we are clearly authorized to interpret the divine names in their astral sense. This assumes, of course, that these astral identifications obtained in the Cassite period. Assuming this hypothesis we should have the metals for Beteigeuze, Ursa Major, Venus, Jupiter, Mars, Saturn, New-moon(?), a star in Orion, Venus as evening and morning star, Virgo, and perhaps others.

The reverse of the tablet is even more mystic and subtle. The first section connects various cult substances with parts of the body. White wine and its bottle influence the eyes. White figs pertain to a woman's breasts. Must or mead have power over the limbs as the members of motion. Terms of comparison fail to suggest themselves here and we are completely disconcerted by the fancy of the Babylonian mystagogue. In the next section, which is only partially preserved, we have twelve gods of the magic rituals. The province of each in relation to the city and state is defined. Kushu, the evil satyr who receives the sin-bearing scapegoat, hovers over the homes of men. Mujjru, the deity who receives burnt offerings, or incarnation of the fires of sacrifice, dwells at the city-gate. Sakkut, a god of light and war, inexplicably protects the pools. Then follow hitherto undefined and unknown Cassite deities and a break in the tablet.

As in the Assyrian duplicate, Zimmern Rt. 27, so also here, the reverse contains a lexicographical commentary on mythological phrases. The name of the god Negun is commented upon here and most timely information is given. Both the phonetic reading of the name and the character of the deity are defined. The colophon at the end has the usual formula attached to cult instructions whose contents are forbidden to the uninitiated.

1. ^duka-gub-ba [ ]^[458] i. The vessel of holy water....

[of the gods]

2. ^dNin-babur-sil-du nin(?) [tu-tu- 2. is Ninhabursildu,* queen of in-

ge]* cantations.

3. ^dukgan-nu-tur^{4 d}'[ ]ME$- 3. The little kannu-vessel is the

GAR deity..........

4. ^§a.linig ^d A~nitn 4. The tamarisk is Anu.^[459]

5. ^sa.lag-gilimmar^{6 d}'Dumu~{i 5. The date palm-head is Tammuz.

6. *iti-4iu-uP ^d £-a 6. The mashtakal-plant is Ea.

7. ^gt$ul-$i ^d'Nin^urta 7. The fofa/w-reed is Ninurta.

8. 'Wind® 8. The £7-plant is NinH.

'Gir-rd*

9.	giVmrru^1
10.	M'kubabbar
ii.	^d**ku-gi
12.	^d*'urudu
13.	^d**an-na
14.	[
15-	[	i
16.	[	]
17.	{	i

'■GAL'

^d'En-me-Mr-ra*

^dtNin-ma& ^d'Ninurta ^d'Ninlil^{7 d}Dilbat ^d'AMAR-RA-&E- UD-DU-A-LU-TU*

18. [ ] ^dmLugal-gil-a-tu-gab-

lil-a*

19. [ ] ^dSak-kud*

20. [ ] ^d'Nuskuⁿ

21. [ ] ^d'Pap-sukkalⁿ

9. The giSbur wood is the Fire God Girra.

1 o. Silver is the great god (the moon).

11. Gold is EnmeSarra (the sun).

12. Copper is Ea.

13. Lead is Ninmah.⁵

14. [ ] is Ninurta.

15. [ ] is Ninlil.

16. [ ] is lshtar-Venus.

17. [ ] is Marduk-Jupiter.

18. [ ] is Nergal-Mars.

19. [ ] is Ninurta-Saturn.¹⁰

20. [ ] is Nusku.

21. [ ] is Papsukal.

22.

22. [ -]ttg^dSak-kut^l

23- I

24- [

25. [

26. [

27. [

28. [

23. [ -]$ID ^iluRam-ma-nu

24. [ ] ^ilatIsbtar Uruk-(ki)

25. [ ]^ilQiIshtar A-ga-de-{ki)

26. [ -\TAR ^ilatBe-lit-tfri

27. [ ] ^dNin4il

28. [ ri-]kis-su-nu ^d'Ninurta

29. [

30. [

29. [ ] ilani sibitti⁶

30. [ ] ^d-En-me-ldr-ra is Sakkut. is Ramman. is Ishtar of Erech.² is Ishtar of Agade.* is B£lit-§eri.⁴ is Ninlil.

their band(?) is Ninurta.

is the seven gods, is Enmesharra.⁶

Obverse II

1 ]

]

2. giS [ ]

3- i* I ]

4. *⁵hm [

5. lim-lal¹

6. gi-dug-ga⁸ ] 2. [

] 3- I ] 4- [

] 5. Box-wood is the god

] 6. The good reed is the god

identified with one of the stars in Orion, CT. 3),2ll2; ^m%a sib-{i-an-na ^dPap-sukal [sukal ^dAnim Iltar] restored from Virolleaud, Supplement LXVI1 10. Here he is messenger of heaven and of Ishtar as Venus, queen of heaven, that is, he is a messenger of the powers of celestial light. Nusku and Pap-sukal often occur together in magic texts, Sburpu VIII 10.

¹ Here probably Sakkut as lord of light and justice, god of Isin, in his normal capacity. See BL 120 n. 6. His emblem is something made of date palm, Idg, gilimmar. This deity is unknown in magic texts except in Zimmern, Rt. 70, 8.

* Ishtar of Erech is Venus as evening star, the effeminate Venus of Erech, see Tammuz and Isbtar, 54 and 180 n. 4.

¹ Venus as morning star. The Ishtar of Agade was the type of war goddess, see op. cit. p. 100; hence Venus as morning star is sometimes called the Bow Star, Kugler, Sternkunde II 198.

⁴ Western title of Ge§tinanna, sister of Ishtar. Here perhaps the constellation Virgo.

⁶ The seven gods are the Pleiades, CT. 33, 2, 44. Since they are followed by Enmesharra perhaps here to be identified with the seven sons of Enmesharra (see BE. 31, 35). In ZA, vi 242, 20 gi-uru-gal~mel, "the great reed spears" are symbols of the seven great gods, sons of IShara. But traces of the last sign are not those of ME$ here.

6 In astronomy a form of Nin-urta = Saturn, but by character allied to Nergal a lower world deity. See line 11 above. For E. as Saturn note V Raw. 46a 21, his star UDU-LIM and II R. 48, 52 the same star is ^dUDU-B/4D-$ag-ui=kaim&nu, Saturn. See also BE. 31, 35 n. 4 line 12, kaimdnu title of Enmesharra.

7 timeilalti employed in medical texts, see SAI. 3574 and Jastrow, Medical Text Rev. 5. Here also without gii. Holma, Beitrdge ?um assyriscben Lexicon, p. 85, identified it with Syr. iamiard, Persian and Arabic limlar.

• Passim in medical and incantation texts, CT. 23, 4$, 9; RA. 14, 88, 6; Ebeling, KTA. 26 R. 20; IV R. 55 No. 2, 18., etc.

7. lim-li ^d-[Immer

8. fipaii burrumti* ^iluLabartu(?)*

mar[at ^iluAnim ]

9. limrZW ^d'[Nin-urta ]

10. nig-na ^d' Urdlct

11. gi-bil-ld ^d[ Gi-bil]

12. ku-ta-ri ibbtiti^{7 d}'[Ne-gun]

13. tnul-lil-lutn ^d'Ig[i-BALAG^[460] lu

nurgil-lar ^dmEn-lil-ld]

14. "^nig-kalag-ga^{10 d}'Nin-[sar

^dNergal\

15. hu^gOrgd^ ^d' [NINDA+GUD] ^d'[Utu-g&l-lu]

^did ^d\Ku-iu\

16. tntrbar

17.

18. mdl-frd-dtib-ba-a

7. Cypress is Adad.

8. Wool of variegated color is

Labartu daughter of Anu.

9. The aromat-ZU is Ninurta.

10. The censer is Urasha.⁵

11. The torch is Gibil.⁶

12. The clean incense is Negun.®

13. The amphora(?) is Igi-BALAG,

gardener of Enlil.

14. The copper kettledrum is

Ninsar,^[461] that is Nergal.

15. The hide of a great bull is

NINDA+GUD*

16. Gypsum is the storm god (Nin

urta)^[462]

17. Bitumen is the river god.^[463]

18. The scapegoat is Kushu.^[464]
340

19. udu-ti-la^{l d}\Gira]

20. mdi-gi-bil-la ^d'[Mu-ul/-]ra

21. U-bir-bir-ri u-pu-un-tum

22. xeri ma-ka-lu-u

23. ^duhka-gaf^{u d}Nun-&r-ra ^d E<*

24. ^ku-ma-nu 7 &-mu^b ku ^dmMar

duk

25. ku-gi-slg^{plm d}'A-nun-na-ki

26. ku-gi nig-mdl-iid* ^d'Mal-tab-ba-

gal-ga

27. mal-du ^d'Utt-gal Nibru~^ki*

28. kur-gi-(iu) ^d Nin-stg

29. sun¹⁰ erin hta^{n d} Zi-i

30 .Ul.... ^di ]

31. « U

32. <•[ ]

19. "The living lamb" is Gira.^[465]

20. The goat of the torch^[466] is Mubru.

21. "Scattered grain(?)," chick pea

(?)

22. seed-corn, eating table and

23. the kaga^pots are Ninurra-Ea.

24. The seven (headed) weapon of

laurel wood, the storm, the weapon of Marduk.

25. Red sun-disks(?) are the Anun

naki.

26. The golden sacred kid{?) is the

Great Twins.^[467]

27. The kid is Ungal^[468] of Nippur.

28. The crane is Ninsig.®

29. The sun of cedar, weapon cr

Zu.«

30. Honey.... is the god

31. Oil oil

32.. River-god, god

Reverse I

karanu ellu kakkid-ti end-lu

tutt-lu* bir-ka-a-lu ki-sal-la-a-lu pit puridi-lu

2. tiitu pifitu^[469]

3. ^49unurmH

4. tiitv?

5. mirsu

1. White wine and bottle are his

eyes.

2. The white fig is her breasts.

3. The nur-ixg is his (her) knees.

4. The fig is his (her) loins.

5. Must is his (her) crotch.

6. ^d'Ku-li jir Jh'-wi^[470]

7. ^d'Mu-ub-ra ina pan abulli

8. ^d'Sak-kut ina kabal appari

9. ^d'Si-lak-ki* ina ma-na-ba-ii

10. ^d'E-kti-rum* ina libbi lit ildi

11. ^d'Ab-ba- gu-la¹ ina igari

12. ^d' ? ? ina nasikati

"3-17.

18. 12 ildni [ ]

6. The god Kushu over the cham

ber.

7. Mubru before the city gate.

8. Sakkut in the midst of the pool.

9. Silakki in the ruins.

10. Ekurum in the leg.

11. Abbagula in the wall.

12. [ ] in the fortress. 13-17.

18. Twelve gods.

Reverse II

The battle which before him gleams. 2 not are received.

3. [ ]NU = not.

4. [ ]BI = that: I LA = to

present.

1 See Vab. IV 154, 44 and note.

2 fu here for fa, feminine. The form should be dual.

3 Gunu of MA=littu; Sumerian pel, value also assigned to MA = tittu in the Chicago Syllabar, 1.5 f.

4 ki$u, compensation for kiffti. See also Strassmaier, Nabonidus 699, 24, ki-$u. Note that the iulduppu (probably an image of a scapegoat) symbol of KuSi is placed opposite the door in Zim. Rt. p. 168, 29.

¹ Clay, Personal Names of the Cassite Period, mentions a deity Si-lak-ku-ku(?). In any case a Cassite deity not mentioned in Babylonian lists and texts.

• Otherwise unknown. A Cassite deity(?).

⁷ Probably same as Abagal, Deimel, Pantheon, p. 43. ⁸Cf. Zimmern, 27 R. 14-17

• Written NU. Cf. Zimmern, 27 Rev. 1 19. ¹⁰ Ci.Oii.2U

342

5. [^dNc-gun] erim-bi nu-iuk-a ai-bi

ina kati-iu la u$&ni

6. NE-RU: ai-bi: ID: ka-ti: TDK-A

sal-$e$?

7. ^d'Ne-gun^x ka-lu-u i-la-tam

8. tfU-gunu^l: gu-nu-u: SI: ka-lu-u

9. NE: i-la-tu: sa-nil ka-lu ni-ka

1 o. SAL-SeS[471] : ba-nu^u: ga-lu II. SI:ba-nu^U:NE ga-lu

5. Negun who foes has not. The

wicked from his hand escape not.

6. NE-RU = wicked: /D = hand:

? ?

7. Negun is he that burns with fire.

8. The gunu of ljU has the syllabic

value gunu:si(g) = to burn.

9. N£ = fire: Or=to consume

offerings in fire.

10. ninmul = blaze, burn.

11. si(g) = blaze: bil = burn.

12. mMH mUdd li-kal-lim

13. la mMH ul immar

ki-ma labiri-iu ^iluNinurUi-nafir mar Ilu-ikiU ^am9lualipu il\ur bUli E-lu-me-rd

12. Let the knowing inform the

knowing.

13. He that knows not may not

read.

According to its original Nin- urtu-na$ir son of Ilu-ifciSa, the priest of magic wrote. It is the property of the temple ESumera.*

ADDENDUM ON OBV. I 10 F.

Anu in this passage really denotes Sin, the moon, which has been connected with silver on account of its color. The identification of Anu, the heaven god, with the moon god rests upon the astronomical connection between the moon and the summer solstice, see Weidner, Handbuch der Babyloniscben Astronomie, 32. Sin is called "Anu of heaven," King, Magic, No. 1, 9, and for the connection with silver, see Virolleaud, Astrologie, Supplement, V II, kaspu ^tiuA-nu hura$u ^Uu Enlil erA ^ttMEa. Enlil is connected with gold in Virolleaud, Astrologie, Second Supplement, XVII 14, and Enlil is not infrequently identified with Shamash, see p. 158, 1-2 and p. 308, 18, and gold is the traditional metal of the sun.

The Greek identification of Zeus, the sky-god, with silver is certainly borrowed from Babylonia; see p. 334.

DESCRIPTION OF TABLETS

Number in	Museum	Description
this Volume	Number
1	13856	Large two column tablet. Unbaked; light brown with dark spots. Top broken away and left lower corner damaged. H. 6£inches; W. 4i; T. ij-f. Liturgy of the cult of Ishme-Dagan. See pages 245-257.
2	11005	Upper part of a large two column tablet. Unbaked; light brown. Top and left edge of the fragment damaged. H. 3$; W. 3f; T. i£-f. Liturgy of Ishme-Dagan. See pages 258-259.
3	7847	Dark brown unbaked tablet. Right upper corner slightly damaged. Right lower corner broken away. Two columns. H. 8; W. 5^; T. Mythological hymn to Innini. The obverse is translated on pages 260 to 264, but the reverse is too badly damaged to permit an interpretation. The text ends with the line, "Oh praise Innini," the literary note characteristic of epical compositions. The scribe adds a note stating that there are 153 lines. Written by the hand of Lugal-£e-a.. .... son of E-a-i-lti(?)....
4	7878	Light brown fragment from the left upper corner of a large unbaked tablet. H. 3^; W. ; T. Duplicate of 7847. This tablet omits the liturgical note, "Oh praise Innini/' It has the colophon, "Written by the hand of Ninurash-mu... , in the presence of Nidaba-igi-pa(?)-.. .ge-en."
5	15204	Single column, dark brown tablet. Partly baked. Left lower corner broken away. H. 4; W. 2\; T. ij-i Psalm to Enlil. See pages 265-268.

Number in	Museum	Description
this Volume	Number
6	2154	Single column, light brown tablet. Top and left lower corner broken. H. 4$; W. 2J; T. iJ-J. Lamentation for Lagash. See pages 268-272.
7	8097	Single column, light brown tablet. Lower edge damaged. H. 4}; W. 2J; T. Liturgical hymn to Sin. See pages 276-279.
8	346	Single column, dark unbaked tablet. Damaged at top and bottom. H. 4; W. 2$; T. 1-$. Bilingual hymn. See plate 86.
9	8334	Single column, light brown tablet, unbaked. Left upper corner and top of reverse damaged. H.4I; W. T. it-J- Hymn to Innini.
IO	8533	Upper part of a large two column tablet. Light brown, soft and crumbling. Purchased by the Expedition in 1895, from Abu Hatab. H. 3i; W. T. iH. Hymn to Enlil.
II	7080	Large light brown tablet; five columns; broken perpendicularly at the middle. Isin period. H. 8{ ; W. 4; T. 2. Liturgy to Enlil. Lamentation fo. the city of Ur. See pages 279-285.
12	6060	Nearly complete tablet; baked. Temple Library (IV). Second Exp. Two column tablet; Cassite period. H. 4; W. 3$; T. 1$. Cult symbols. See pages 320-342.
n	BM. 78239	Upper half of large single column tablet. Light brown, partially baked. H. 7; W. 6; T. 2. Acquired by the British Museum in 1888. Late Babylonian edition of the third tablet of the liturgy elum didara to Enlil. See pages 323-329-
14	11327	Lower part of a large unbaked tablet, two columns. Right half almost wholly broken away. Myth of the water god Enki. H. 6; W. 6J; T. if. Probably a {ag-sal hymn.

INDEX OF TABLETS

Museum Number in

Number this Volume

346 8

2154 6

6060 12

7080 11

7847 3

7848 4

8097 7

8334 9

8533 >o

11005 2

11327 14

13856 i

15204 5

B. M. 78239 13

OTHER TABLETS TRANSLATED OR DISCUSSED

pages 290-308 272-276 285-290 309-310

290-308

330-340

Nies 1315 \

Tablet Virolleaud J " Poebel, PBS. V No. 26. Myhrman, PBS. I No. 5 ) Radau, BE. 30, No. 2 J * Myhrman, PBS. I No. 8...

Zimmern, KL. No. 11

Zimmern, Ritual Tafeln, No

27

Ashmolean Prism

Strassmaier, ZA. VI 241- Reisner, SBH. No. 18.. Reisner, SBH. No. 21.. Reisner, SBH. No. 22.. Reisner, SBH. No. 25..

PAGES ..311-323

-4330-333

..327-329 . ..292-297 . . .292-295 . . .300-302

INDEX TO VOL. X

abal, irrigator, 287, 12. Abbagula (deity), 341, 11. agubba, vessel, symbol of Ninhabur-

sildu, 336, 1. Aja (goddess), 305, 14. Allat (goddess), 306, 20. am, ^dAm, title of Ea, 294. Ama-Suhalbi, title of mother goddess, 329, 19. Ama-uSum-gal, title of Tammuz, 304.

Annigarra, temple in Isin, 300, 7. Anu (god), 261; 264; 281; 282; 295; 297; 302. Identified with the moon god, 337, 10. Anunnaki (gods), 247, 2; 262;

317; 340. Arabu, bird of Enlil, 266. Aralu, 288, 23.

Aruru (goddess), sister of Enlil, 301. ASimur, title of moon god, 277, 17

and 22; 278. ASnan (goddess), 289; 305. ASSirgi (god), 316; 317; 318; 319; 320.

ASte, temple in Larak, 289, 9. Azagsud 0ilu), title of grain goddess,

289, 10; 305, 13. Babylon (city), 301, 22. balag-di; choral phrase, 250, 14;

254, 26. Barsippa (city), 301, 23. Bau (goddess), 329; 305. Belit-$6ri (goddess), 338. Bel-§arbe, title of Nergal, 337, 18. bitumen, symbol of river god, 339.

Canonical liturgies, 237 ff.

censer, symbol of Urasha, 339, 10.

copper, symbol of Ea, 337, 12.

crane, bird symbol of Ninsig, 340.

Damgalnunna (goddess), 294; 296.

Damu, title of Tammuz, 287, 6:14; 306, 28.

date-palm, symbol of Tammuz, 336, 5-

Dilbat (goddess), 337, 16.

Dilmun (ki), 279, 14:19.

dog, seven-headed, 305, 15.

Duazag, sanctuary, 248, 7; 289.

dumursag, title of TaSmet, 326, 4:5. dingir dumu-sag (= N appasi = Ninmungara) is probably a title of Ninlil, 303, 13. See ibid, note 6 and SBP. 150 note 5, line 14.

Ea (god), 336, 6.

E-anna, temple of I Star in Erech, 275> ^2a

E-barra, temple of the sun god, 301.

E-daranna, chapel of Ea in Esagila, 301.

E-dimma, temple, royal chapel in Ekur, 289, 15.

E-durazagga, epithet of Isin, 329, 18.

E-galmah, temple at Isin, 289, 19.

e-gi-a, bride, title of Zarpanit, 326,3.

E-lbi-anum, temple in Dilbat, 326.

E-Ibe-Sagud, 328.

E-kua, 310, 19.

E-kur, temple of Enlil, 256; 258; 259; 289; 308; 310; 328.

Ekurum (god), 341.

E-lamma, chapel or temple of Ninlil

at Nippur, 300, 6. W-plant, symbol of Nina, 336, 8. E-maha, 294, 27 and note. E-mahtila, chapel in Ezida, 301. E-mudkurramu, chapel (?) in Ur (?),

279, 6:10. E-namtila, chapel of Ekur, 301. Enanun, title of mother goddess,

289, 7; 304. Enbul (god), son of ESabba, 303, 21 = SBP. 15216 and CT. 24, 23, 127. Var. ^dA-an-bu-bu, CT. 24, 6, 33-

EndaSurimma, title of Enlil, 302, 4. En-duazag, title of Enlil, 302. EN-HAR(ki), 316; 317; 318; 319; 320.

Enki (god), 259, 16; 302; 307; 322. Enlil (god), 258; 259; 261; 264; 265; 266; 267; 268; 269; 277; 281; 282; 283; 292; 293; 295; 299; 300; 302; 307; 309. As sun god, 308, 18 and 15. Enlilsi, deified king, 303, 20. EnmeSarra (god), 337, 11; 338, 30.

EnmenSarra, 302. Enul, title of Enlil, 302. Enmul, 307.

Enuttilla, title of Enlil, 302. E-rabriri, temple of sakkut, 329, 21. Erech (city), 272; 273; 274; 275. Eridu (city), 259, 16; 299, 31. E-Sabba, temple of Gula in §urup- pak, 288, 6; 303, 21; ^llatSuddam is mother of ESabba, 306, 32. See Suddam.

E-sagila, temple of Marduk, 301; 326.

E-Sagnamsar, temple in Dilmun, 279, 14:19.

E-Samah, temple of Ninurta, 328,

7; see BL. p. 135. E-Sarra, 303, 16. Ninurta is son of E-&r-ra, BL. No. 9, 8. Mythological chamber in Ekur, SBP. 221 n. 7. IStar weeps for E-idr-e, KL., 123, Obv. 11 2. ESnunak (city), 304, 27. E-Sumera, temple of Ninurta in

Nippur, 328, 6; 342, 13. E-temenanki, stage tower in Babylon, 301. E-zida, temple of Nebo, 301. gannu-tur, vessel, symbol of a deity,

336, 3.

gepar, dark chamber, 270, 24; 271 ; 272.

geStinanna (goddess), 304.

Gibil, firegod, 339, 11; 305, 16.

gidugga, reed, 338, 6.

Girra, firegod, 337, 9.

gilburru,, a wood, symbol of firegod,

337, 9.

gisgigal, antiphon, 251, 24; 254, 23;

283, 26; 284, 10. GiSzida (god), 287. 7. gold, symbol of sun, 337, 11. gudede, title of Ninlil, 303, 12. Gula (goddess), consort of Tammuz, 285.

Gunura, title of mother goddess,

288, 5; 306, 27 = SBP. 160, 13. GuSkinbanda, title of Ea, 305, 9. gypsum, symbol of Ninurta, 339. Hallab (city), 275; 276. Historical poems, 242. lbi-Sin, king of Ur, 281. Id (deity), river god or goddess, 294;

297; 340. Igibalag (deity), 339, 13. Immer (god), 260; 262; 306; 339,J7.

349

Index

incense, symbol of Negun, 339, 12.

Innini (goddess), 275; 276.

IrriS (god), title of Ninurta, 306,

23 = SBP. 160, 8. Isin (city), 289. Queen of Isin, 306, 25; 329.

ISme-Dagan, deified king, 243; 245;

257; 258; 259. IStar, goddess of Erech, 338, 24; of

Agade, 338, 25. kagai, pot, symbol of Ea, 340. Kenur, chapel of Ninlil in Ekur, 259;

289; 301. KeS (city), southern and northern KeS, 311; southern KeS, 315; 316; 319; 267. Kingaludda, messenger of the Word, 283.

kinsig, a chamber, 248, 7. KiSegunura, title of UraSa, 302, 2. ki$ub, prayer in liturgies, 245; 256;

279; 290; 308. kulgugalU, hide of an ox, symbol

of Nindagud, 339, 15. KuSu (deity), 339; 341. Lagash (city), 268; 270. Larak (city), 328, 16; 289,9 and 20. lead, symbol of Ninmah, 337, 13. Libit-1 Star, deified king, 243. Liturgical compositions and compilations, 237 fT. 243. Lugalbanda (god), 304. Lugalgirra (god), 328, 9. Lumma (deity), 304. Mama (god), title of Sin, 269, 8. Marduk (god), 294; 296; 337; 340. malgibilla, burnt offering, symbol of the god Muhra, 340.

maSbuldubbCi,

MaStabba (god), 328. MaStabba- galgal, twin gods, Gemini, 340.

maHakal-p\ant, symbol of Ea, 336, 6.

metals of planets, 334. *m-i&-weapon, 264, 22. Muhra (god), 340; 341, 7. Musical instruments, 249, 23; 251,

29; 262, 33; 279, 22; 301, 27. Nana (goddess), 326, 7. Nannar, god of new moon, 277. Son of Enlil, 277, 22; 284, 12; 303; 308, 19; 309, 1; 327. Nappasi (goddess), 303 n. 6. Nebo (god), 294; 297; 299. Negun (god), 339, 12. Firegod, 342.

Nergal (god), 304; 306. Nigin marra, title of mother goddess, 289, 8; 328, 15. nigkalalagH, kettle drum, symbol of

Nergal, 339, 14. Nina (goddess), 270; 336. Ninazu (god), title of Nergal, 272, 47.

Nindagud (god), 339, 15; 304. NindaSurimma, mother name of

Enlil, 302. Nin-duazag, mother name of Enlil, 302.

Ningal (goddess), 303. NingiSzida (god), 306, 20. Ninhabursildu (goddess), 336, 2. Ninharsag (goddess), 272; 302;

318; 320. Ninkarnunna (goddess), 304, 4. Ninki, mother name of Enlil, 302; 307.

Ninliga (goddess), 272.

Ninlil (goddess), 258; 259; 261;

267; 302; 337; 338. Ninmah (goddess), 337. Ninmar(ki), goddess of, 269, 5

Ninsar, title of Nergal, 339, 14. Ninsig, title of Ea as god of metallurgy, 340, 28; 305, 9. Ninsun (goddess), 304. Nintud (goddess), 316; 318; 320; 321.

Ninul, Nimul, mother names of

Enlil, 302; 307. NinuraSa (god), 256; 336; 337;

338; 339. Ninurra, title of Ea, 340. Ninzianna, title of Ninlil, 302, 8. Nippur (city), 248; 259; 266;

268; 295. Nunammir, title of Enlil, 258, 5. Nusku, firegod, 337, 20; 303, 328. Opis (city). Northern and southern

Opis, 311. See KeS. Papsukkal (god), 337, 21. Papilsag, god of Larak, 306. Queen of heaven, 304. Ramman (god), 338. Sadarnunna, consort of Nusku, 303,

15; SBP. 152 note i. sagar, liturgical rubric, 277, 16; 279.

Sakkut (god), 341, 8. Sakkutmah, 329, 21. See also 337, 19; 338, 22.

laldlu, plant, symbol of Ninurta,

336, 7. SamaS (god), 305, 14. forar-weapon, 274, 18. latiam, religious title, 274. Sentur, title of Ninlil, 303, 10. Serah (god), Semitic title of Serpent- god as patron of vegetation, 303, i6 = SBP. 152, 10. seven gods, 338, 29; 303, io. seven-headed weapon, 340. Silakki (god), 341.

silver, metal of Anu, i. e., moon god, 337. 10.

limit, cypress, symbol of Adad, 339, 7.

limlaUwood, symbol of a deity, 338, 5.

lim{u_} an aromat, symbol of Ninurta, 339, 9.

Sin (god), 263; 277; 279.

Single song services, 240.

lipatu, wool, symbol of Labartu, 339.

Sippar(ki), 301, 21.

Sirar(ki), 270.

Suddam, title of Gula, 306, 32 = SBP. 160, 18. For this title of Gula of Suruppak, see p. 177 n. 4 in part 2 of this volume. Usually a title of Aja or Ishtar as deities of light. Since ^dSukurru or Gula of Suruppak is the same as Suddam mother of ESabba, the temple ESabba must be located in Suruppak.

Sulpae, title of Enlil, 303; 320.

Sumer, 259; 283.

Sunirda, title of the goddess Aja,

304.

Suruppak (city), 277, 20; 278, 25.

Symbols of deities, 336 ff.

tallu, part of a door, 275, 20.

tammarisk, symbol of Anu, 336, 4.

Tammuz (god), 270; Hymn of, 285; 336, 5.

tiraiagga, sacred grove, 289, 17.

Titular litanies, 236; 302 ff.

UbSukkinna, hall of assembly, 247, 3

Uddagubba, messenger of the Word, 283.

udutila, symbol of Girra, 340, 19.

Ur (city), 277; 278; 279; 282 384. Ungal (god), 340; cf. 306, 31. UraSa (god), 326; 258,6; 260; 302, 2.

Ur-Engur, cult hymn of, 243.

UrumaS (god), 320.

urusagga, chief city, title of I sin,

289, 16; 306, 24. Utta-edde (god), 305, i7=SBP. 158, 4.

Weeping mother, 265; 280.

Word, 261, 28; 262, 29; 284; 294; 299; 308, 22; 315. - Hymn to the Word, 283.

Zagsal, rubric, 233 ft.) 276, 37.

Zarpanit (goddess), 294; 296; 297,

Zeus Dolichaeos, 334. His connection with silver borrowed from Babylonia, 342.

Zir (goddess), wife of Nannar, 303.

Zu (god), the eagle as symbol of the sun, 340, 29.

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* Ibid. 12-18.

* Ibid. 1. 19.

* Virolleaud, Sin, XXXII I. See Jastrow, Religion, II 505.

¹ See Sayce, Higher Criticism and the Verdict of the Monuments, 95 IT.

* I. * , the Tigris.

¹ For the original use of ki to designate only a city, see Sum. Gr. p. 58.

¹ This part of the tradition has in some way attached itself to Enoch in Hebrew. So far as Noah is concerned Hebrew tradition follows our epic and not the more current traditions discussed above.

*in-iu-ud, Obv. II 46; 111 20.

* mu-e-li-du-mu-un, Rev. II 41. The verb dumu is connected with the noun dumu, "son."

' Rev. II 42.

•Note for example Code of Hammurapi 44, 43, where Hammurapi speaks of Nintud as ummu bSniti, "my mother who begat me," a purely figurative expression which describes Nintud as the patroness of childbirth. Also Nebuchadnezzar speaks of the mother goddess as ^Mai ummu baniti-ia, VAB. IV 128, 16.

' In the same way, Innini the major type of mother goddess, is originally the sister and consort of Tammuz, the god of vegetation. For Aruru as sister of Enlil see Meek, BA X pt. 1 No. 11, 13, *A-ru-ru SAL+KU(abatu)^dMu-ul-lil-U, "Aruru sister of Enlil;" cf. Craig, RT.

19, 6 and BL„ 88, 3+34, 2. Note also that she is the aunt of Lillu, son of Enlil; [^d/t-ru-]ru ama-tur ^aLil-ra-ge, "Aruru the aunt of Lillu;" ^dLil-ra, i. e., Lir-ra is a son of Ninlil, consort of Enlil, CT. 24, 26, 107. Lirra, Lilla is a variant of Lillu, title of Ninib, son of Enlil, 11 R. 57, 66. The passage on which this relation of Aruru to the earth god is based was previously misunderstood; see SB P. 24, 3.

⁴ Col. 1 13 f. Here the verb is dim, ordinarily used for " to build "

3. i KeHki) a?ag-dib-bi⁽¹⁾nun⁽²⁾

7 en-dug—lag tug(?)-lal nam-mi-in 7. The beneficent lord hath clothed it with

(15)

8. a-d&g?-e utnun^{m d}En-ki ne-gab in-? 8. The ^(l6), lord Enki watches over it.

9. a-fyin^{Z)-a-an mu-e-gub 9. The baptizer treads.

to. Idl-e a-lu-bi ki-a{ag-ga-a-an dii(?)- 1 to. The ^(l7) in the holy place dwells.

du(?) e(?)ⁱ⁴⁾

11. en-du-sig⁽⁵⁾ abkal ubar-e-ne™ ka^{7) ki-^(S) 11. The lord, the councillor—the pro-

a-an ma-gdl-li-el | teg£es salute him with prostration to the

earth.

11 .^bIa........ Ul-a-ni su-mu-un-stg-gi-ne⁽⁹⁾ 11 .^btfl His they.....

12 RU URU-RU mu-ni-ib-bi⁽¹⁰⁾-ne j 12 the city humiliated they recite.

13 ma-ge gig-ga^(ll) mi-ni-ib-{a 13 with sorrow abounded.

I3.¹* [Jk?-] dlal-e g*-$u-mi-ni-ib-bi^{W) 1} I3.^bl8 The bound cried aloud.

14 ligir?^{lZ)-ra su&-sui mi-ni-ib-ta , 14 in desolation abounded.

14. ^bl8 [.. J\dug-[gi] si-ia-ba-ni-ib-sd j I4.^bls ... theharem truly she directed aright.

15. [.. J]-dug-ka-tal-bi al-dug⁽¹⁴⁾ 15 of the harem its festivity she

i made good.

⁽¹⁾ Var. Cstpb. 1992 Rev. 11 4 [nam-]mu-un-lal.

⁽²⁾ Var. Radau 8, omits.

⁽⁸⁾ So Radau. The prism has the sign UR Br. 11887 clearly written.

⁽⁴⁾ Var. Radau, 8, Idl-e ki-a^ag-ga nam-mi-in-durun(?).

⁽⁶⁾ So clearly Cstple. 1992 Rev. II 7.

⁽⁸⁾ The prism has ki clearly, not ku.

⁽⁹⁾ This line is preserved on Cstple. 1992 and Radau 8, but the prism omits it.

⁽¹⁰⁾ My copy Cstple. 1992 Rev. II 10 has ga, probably an error for bi.

⁽¹¹⁾ Var. Radau, ga-a-an; Cstple. 1992 simply gig. Note also line 10 a-an where the variant omits, a-an is therefore an adverbial ending having the same force as the oblique ending a; see Sum. Gr. §79 and SB P. 40, 23 bar-tul-ba-dm (a-an) = ina luklilu. This line would be rendered into Semitic by ina mur$i ultabarri, cf. IV R 24 No. 3, 21.

(13) _sjg_{n on t}|_ie prism i_s clearly not the one given by Radau. My collation has Ligir is, however, the most probable rendering.

^Cstple. 1992 omits the three preceding lines.

(16) A title of Enki as a god of the water cult.

"design" occurs rarely without the abstract prefix gil and is then rendered by the loan-word iarru in Semitic, ki or irfitu has here the meaning "ground," and lar-ki would mean "a plan designed on the ground," from which man was patterned. For the idea compare ki-a &ar-ra — la ina kafykar aril, Haupt, ASKT. 86, 72. In the passage cited above p. 22 Mami recites an incantation over the clay from which she moulds the fourteen mothers.

¹ See tablet No. 4561, Rev. II 44. Also Enki is said to have created from clay the minor deities who preside over brickmakers, carpenters, jewelers and various arts; see Weissbach, Miscl. 32, 26.

* Except in the titles, tud, Rev. II 4; ban& obi ^UvEn-lil, SB P. 84, 15; bant ili u iarri balA itti-ka, PSBA. 1912, 153 I. 14.

* ameliti ibtani.

*lir amcl&li, "the seed of mankind," ». e., those from whom mankind descended. Adapa is called the (ir ameldii, which obviously reveals a tradition that Adapa was the first created man, Dhorme, Cboix, 158, 12.

15.... iUti dunani-tu i-ba-at-li u

¹ Certainly not ib-du-u.

¹ Cf. Rev. 20.

¹ tu4i-e-lu-ul, might answer to the traces on the tablet.

¹ 2 fu-J/a-lri ib~ni].

⁴ Dhorme, Cboix, 86, 22, bul ftri li-kin napilti ina firi ibtani, "The cattle of the field, the creatures of the breath of life, he fashioned in the field."

BjMfiovt t' (vSvraroio yovas, rfi cpya diSyAa Tijytvfwv, o I X.vypov iir Ovpavov io~ra£avro %ripiM yovrfi to itpovdtv, odev yevos «£«ytvovro @vrfrS)v, ot Kara yaSav iir tip itov aliv tacri.

¹ it-ti-sw "with him," "in company with him."

*etb Jab'web.

* This is of course the proper pronunciation of the letters

* So Lidsbarski: G. A. Cooke, North Semitic Inscriptions 135 follows Clermont-Ganneau who renders, "O ladies fjawwatb Elath and Milkath."

'Oxford, Clarendon Press, 1914.

i D®*; Babylonian I6mu, Arabic sitnu, ismu. This word has apparently no connection with the verb D't?, Mmu, Arab, l&ma, to fix, determine, whence iimtu fate.

* Frag. Scheil, 4.

* ^auEa ki-ma rid-di ina a-me-lu-ti ib-ni-iu. Assyriologists have argued from this passage that Adapa was not the first man since he is spoken of as living among men. It would not be wise to test a mythological and poetic statement by the strictures of logic. In any event Adapa belongs to the first race of men (see Dhorme, 158, 12 last fragment of the Adapa legend, where Adapa is the ?Jr ameluti, "seed of men," "ancestor of the human race) and he was created by the creator god Ea.

* So Dhorme, 149 n. 8, which see for other views which make Adapa one of the Anunnaki. But no passage mentions A. as a god.

* Anu commands that Adapa be brought. This is clearly the meaning of the passage, Knudtzon, against Dhorme, 153, 13.

1. [ ^UuA-nu a-ma-ta an-ni-]ii ina le-

mi-iu

2. lil-si na-ra-ru i-kab-bi ina ug-]gat lib-

bi-iu

3. [li-il-gu-ni-lu] mar lip-ri i-lap-par

4. [banana ulajbassuma ana ^UvE-a m]u-

du-b lib-bi Hani rabtiti

5. Ua ] PI. i-bar-rum

6. [fu~u it-ti-bi a-na bit ^UuE-a] Ur -ri ka-la-di

7. [ ]ma a-ma-ti ul-ta-bil

8. [A-da-pa ik-lu-ud-ma il-ki-]lu a-na iar-ri

°*E-a

9 ri il-tap-pa-a[s-su]

10. l^UuE-a ba-si-su rap-sa]u{-ni mu-du-u

lib-bi Hani rabiiti

11. [a-na ]lame-e u-kan-lu

12 ma-la-a ul4al-U-lu

13 u-ba-lil-ma kar-ra ul4ap-pi-[is-$u]

14. [te-ma il-kun-lu a-ma-]ta i-kab-bi-lu

15. [A-da-pa a-na pa-ni ^UuA-ni]Iar-ri at-ta

ta-lak-ma

16. [fr-nti lu-ta-]bil-ma a-ma-ti $a-bat

17. [a-na iami-e ina e-li-ka a-]na b&bi ^UuA-ni

ina U-fci-ka

18. [ina bdbi ^UuA~ni ^UvDumu-{i u ^iluGiU^i-

da] i{-{a-a{-{u

¹ At the end of his speech Adapa says that in his anger he cursed the south wind, at-ta- \a-ar, see Dhorme i55, 18. This verb is used in a magical sense, see Muss-Arnolt, Lexicon, 661.

¹ This passage is parallel to the statement in the Hebrew where Jahweh makes tunics of skin for Adam and Eve. These passages follow immediately upon the loss of immortality in both compositions.

⁴ The end of the sign mi can be read.

¹ Sic! I cannot explain the overhanging vowel.

* %arba-lu, probably in the sense of horrible action, or conduct.

¹ mu-na-ab-bi: the root bi is used in the sense of "to name, proclaim," only in the syllabar, 93058 Rev. 7 in CT. 12, 21. In connected texts bi is invariably used in the sense of "to speak, say, command," Assyr. hab&. By taking Ninharsag as the subject and by giving bi its ordinary meaning we have a sense in keeping with Genesis 2, 16, "And Jahweh commanded man,

saying, 'from every tree of the garden thou shalt eat, but from the tree of the knowledge.of good and evil thou shalt not eat.' " In the translation which I formerly gave out I interpreted mu-rui-ab-bi by "he named" and took lugal-mu, i. e., Tagtug lor the subject. This of course led to the inference that Tagtug named the plants; I was influenced here by the Biblical narrative, in which Adam is said to have given names to all living things. This view is probably erroneous. The Sumerian verb for "to give a name to" is mu-sd-a=luma nabA, "to proclaim a name," or simply nab& to name. Cf. CT. 13, 36, 4: [eri\a^ag-ga kidur lag-dug-ga-ge-e-ne mu mai-a mi-ni-in-sd-a=dlu el-lum lu-bat fu-ub lib-bi-bt-nu fi-rii im-bu-u, "The holy city, abode of their hearts' joy, he named with a far-famed name."

• Lantech is a Hebrew transcript of lum^a, the Sumerian title of Enki(Ea) as patron of the temple musicians, CT. 25, 48, 11; 24, 43, 120. See Babylonian Liturgies XXIV f.

¹ The verb ba-ra-an-bar-ri-en, Rev. 11 38, may be sec. per. sing., since the ending e+n could well be an emphatic form of the sec. per. ending e; cf. bi-ib-si-il-e, Var. im-h-il-li-m=tulalli{, SBP. 198, 15. But the verb ba-dig-gi-a which must have the same subject is in the third per. It is better to regard e+n as an emphatic 3d per. future. Sum. Cr. §§223 f.

> See PSBA. 1914, 193.

¹ The fact that Tagtug has the divine title is here to be explained by the Sumerian habit of raising kings to the rank of the gods during their reigns. This custom became established during the period of the Ur dynasty several centuries before our tablet was written. It can not have the same sense as the translation of Utanapiitim to the lands of the blessed where he attained immortality.

* Also the Biblical narrative P. Gen. 1-2, 4^b+5+6, 9 If., knows of no expulsion from Paradise, but in the days of Noah the world became full of violence and wickedness, wherefore Jahweh sent the deluge. (Gen. 5, 39 is taken from J.)

¹ The serpent accuses God of jealousy (3, 5) but this is not to be regarded as the doctrine held by the author of J.

¹ Gen. 9, 1-8.

* Gen. 11, 10-26. Omitting Shem who belongs to the race before the Flood, we have ArpakSad 438 years, Shelah 433, 'Eber 464, Peleg 239, Re'u 239, SerQg 230, N5h6r 148, and Terah 20$. (Masoretic text; Samaritan and Greek differ slightly.)

¹ See the Introduction to the author's Babylonian Liturgies.

* For genealogical purposes Abel is not included in this list. But when the list is understood in its true perspective, Abel must be included, since this document places upon him the rfile of patron of flocks and originator of animal sacrifice.

¹ Note how P. changes Mebijjael, a name connected with healing, into Mdhdldl-ll, "Praise of God." For Cain which at least in Gen. 4, 22 means a "smith," P. has Kiti&n, probably a word having no connection with Kayin, Cain, 'irad, surely a Sumerian or Babylonian word for some craft, is distorted to Yired, "descent."

¹ This name is also Sumerian and means "The prot6g£ of the god Tu(d)4u(d)" The title Tu-tu is one assumed by Marduk in religious texts of the Assyrian period but even there it does not always apply to him, e. g._t Sburpu IV 45, VI11, 12. This title is unknown before the period of the first Babyl. dynasty. Hammurapi uses it without a determinative for god, Code III 10, and in that section which refers to Barsippa. The title occurs in n.pra. of this period but not before or after. It may be that the two n.pra. in V R. 44, 6 and 21, which are Sumerian and contain this title, belong to this period or slightly earlier. In the Assyrian rendering the god Marduk is used, but this is based upon later views. In the period when these names were given Tu4u probably referred to some other god, probably a local deity of Suruppak or Larak, both of which seem to have been parts of the famous city Isin, where Gula was worshipped, SBP. 160 n. 7 and 26,7. It is surprising that a deity who appears so late in the history of the pantheon should here occur in the name of a prehistoric Sumerian ruler.

¹ ka-lu-gal = la-ba-fu, Syn. I a ban appi, CT. 13, 32, 11.

⁴ The sign is clearly te but ub should be expected.

* Nimlla, the consort and daughter of Enki, is obviously identical with Damgalnunna in II 32, who is there represented as the daughter of Enki. Damgalnunna is ordinarily represented as the consort of Enki in religious texts.

*The reading hi for ne is a suggestion of Poebel.

¹ luni'il, CT. 16, 45, 47.

⁴ See for another suggestion on this important line, PSBA. 1914, 256.

* /. e.₉ to perish.

5. ^dnin-tud ldg-ga-e-[ne nu-mu-un-

iu-te-bi)

7. galu-dumu idg-ga-e-ne nu-mur

un-iu-te-bi

¹ Probably the original of id-lu = lip&_t fat, tallow, AJSL. 28, 219. Cf. DP. 2d I 3.

^fThe same word in Gud. Cyl. A 18, 21 where it follows id-nun, butter.

•The verb im-da-lal occurs in Poebel, Cr. VI 4 ia~da-nc-ne im-da-lal, "With you he has been reckoned," 1. e., counted among the immortals. Cf. also line 2 1a-ad-da ie-im-da-ld, "With thee may he be reckoned." For lal in this sense note also ba-ab4al-en = tattadallu_t "Thou countest him," BE. 29, 7 Rev. 53.

¹ This sign which recurs in line 31 below has at the beginning an element identical with the first part of the sign gidim=utukku; also maikim—utukku, RA. 10, 71 II 10. In all other known examples this sign begins with PA. cf. Mani§tusu A 14, 6, etc. Some confusion between these two signs must be supposed to explain the form here.

⁴ nam is not negative here and the positive force can be paralleled; nam-ta-e-gdl = tapti, "thou hast opened," IV R 20 No. 2, 3; na-dm-m&-ni=ublamma, SBP. 172, 36; nam-ma-ra-i

(From his queen), "he caused him to go forth," SBP. 284, 16. iUi-ninnu-ta &g-ga nam-ta-h min- kam-ma t-Mi Hg-u-ne bi-dib, "From the chamber of Eninnu at daybreak he went forth and again to the temple at midday he went," Gud. Cyl. A 8, 1. gi^nam-mi-de, "he called," SAK. 12 VI 7; g&-nam*mi-in-de, CT. 16, 20, 132; cf. 22, 236. This nam is obviously the emphatic nam seen

• The second rehearsal omits the months 3-8. This form of recital describes in a vivid manner the gradual rise of the waters and the monotony of their long duration.

¹ See Thureau-Dangin in RA. 11, 53 for e indicating the second person both of the subject and object.

¹ /. e., Ninharsag will explain how Tagtug escaped the universal catastrophe, and secured

his pardon.

⁴ Read g&-tal = piriltu, Voc. Hittite. Berlin 7478 II 28.

* The sign is imperfectly made.

¹ This term appears to refer to exogenous plants whose fruits were used for food. ^%na in the verbal forms of lines 21-33 has probably a locative force, "therefrom."

^%phl, "to sculpture," pa$3$u, pa$adu. Both verbs are doubtful but for pa$adu compare Messerschmidt, KTA. 18, 7, JrijfV ladi ina agguUat iri lu-pi-$i-id_t "the living rock with bronze axes I hewed." Note also pll—purl^ullu, sculptor, and patturu, plate.

⁶ With this passage compare Genesis 6, 6: "And Jahweh repented that he had made man on the earth and he was vexed in his heart." See also on the idea of God's expressing regret for what he had done in Hebrew, Skinner, Genesis 151.

¹ Ninkasi is a title of GeStinana, the vine goddess.

¹ Text NEf

¹ The text has Id-Id; cf. Sum. Gr. §43 and p. 248 tul. 2.

² Uncertain. Ninazu, "Lord of healing," is an epithet of Nergal. 1 understand the line to mean, "May N. have Ninazu's skill."

•Cf. note 2.

sign came to mean ianabi (4/6) which in No. 4604 (pt.*2) actually means Ea. Dhorme

seems to be responsible for the reading Ur-Sbanabi, which Ungnad and Rogers have adopted.

Thureau-Dangin explained the origin of Ianabi, see OLZ. 1909, 383 and Sum. Gr. p. 121.

¹ This divinity is most certainly the subject of the address in No. 10673.

(88)

³ Restored from Ni. 10673 Rev. IV 4, and 4561 Obv. Ill 42.

¹The compound verb &-dug = bdtu, baril, behold, forms its imperative second singular in the unusual manner &-ga-e-d&g = bit, SBP. 138,27, for which we have the variant H-gd-e-dS, in IV R. 28* No. 4^5. Obviously the vowel e indicates the second person here and ga has the force of the imperative although ordinarily the optative of the first person. Still another variant is b-di-dug for u-ga-e-dug, SBP. 292, 1 ff., and for g>d see §50. Note the verb H-dug-gi, a participle conjugated with the verb me to be, H-dug-gi-im-mi, "I am beholding," Radau, Miseel. 2, 16 = Sum. Gr. 197.

^aCf. baUlb me-a, CT. 15, 10 Rev. 9.

2. For the high-priest upon a ship

¹ The scribe has obviously written his text erroneously.

¹ Sumer is here employed in its original signification, as a name for the district about Nippur, see Sum. Gr. §1.

⁴gif"stg=gi$stg = ini > i-ti~igaru; cf. ZA. 24. 387; K. 4558 ii 14; ii R. 15a 22, etc.

•Conjectured restoration from the name of Aruru's temple in Kei. Cf. Nintud Ur-ra, BL. 72, 13.

⁴ en-e probably refers to Enlil here; cf. Enlil e-ne dg-ii-da-ge, "lord of justice/' Zim. KL. 9,4.

•Cf. zlmmern, KL. 65, 14 ff.

* See Sunt. Gr. 248 n. 2.

⁶Cf. e-ne-ra = ana lalu, BL. 122, 28.

¹ nun-ur-ra is a title of Ea as god of pottery, 11 Raw. 58, 57. nunur in our passage probably represents nunir>nunur= Ramman la me^ri, "R. of battle," CT. 24, 41, 63.

³1 have regarded sumur as a variant of lugar=gimillu.

⁴ sag appears to have been omitted. Note also the omission of mu in Obv. 3.

⁶ For gim > gin > kin — kima_t cf. CT. 15, 11, 6, le-gim, Var. ie-gi-in, VAT. 617 in ZA. 25, 201. Also ki=kin = kima> below, lines 9 f.

⁸ For nam-tag. Cf. alaga>alada_t field, Man. Tammu{ V 9.

*Cf. IV R. 17a 38.

i............................ (ki) uru ba-diba lu-sui- i the city, which has been

3. nitalam-a-ni dingir nam-

4- Idg-ga-a er- in- bil- bil- e

5. a gilgal-gul-la e-gul-la-mu gig-

ga-bi ni-im-me

³ dH is employed as a variant of dug.

¹ The variant has er-gig mu-un-fei-Ul.

¹ Var. adds which is necessary to the sense.

6 Var. mu.

•On abstracts formed with prefixed ki, see Sum. Gr. §152.

⁷ e is evidently not an indication of the second person here but produces the effect of an umlaut on the vowel a; read bd-la-lal; see Sum. Gr., p. 35 note 6. For lu-lal, to bind, restrain, v. Historical and Religious Texts, p. 7 1. 18, and VR. 50a 65.

¹ The Semitic epic of Gilgamish calls them "brothers," afrd kilallan ($ei PI.), see Hauft, Nitnrodepos, p. 48 I. 173.

.... ra-gim im-ma-sud me- gim-bi

7 na -pi mu-ni-in-...

8 lar a-gim e-gal

9. [n]ad? niia&lam a-ni URU-

LU-da-

10 a-ni-da dam-a-ni-gim....

Id

11 ga-ni Dl-mu-du GIBIL

a-la-na-ba

12 nig-dug-ga la-ba-an-tag-gi

lu-gib-ba

13 a-ni ^da-nun-na-ge-ne kul-

im-ma-an-[?]

14 ba-e-gub ud-bi la-ba-ni-

ib-si

15 a-dug-ga-lu teg la-

ba-gdl

16 du ki-ba-dg-gd-bi igi-gdl-bi

ba-kur

17. la(?)lii nu-{u⁴-u-ne i-im-bal-bal-

e-ne

18. ...-sal-la Ur-Engur ga-gai-gim

a-ba-ni-in-ru-at

19. ... a-ni im-bar-gid-da-gim gal-bi

im-li-gub

20. ' nu-gd-ga-a nig- lag-gi lu-

nu-gid i-im-me

¹ REC. 290; see for this form PSBA. 1913, 277. For dim in the sense of "king/' see SBP. 292, 14 l-dim-ma, the royal house; probably in SBP. 14, 15, dim-ma-^u ki-nu-un-gam amal-tu ta-dm-gid-gtd, "thy lord is not reverenced, thy sheepfolds are demolished," where dim refers to Tammuz.

¹ See Bab. Ill 179.

*Cf. Historical and Religious Texts, p. 17, 12.

⁴ The sign is perhaps ba.

¹ Cf. BL. p. 30 No. 19, 3 and 35.

I The text has su clearly, but it is probably to be regarded as an error.

⁷ A-SU (with or without determinative t&g) ordinarily means fablu, a kind of garment, CT. 5, 3 I 5; RTC. 221 Rev. 3. The sign A is written win = "two."

⁸ According to II R. 32, 8, idranu, potash.

⁶Cf. Nip. 4577, 18 and SBH. 39, 3. The Semitic rendering is aplufyu, "boomerang," or miffu, "sickle."

*Cf. mi-ib-an-na-ge ug-gim kur-M d&g~gar-ra-a, "The weapon Mi-ib of Anu which, like a lion, roars against the strange land," Gud. Cyl. B 7, 24.

⁶ urudu? Cf. gil-kelda a cult utensil. •Cf. IV Raw. 20, No. 2b 3; 28J 14.

¹A tendency to regard the goddess of the nether world as she who possesses the tablet of fates probably refers to the summons to die passed on the living by the lord and queen of Arallu (Nergal and Allatu). For Nergal as scrutinizer of the dead, see Bab. VI 209 n. 8. The title dupiarrat arallt (scribe of Arallu), is employed of types of the queen of the land of the dead, *nin-[na]-an*na, a title of the mother goddess Innini, CT. 16, 3, 95. Nin-geHin-na, vine goddess, identified with the western mother goddess bilit $iri (and related to the grain goddess Nidaba), IV R. 2jb 29; Dhorme, Cboix 214, 47. For Nidaba as the scribe.who holds a tablet and knows the secrets of the stars and all wisdom, see Tammuf and Isbtar 151 f. The goddess Mar-uru- lal-an-ki ad-gi-gl abubi latni u ir$itim mSlikaiu), a name for Allatu is the mother of the god of fate Namtar, CT. 25, 5, 29, who is the messenger of this same Allatu or EriSkigal, ibid. 31 = 24, 34, 4. Namtar is probably the herald whom the queen of Arallu sends forth to cause men to die and bring them to her realm, hence he is a pest god. The goddess Rulbilag his consort, CT. 24, 34, 5=25, 5, 32, is only another form of the goddess who holds the tablet on which the hour of death for each man was written. This function originally belonged to the great mother goddess, especially in her capacity as queen of the land of the dead. In her later evolution this duty of keeping the roll of fate fell to the inferior deity RuSbiSag or more frequently to Nidaba or GeStinanna when she became the patroness of letters. The main fact to be emphasized is the theory of the divine summons to die, laid by the mother goddess upon man and executed by her herald the "God of Fate."

⁴ kelda-a^ag is a title of Arallu in CT. 16, 3, 95.

120, 21.

¹ GAR when employed as a standard of linear measure has probably the value ninda,

variant of Br. 4658 (ninda) = iUa, side, border, and equals twelve cubits or between five and six yards, see Thureau-Dangin, JA. 1909, p. 97. Hence the word Jtan nindanafa, means a reed

measure 12 cubits long. For the usual gi-ninda-gan=kan nindanaku, "reed of the side of a field,"

SAI. 1558, we have gi GAR (ninda)-na=*ka-an [nindanaku], VR. 32, 43. Our text has \an

!Cf. BE. 31 No. 5$ I. 1.

¹ We expect here a reference to the perishing of Gilgamish, an ancient king who died for his people in the rdle of Tammuz. See Tamrnui and Ishtar 40.

'For R = 1kJ, sud = malabu_t cf. the gunufied form of this sign with values su$_p II R. 26a 15 and sub, RA. 10, 79, 9. All these roots sud_t lud_t sub_t lub have the meaning shine.

⁴ For abrig-ldg, favorable omen, see IV Raw. 35 No. 6 II 1; King, LIH., 61, 26.

9 stood aside.

10. upon his head not did he

5._ ^den-lil sib da-ri kalam-ma

¹ For 7u in the same sense, but of animals, see PBS. X pt. 1 p. 70, 17, nu-ub-fu, "he knew

⁹ The interpretation of this line is uncertain. Also the signs Idg and ki are uncertain.

⁴Cf. = CT. 17, 12, 12.

* Probably ra emphatic.

⁶ This title of Ninurash as god of the planet Saturn occurs in other texts only in the late period; umun genna, i. e., bilu kamanu_y PSBA. 1908, 80 1. 12; *gcnna is a regular title of Saturn in astronomical texts of the late period, Camby. 400 Rev. 41; RA. 8, 57.

IV R. 19a 13; BA. V 620, 19. mu4u ad-di ad-di-{u nam-mu_t Ni. 4596, 31 in this volume.

^Kia-am occurs in lines 38 and 56, here after gi-gid( = malilu), flute. Also in K-L., 200, 17, lul-balag-a ra-dug ia-am (a-atn, the word occurs in connection with a word for flute (ligti). ta- am contains, probably, the element ia, second per. sing.

⁶ la la imtnabaru; see II R. 36a 27 and SBP. 86, 28.

¹ The sign has one superfluous wedge at the end.

^llum in this passage has clearly the same meaning as the cognate lam.

⁵ This form of the sign DAM is probably peculiar to the script of Larsa where this tablet was apparently written.

⁶ sag > sab for the root sag is here found for the first time. Compare SBP. 96, 10 and 332, 9; also Radau, Miscel. 17, 13.

¹ Hilprecht, BE. 29 pi. 30, published the reverse of this tablet on which the names of the sixteen kings of Isin stood. Poebel has given the entire text in PBS. V pi. iv.

¹ The same epithet is applied to Libit-Ishtar, fifth king of the Isin dynasty, Zimmern, KL. 199, 4. Cf. Cst. 1378, 10 in BE. XXXI, numun ma-ni-i-i, "he exalted his race." See also Ni. 7184, 19.

⁴ Title ordinarily applied to the river god, ^did-lu-RU-TIG, IV R. 14 No. 2, 22; BL. No. 46, 8; SBH. 132, 40; CT. IV 3a 33. See also BL. No. 69, 9.

⁶ See also Historical and Religious Texts, Cst. 1575.

2. nig-erim nig-d-{ig-ga* ga-lam-e

nig-si-sd mti-mti*

¹ Variant of ut-k&-€=pad1l.

⁸ Cf. RA. 9, 112 I 13, and Nouvelles FoutUes de TeUo, p. 214 II 7.

⁴md-m& is an intensive formation from md=ban&.

¹ galaba occurs in business documents of this period in the sense of "property derived from an inheritance," Chiera, PBS. VIII 18, 7; 15, 5 and Poebel, BE. VI 36, 6.

³ en is probably a phonetic indication after the sign DU to read gin or gen = kinu.

¹ ul for mul_t see SBP. 150, 7. These titles of Enlil and Ninlil refer apparently to the stars, a sphere wholly foreign to the powers of the earth gods. Perhaps this idea is based upon a tendency towards monotheism.

³ The Igigi are probably referred to here.

⁴ On this inflection of the subjunctive, see §221 and ibid, note 3.

*ie-am occurs also in the title of Enlil, ie-dm-gi-na, CT. 24, 22, 105. A connection with {en, gan, abundance, suggests itself and the reading ie-a-an may be preferable.

9........ ad im-ma-an-gar-gar

* dim-dul-dul is probably a plural (Sum. Gr. §124) of dim-diil=dim-gul=TAR-kuUu_f Syl. b 284 and note also dim-gul gloss on MA-MUK, CT. 25, 4, 8. The original word appears to have been dimgul=TAR-kullu, and later dim-gal, Br. 2759, SAI. 1873, SAK. 270. The Assyriologists usually render the loan-word by tarkullu, Delitzsch, H. W„ 303 and Muss- Arnolt, Lexicon 359 or tarkullu, ibid. 1193. TAR may have the value dim and the word should be t/dimgallu, "cable? of a ship," or "mast? of a ship," and this is the only meaning hitherto assigned to TAR-kullu. The word, however, like markasu (see RA. 12 p. 82) has also the meaning, master workman, leader, chieftain. Note dim-gal=markasu, Syn. of ummdnu, "master workmen," RA. 12 p. 82, and Gudea, Cyl. A. 22, 11, dim-gal-gal ki-a mi-ni-sig-sig, "The master workmen placed it in the earth." The goddess Gunura is dim-gal kalam-ma = TAR-kul~li m&lim, "leader of the Land," SBP. 160, 13. Ishtar is the dim-gal, "directress" of Babylon, SBH. 97, 65. ^1IUNinuraSa is the dimgul an-na, chieftain of heaven, II R. 57b 56 and dimgal kalam-ma, "chieftain of the Land," ibid. 59.

'For kunin~kuninu_r kuninnu, kuninnaiu_t "a reed vessel" usually employed for mixed wines. gi-nig-kas-sur-ra — ikanH) kuninnatu, Syn. mam^A, vessel for mixed wine, CT. 14,47, BM.43, 339, 15; ii R. 22 No. 1 Rev. 8, Syn. lutukku, basket, ku-ni-nu in a list of synonyms for pisannu, vessel, is explained by pat-ltu-u], reed basket, K. 10452, 14 in CT. 18, 20.

i. The city the spirit of wrath

¹ For gil-gi-gal=mibir fa {amari, see Zimmern, Iftar und $altu, p. 6. In all the known examples of this liturgical note the interlude of two or three lines is separated from the ki-lub-gu by lines. Here the interlude or choral .reflection apparently ends the liturgy, which is contrary to all known rules of liturgical practice. ki-fub-gH, the ordinary word for "strophe" (flru, see Zimmern, ibid. p. 5), is followed by da which occurs only here. The word is often shortened to ki-fub, and ki-su, see BL. p. xlv.

^a Literally "(God) is made compassionate."

⁶Cf. SBP. 276, 1.

⁶ See note on line 4.

ⁿ This sign occurs also in the Berlin Astrolab, Hemerologie, 1. 27, where it is rendered by "^uGibil, fire. Also ^dKA+NE = ^iluGibil, Weidner, Handbucb 86, 4. See also MVAG. 1913,

2 p. 71 1. 84. In K. 8503 Obv. 3 ( = CT. XI 28) the Sumerian value is________ al-gud(?)=libbaiu,

anger. See below, line 24.

¹¹ Cf. nam-giib-dar in PBS. V 25 V 39. In line 20 the phrase recurs; ma is not wholly certain. The sign appears to be Meissner, SAI. 3752.

^u Sic! Read d-gdl.

¹⁴ Var. idr-ra-da-ni, being the suffixed conjugation to indicate a relative phrase. The form Idr-ra-en-e is the gerundive participle in the status rectus. See Sum. Gr. §210.

¹ Var. ka.

* Var. na.

⁴ Probably for d-gdl.

⁶ The text has again da for d.

⁶ See Sum. Gr. §126.

⁸ This is the first example of (In as the possessive suffix of the 2d per. pi. Note the peculiar participial conjugation in which the verb me (esse) is separated from the participle gid-d&g*= nas&bu.

¹ For the root du^kalH₉ to restrain, compare on the one hand d& = ne'u, CT. 19, 11 b 24, and on the other, DU = kaI&, Br. 4886, SAL 3332. The sign DU in this sense was read gin by me in Sum. Gr. 216 on the basis of gi = ne'u_t p. 215. In any case gub means kal&, v. ZA. 10, 197, 16 lag si-sd gub-ba = kulur libbi liklt, "may contentment of heart abide," where likli is a syn. of litfif. Note also nam-ka-gar galu galu-ra in-na-gub-bi-tl, "Man against man restrains complaint/' Strassmaier, Warka 34, 16; ba-an-gub-ba-ba, it is restrained, Zim. K-L., 26 Rev. Ill 3. However, dU has probably this sense here and note dib_t dub, to confine, seize, Sum. Gr. 209, 211.

¹ Cf. Liturgies, p. 2 n. 4.

⁹ For nun, protector, v. CT. 16, 7, 243 nu-un-md ie-a, "my protector may he Also the noun formation with nin > in > en, in en-nu-un=ma$artu.

¹ See BL. XLV.

form ^dbabbar-gim ud-da-im-4a. The same series appears in the catalogue IV R. 53 I 35 with the addition of bar-U and this occurs also at the end of K. 3264, see SBP. 237. [This term bar-it, occurs as yet outside the catalogue I 34-39 only on K. 3264 and seems to indicate that a well-known series has been rearranged.] The titles of series are invariably identical with their first lines. The idea in the title of our liturgy seems to be nearly identical with the title of the other Enlil liturgy ^dbabbar-gim l-ta.

.^sThis restoration is not justified by the parallel passages for the names of secular buildings do not occur in liturgies. The egalla or ekallu, "palace" at Nippur recurs frequently in the documents excavated there, see Expository Times XX 457.

⁵ EulmaS was the temple of Anunit in Sippar-Anunit or Agade, see Tammu{ and Isbtar₉ 98 f. It is, therefore, probable that e-nun renders here the Semitic name Anunitum.

⁶ Here begins a passage to the Word or Spirit of Wrath which occurs also in SBH. 95, 19 ff. = SBP. 187, 19 ff. where it forms part of the second tablet of a weeping mother series.

¹ Var. has another emphatic particle nam; da postfixed passive particle.

² Var. mu-dm-da-ab-gi-gi.

⁹ Var. m{tl-a-[na\ nam-mi-gub.

⁴ Var. mi-a-na.

• Var.

⁶ Var. gH-g&r-ru. For gur, gurgur, gugur, to sweep away, see Sum. Gr. 219 gur 1.

⁷ These signs correspond to KL. 12 I 16. Here the tablet certainly had a line to separate the first melody from the second. Line 27 probably contained an interlude, or, if no interlude was used here, then it represents the first line of some melody. That the first melody ended here seems evident from the fact that line 25 is the end of a melody on the variant SBH. 95, 37 and also SBP. 40, 35 Zimmern, KL. X, states that KL. No. 33 I, which contains the ends of lines ending a-ri, is a duplicate of the end of this column, but this is not probable.

6. le-ib tin-tir-(ki)-ka-[ta 6-sag-il-la

ba

8. ga-la-an-bi gi-gi-a⁶ [ba-da-an-tul]

9. uru u-mu-un^%-[bi li li-be-in-tar-

ra-bi

^f tnudul < mudur=battu, staff, Sum. Gr. 229. Here used also for shepherd. This word goes back to ntu-£ur=GI$-BU=mudulu, gaiifu, mallu, gillalU, all words for pole, baton, staff, Voc. Berlin, 2559, Col. IV (unpublished). The variant has the ordinary word for lord, mulu; cf. SBP. 238, 25; 66, 16; SBH. 77, 24.

•Var. gir-gir; the root is gir (1), hasten, be nervous, galaiu; this fixes also the original tense of l&pu, tread, hasten.

* ne=nad.

⁶ Var. gudu-bi asilal-ld=palissu duppir, v. Frank, Religion, 64 n. 147.

⁷ Or lagar, labar, see BL. XIX f.

^a Var. ib.

11 Var. idim-ma-ra [sic!].

¹⁴ Var. a.

"Here begins KL. 33 II.

* KL. 12 II 15, 33 II 3 and SBH. 62, 23 have ri; on the other hand, IV R. 1 \a 47 and Nip. 4561 I 14 have iu which is obviously the true reading. See also SBH. 92b 21.

• Probably for im-ta-ni-i-a = uM$Ulunuti

*Cf. SBP. 154, 26.

² Var. SBP. 154, 27 if-mai; see also 106, 7 and IV R. 21* No. 2 Rev. 13. On the other hand 112, 26 has ama dumu~ma£, "Mother of the famous son," 1. e._t Marduk. el-ma£ and S- mai=bit jtri, probably a technical name. For the S-ma£ of E-ninnu at Lagash, see SAK. 68 V 51 (and 88 1), IV 1, built by the canal, bit $lri probably means the building constructed near a river where the priests performed the rituals of the water-cult of Eridu, see BL. 115 n. 1. mai should not render $iru, "field, highland," but }1ru, "lofty." The Sumerian has no reference to "field" but designates this building as the "house of the famous one," i. e., house of Marduk god of the water cult.

¹ "Mother" is probably used in a pregnant sense, "she who bore the god of the house of the water cult."

⁴ Read dam with all variants; Zimmern has ttin.

⁶ For pb-nutt-an-ki-ge, which is obviously the original of the meaningless PAP-nun-an-ki, PAP-nun-na-ki. The text of SBH. 85, 29 has sukkal which should be corrected to nun. The name seems to mean "Canal of the prince (Ea) of heaven and earth."

⁶ SBH. 85, 30 has the sign MAL, or but sukkal alone is correct. Cf. SBH. 134, 23.

⁸ Probable reading for an unintelligible sign. Cf. SBP. 154, 31; BL. No. 56 Rev. 28 etc.

* Title of Ramman? Cf., however, SBH. 56, 2 for {u-ri(/)

⁵ Restore, 20. s[ub U-ib i-kur-ra ki-di-tn-gt-gi]

21. \ki-lb-bi-im balag gb-de ]??

• Here ended this column.

¹ Sic!

* gab-gab=£ab~$ab = kumtnuru.

'On this root see Sum. Gr. 214.

⁴ Cf. IV R. 2i*& 30 and Sum. Gr. §216.

* Cf. ibid. 32. Var. KL. 84 la-ab gi-ii, etc.

⁶ Cf. BL. 49, 4 and Meek, No. 32, 4. Var. KL. 84, 1 has lag ^dgu-la, a title of Anu.

•Cf. SBP. 90, 14.

¹⁰ The remaining lines are completed by KL. No. 16 left column. Here begins a variant in SBH. 70, 26. For la-e-ta this text has ia-e^i'6 or it is for \al > \a > for the

tendency of open a to become e_f cf. a-s6 > e-su > e-{u, CT. 25, 20, 18; i=m&, "water," for a, in KL. 2 I 10, i ur&, "waters of the city," for which Scheil, Tammui has a-urd. t nu-me-a, "waters were not," KL. 44 r. 5, cf. BL. 207, III 2 and p. no note. For l-bar-ra, SBH. has M>a*ra=*dr-ba, energetic imperative, "hasten." \a-e4a, {i-{i-ta = irta upi. For upiI, cf. King, Magic 20, 12 and SBH. 128, r. 37.

³ Although Barsippa is not mentioned yet Ezida probably refers to the temple of Nebo there and not to the Nebo chapel in Esagilla.

⁵ Probably both temples in quarters of Erech, cf. BL. 93, 7 f.; 78, 31 f. According to

1. i-de-{u [u-di-{u nu- kul-u)

2. tig-{u ki-ma-al-[la nu-gi- g't]* *

3. lag-iu bal-bal li-lu ni^A-kul-u

4. dam be-ib-tag ki-kur-ra be-in-sub

5. a5-Sa-ta fi-Se-zib-ma a-Sar 5a- nim-ma id-di

6. dumu be-ib-tag nim-nim-ma be-

in-lub

8. mu-un-ga ma-al-la kur-ri ba-an-

li-em^h

10. gil-sa-a ma-al-la kur-ri⁶ [lu-kut-

ta la-kin-ta ana nakri taddin]

11. gil-gu-^a-aiag-ga-bi kur-ri ba-an-

da-tul

¹ Here preceded a litany like SBP. 136, 12-19. ^fCf. SBP. 136,20.

^s Reisner gives traces of two signs which do not resemble gi. Cf. SBP. 138, 21. ⁴ So IV R. 28* a 37 = SBH. 82, 4. But SBH. 131, 48 nu-kuUH. ni is here a variant of nu and may perhaps have the value li; li, la frequently occurs as phonetic variants of nu.

⁴ So Messerschmidt-Ungnad in Meissner, SAI. 6800. Literally, "in the highlands."

*Cf. BL. XVI 25. • Cf. ibid. 27.

¹ Sic! but 1. 14 ina irli-lu, where the masc. lu is employed. The pronouns can hardly refer to lukuttu for no evidence supports a meaning "chapel, shrine" for h uilu, although it has the meaning "treasure house," BL. 47, 18. Cf. SBH. 84, 9 where it is a synonym of makkuru. la and lu cannot both be employed of the same antecedent unless one or the other is an error. I regard bttu, "temple" (always masc.) as the antecedent and la as an error.

* Sic! an error. Strike bi.

¹ Restoration uncertain. Cf. SBP. 276, 9.

⁴ Here the scribe has written, 6 mu-mel gu-ud-mel, "Six lines are omitted." These six lines are:

(2) i-b&r-ra e-sd-kud-kalama ie, "Ebarra and Esakudkalama, etc."

(4) i-sag-U4a l-tiir-kalama ie, "Esagilla and Eturkalama, etc."

(5) bad-si-ab-ba-(ki) ie. "Barsippa, etc."

(6) i-p-da 11 i-mai-ti~la ie, "Ezida and the shrine Emahtila, etc."

See for these lines SBP. 238, 6-11.

1.................................................... the temple....

2. Ob exalted one, lord of lands.

3 lord Enlil.

4. Oh exalted one, heroic Asar-

ludug.

5. Mighty hero, lord Enbilulu.

6. Faithful shepherd, shepherd of

the dark-headed peoples.⁴

7. Thou who hast covered thy

head with a garment.

9. Thy heart like a reed water

bucket thou hast covered.

10. Exalted one thou hast put thine

ears in thy bosom.

11. Thy command who can alter?

13. Thy help who can surpass?

⁴ Aruru, title of Nintud, is a type of the mother goddess and usually kept distinct from all married types. She and Enlil were originally sister and brother, like Innini and Tammuz. Enlil developed into a local bil of Nippur and his consort, originally his sister Aruru, was given the name Ninlil. In Meek, ii, 13 = BL. No. 88, 3+N0. 34, 2=Craig, RT. 19, 6, Aruru is a title of Ninlil and also sister of Enlil, where the ancient prehistoric relation survives as here.

¹ The sign DU+DU, la&, lag (=alaku) when followed by NE should probably be read lab-be.

*The rendering of this phrase offers difficulty due to the preceding lacuna which obscures the connection, ab at the end of these lines represents some verbal phrase which began with ab in a preceding line. It is no longer possible to restore this refrain.

⁹ Var. of en-d-nun, a title common to Innini and Gula of Isin. The theological list of gods, CT. 25, 2, 33 places this title in the Gula section with her husband Pabilsag who below Rev. 5 becomes her son; thus Enanun (Gula) and Pabilsag are types of Innini and Tammuz. According to CT. 25, 2, 33 en-d-nuti is um-nti ri-mi ^ilaiGtda, "Mother-womb, Gula/' a title emphasizing the mother goddess as patroness of childbirth, see Tammui and Isbtar 60. Also en-d- nun ama gk-an-ni-si-ge refers to Gula in SBH. 93, 8 = Myhrman, BP. I 5 Rev. 7. In SBH. 86, 52=91, 21 en-d-nun is a title of Innini and ama gH-an-ni-si-ge is rendered, um-mi il-ta-[ra larrat la-su-u], "The mother Ishtar, queen of lamentation/' restored from K. 4349 D* 8 in CT. 24, 21, a variant of CT. 25, 2, 33. K. 4349 D² recognizes both aspects of Enanun, 1. e., iltara larrat lasil (= Innini as weeping mother) and ummi rtmi la ^ilaiGula_t "Mother-womb, this is Gula," For ^den-d-nun ama gk-an-ni^si as title of Innini see also, Zimmern, KL. 11 Rev. Ill 1. gk-an-ni-si is perhaps, despite the Semitic translation above, to be regarded with Radau, BE. 30, 14 as a variant of gk-d-nu-sd=g&-d-nu(n)-gi-a (by palatalization, see Sum. Gr. §40(b)) = karradat la la immafrbar, see SBP. 158, 58; 82, 52; 86, 28 and k&-a-nu-$i, KL. 11 Rev. Ill 7. Hence En-i-nu(n) = En-d-nu-gi-a, "the queen (sic!) unopposable." In this aspect she is identified with the queen of Hades, Allatu and Nergal lord of the lower world, see Radau, ibid., who adduces ^dgu-a-nu-si—^ilaiAllatum, CT. 25, 4, 25.

⁵ Var. of ^iluEndagga, husband of Gula, CT. 2$, 2, 32 (= K. 4349 D² 7).

RA. V 130. Uncertain.

*bulug, literally, crab, and originally an astral title of lnnini, has fpllowed the analogy of ulumgal, python, and obtained the meaning, potentate, ruler. This passage yields the earliest known occurrence of the word bulug which is earlier than the sign BULUG, see Tammu{ and Isbiar, 160.

⁵ Var. SBP. 158, 61 umun nam-ma-ge= KL. 11 Rev. Ill 10, u-mu-un nig-nam-ma-gt = bil mimma lumlu; ni~in-ni'im-ma=*nignamma_t but the text omits umun. Our text also omits, after Irragal, his consort ^dKAL~ldg-ga sil da gal-la edin-na=ardatu damkatu la su-li-e [rap-li la $2ri], "Pure maid that walks the wide street of inferno." It also omits ^dnin-$\g-ge ^dgulkin- banda, SBP. 158, 60= KL. n 111 9, a title of Nergal, or at any rate an under-world deity. ^dnin- sig = ^dnin-stg_f II R. 59^ 28 is rendered bilu nabnit bunnani bil mim-[ma lumlu], CT. 25, 49 Rev. 2, "Lord, creature of a bright form, lord of whatsoever has a name." Obviously bil mimma lumlu translates the other title nin-nam-mu_t II R. 59a 28^umun-nam-nta-gt, etc. Another title of this same god is lun-kHl-kiU (so read for lun-mu-mu) II R. 59a 29—umun lin-Ml-k&l, SBP. 158, 51 = lun-kul-kul, CT. 24, 23, 24 = (mu)len-kur-kur, KL. 11 Rev. Ill 10. lln = bunnan&_t cf. CT. 24, 41, 79 and kul > kur is probably for gul_t "sculptured," hence "the sculptured form," the statue-like figure.

*e-{i-na is one of the pronunciations of the name of the grain goddess $E-TJR, ordinarily pronounced alnan; see 81-4-28, 9, e^i-nu — ^d^E-TIR_t JRAS. 1905, 829. In CT. 24, 23, 12 [^d$E-]TIR and ^de-{i-nu-u are distinguished, hence Ezinu and A?nan are different types of the grain goddess. This line is parallel to SBP. 158, 64= KL. 11 Rev. Ill 11.

¹ ludu, variant sub-bi, SBP. 160, 5, is probably the same root as sud (3), Sum. Gr. 242. A root sug, from which sud, lud was derived (g > d), meaning light, was suggested, ibid. 243. See now su-ku = malabu, to shine, RA. io, 79 III 10. The root sug, lug, be bright, pure, is probably the original of both sud, ludu, and lub, lub-be.

¹ Var. d-{u; for Nergal as healer see BollenrOcher, Nergal, No. 2, 2.

⁴ e-ri-da, a variant of irrel, SBP. 160, 8 and a title of Ninsubur, is probably an augmented form of eri to beget, virile; hence, mistress, lord. As title of GeStinanna, see BL. 16, 9 f.

* subura; subur, lubur is the ordinary value of a sign confused with $/4tf in the name of the god Nin-subur, Galan-subur=*bil ir$itim, a type of unmarried god related to Tammuz. For galan-subur = Tammuz, see BL. 62, 6, and for the reading of the second sign see Hrozny in ZA. 19, 367. On subur see Sum. Gr. 242. In SBP. 160, 8 and 11 Galan-subur seems to be identified with the god of Isin and consort of Gula of Isin, but in all other passages this god is without consort and generally regarded as a herald of Anu sukkal Anim. But galan ^dSubur-ra refers to Innini in SBP. 26, i$ = BL. 72, 11, and galan-subura in our passage clearly refers to Gula of Isin. We have here another one of those feminine titles of the ancient mother goddess applied without reference to gender to the youthful god of vegetation. Note that KA-DI is a title of both mother goddess and Tammuz, and ama-ulumgal-anna has the same indiscriminate application, Tammu{ and Isbtar, p. 16.

³ KU=tukultu has probably the value tukul. Compare the sign name of K(J_t tukullum, Syl. A. I 25 and Syl. C. 265. tukul is then a Semitic loan word.

⁴ nam-mu{u = nar&mu(?) probably not ritnu, mercy. In any case the idea of love suits the character of Tammuz. mu-lu-mu-iu^ra'imtu, "[I§tar] the loving," or "the merciful"(?), in SBH. 106, 53, leaves us in doubt concerning the root, rdmu or rimu. If this interpretation be correct nam-mu~iu contains the root \u with abstract prefix git > mul > mu and the abstract prefix nam. mulu mu-{u really means bil (or bilit) m&d&ti, "He of wisdom," and the rendering ra'imtu "she that loves" is secondary For gil-iu = m&d1Uu, wisdom, cf. gal-mu-iu, "Mighty in wisdom," Gud. Cyl. A. 12, 20. Another gil-\u = tablet, scroll, in colophons, see Del. H. W.

1936 and Harp. Lett. 185, 11 and 14.

⁴ gir=Ubu, laid, see Sum. Gr. 217 (gir 7). Note Var. KL. 8 IV 11, ki-ab-sim-a e ii-ri, where pa, pi, is omitted. For fj>="to wash, lave," cf. gi-ir, Var. of sir = takanu, "wash," SBH. 121,

11. sag-sir-sir (or sar-sar), glossed kar-kar(!) =runtmuku, RA. 10, 77, 37. Voc. Berlin 2559 I 39 gives gigri( < gir-gir) = tabu, ja-al on the edge is unintelligible.

⁶ Var. KL. 8 IV 11 mi-a.

8. Iag4al-iuk lilam-sitd kalam-ma

nin-gar

² Perhaps feSiig of TUN confused with ieltig of UR.

¹ Addressed to the king Ishme-Dagan.

«Cf. BL. 143.

⁶Cf. Clay, Mi seel. 53, n8.

⁷ A title probably mukin par$i, a kind of councillor, CT. 32, 19, 15 f.; 34, 9 and 15; and ibid. Col. II 20.

*dar here in the sense of band, for the first time; in any case connected with tar in tarkuUu. (See Sum. Gr. 208 dur 2.)

•Literal'y, "holds the boundary," then to possess, encompass, tiam-lul-la iag-dib-ba, possessing heroic strength, Radau, Miscel. 5, 1; see also BE. 29, 1 II 20 and II end; KL. 199, 1; 200, 4.

² See above, p. 141, n. 1.

³ See du (10) in Sum. Grp. 211 and dH-dii-lunta^uhu, rich, RA. 10, 75, 8.

⁶ Cf. above, I. 11.

⁷Cf. Zimmern, KL. 199 II 22.

8. bur-gul-e bur ba-an-gul-la mu

⁴Cf. ibid., Obv. 7. lu-lu < lum-lum-duUu; cf. also IV R. 12 R. 33; 9a 61, and c-y lu-a = ftni dutt&ti, Sm. $26, 9.

⁶ Var. S tiigin-mar-ra = bitu la kit-ru. According to our text Br. 9251 has also the reading ma-am.

⁶ The Semitic version in SBH. 60 Rev. 3 is hardly correct; also K. 41 Obv. II 4 has the same error.

⁷ Var. K. 41 II 7 kur-ri ba-da-ab-gam = nakri iltalal.

⁸L. 16 omitted on K. 41.

⁹ Text AD clearly. Var. eien(?) = isin-[nu] is better.

^II Note the gunu of BAL; also in I. 21. The Semitic translation is probably lap-ku.

¹³ Var. lu-bal ba-ab-li-in-aga.

¹ Cf. Textes El.-Sem., Vol. 14, p. 125. For fagiti—ellu, clean, brilliant, applied to persons, see SBP. 158, 53; CT. 17, 4 II 8.

* Here begins line one of Cst. 616.

⁴ Var. bi.

⁶ Var. ab~bi.

the great married goddesses were developed.

«Var. r.

*Cf. RTC. 304 III 11; Myhrman, BE. Ill 76, 1.

Poebel, PBS. V 106 IV 17: cf. S-gig t-an-na, Clay, Miscel. 36, 16. 'Cf. Radau, Miscel. 4 Rev. 49. ⁴ tummal, a title of Ninlil.

^§So Ni. 13877. The Constpl. variant omits gil-al. Ni. 10215 also omits gil-al and has

mu

• For ud al-tar=*&mu ddpinu, see RA. 12, Tablet Erech, 11.

^a Cf. King, Magic, 7, 54.

⁴ [KI-AG-] MAL.

*This conjecture of Meissner is supported by u$abbit lapti-ia, (the demon) has seized my lips, King, Magic 13, Rev. 22.

⁶ li-tar-ru-da-a = nikis napiMim, King, Magic, 12, 108, variant. Cf. also IV R, 59*24, [m- ki-]is na-pil-ti.

* For rnasH, cf. BA. V pt. IV 184, 74 ia limiitu Bdbili imissA, "who seizes away the wicked of Babylon." The verb corresponds to Arabic maia'a.

⁸Cf. Myhrman, PBS. I 13, 20; Ma)du IV 40, and Ebeling, KTA. No. 80, 10.

⁹ A title of Nidaba.

⁴ Read "ditto" marks.

⁵Cf. Poebel, BE. VI 55, 7, and the woman KURUN-NA in the Code of Hammurapi.

3. Oh Gibil who Namtar mes

senger of the lower world,

4. Oh Shamash who sorcery,

venom, saliva, witchcraft evil,

5. Oh divine lord of the dead,

protector, who the ,

6. Since god and goddess have

become enraged against me

7. Have maltreated me and in

house in street

8. Have placed against me, Oh

Shamash [conqueror of the wicked and the joe]

¹ Sign $AB_t here first with this value.

⁴ Sic! The parallel in Mak I 119 has $irtu.

^he transcription is uncertain; $alfttu, if correct, is the first example of this derivative. ² So I interpret from la'abu, to burn. taVab > tel&b, is probably due to the influence of the liquid /.

*GAR-NU.

⁵ Title of some well-known incantation.

⁶ Probably a Sumerian title of some unknown incantation which was recited here. Cf. Myhrman, BPS. I No. 13 end.

¹ Ni. 13981, published by Dr. Poebel in PBS. V, No. a.

* The local B61 of Erech and a bye-form of Enlil, the earth god. Here he is the consort of the mother goddess Ninsun.

⁹ The variants have kima ki$ri; ki-[ma]?-rum is a possible reading. The standard Assyrian texts regard Enkidu as the subject.

net. The variant has uUaprid ki-i$-$u-lu, "he shook his murderous weapon." For kissu see ZA. 9,220,4=CT. 12,14b 36, giZ-kud=ki-is-su.

* Var. nussu for nuf-tu^nulia-lu. The previous translations of this passage are erroneous.

⁷ This is to my knowledge the first occurrence of the infinitive of this verb, pa^iru, not pab&ru.

¹ IV¹ of waladu.

⁴ Cf. Code of Hammurapi IV 52 and Streck in Babylontaca II 177.

18. a-na £-[an-n]a mu-la-bi la

A-nim

19..... a-lar [^UuGilgamil] it-[

ne-pi-li-tim(?)

20. u at-[ ]-di [ -] ma

21. ta-[ ] ra-ma-an- ka

* it is uncertain and ta more likely than uL One expects ittabriru. Cf. muttabrirru, CT. 17, 15, 2; littatabrar, Ebeling, KTA. 69, 4.

•The passage is obscure. Here iuburu is taken as a loan-word from suiur^himmatu, hair of the head. The infinitive II¹ of sab&ru is philologically possible.

1. And he made glad.

2. He lifted up his eyes,

3. and beheld the man,

4. and said unto the hierodule:—

5. "Oh harlot, take away the man.

6. Wherefore did he come to me?

7. I would forget the memory of

him."

8. The hierodule called unto the

man

9. and came unto him beholding

him.

10. She sorrowed and was aston

ished

11....... how his ways were

12. Behold she opened her mouth

13. saying unto Enkidu:—

14. "At home with a family [to

dwell??]

15. is the fate of mankind.

16. Thou shouldest design bound

aries^?)

17. for a city. The trencher-basket

put (upon thy head). 18 an abode of comfort.

⁴ Probably phonetic variant of edit. The preterite of edlru, to be in misery, has not been found. If this interpretation be correct the preterite edit is established. For the change t > I note also attalai < attarai), Harper, Letters 88, 10; btlku < btrku, RA. 9, 77 II 13; uttakkalu < uttakkaru, Ebeling, KTA. 49 IV io.

4. ip-J)ur um-ma-nu-um i-na $i-

ri-lu

5. i{-zi-{a-am-ma i-na fu-ki-im

6. la Unuk-(ki) ri-bi-tim

7. pa-ab-ra-a-ma ni-lu

¹ Text PA-it-tam clearly!

¹ Omitted by the scribe.

³ Sic! The plural of kakku, kakkttutf).

⁴Cf. e-pi-la-an-lu-nu lib&ru, "May they see their doings/' Maklu VII 17. ¹ For lakin-lum.

• On the verb n&ku see the Babylonian Book of Proverbs § 27.

*The verb la'afu, to pierce, devour, forms its preterite ilut; see VAB. IV 216, 1. The present tense which occurs here has ilut also.

'Note BUL(tu-ku) = rat2tu (falsely entered in Meissner, SAI. 7993), and irattutu in Zim- mern, Sburpu, Index.

¹ For ipfab.

⁴ Sic! fu reduced to the breathing *u; read i*ni-u. ⁴ I. e._f an ordinary man.

¹ The tablet is reckoned at forty lines in each column.

*

¹ See PSBA. 1919. 34.

³ See Zimmern, Sumeriscbe Kultlieder, p. V, note 2.

* The base text here is Zimmern, KL. No. 12.

⁸ The base of this text is Zimmern, KL. No. 11.

¹ Note that this breviaiy of the cult of Libit-Ishtar terminates with two ancient songs, one to Innini and one to Nin4, both types of the mother goddess who was always intimately connected with the god-men as their divine mother.

* For a list of the abbreviations employed in this volume, see page 98 of Part I.

¹ na-ba- is for nam-ba_t emphatic prefix. See PBS. X pt. i p. 76 n. 4. Cf. na-ri-bi, verily she utters for thee, BE. 30, No. 2, 20.

'On the philological meaning of this name, see VAB. IV 126, 55.

^lCf. Gudea, Cyl. A 25, 14, the kin-gi of the unu-gal.

¹ a-gim=dimitu_t ban, SBH. 59, 25. a-gim &e-im-bal-€, The ban may he elude, Ni. 11065 Rev. II 25. Unpublished. The line is not entirely clear; cf. Brunnow, No. 3275.

⁹ t)A is probably identical in usage with and the idea common to both is ' be many, extensive, abundant." Note Zimmern, Kultlieder 19 Rev. has tfA where SBP. 12, 2 has PE$. lii-pel occurs in Gudea, Cyl. A 16, 23; 11,9; 19, 9 and CT. 15, 7, 27.

with variant 73, 11 u-da-pa-ar=udtappar, if he take himself away. A-gu-ba-an-de-zu, when thou fleest, BE. 31, 28, 23. &-gu-ba-de_t Genouillac, Inoentaire 944; Clay Miscellen 28 V 71: md &-gu-ba~an-de, "If a boat float away," ibid. IV 14. See also Grant AJSL. 33, 200-2.

*Sign obliterated; the traces resemble SU.

* Read perhaps du-lub = nad& la rigmi, to shout loudly. Cf. d&g sir-raiub~ba-a-{w=rigme Xarbil addiki, ASKT. 122, 12. Passim in astrological texts.

^%ri is apparently an emphatic element identical in meaning with dm; cf. SBP. 10, 7-12. Note ri, variant of nam, SBH. 95, 23 = Zimmern, kl. 12 1 8.

¹ The subject is Ishme-Dagan.

¹ This compound verb di-e-sud here for the first time, due is probably connected with d$ to flee. At the end is written for AN. Read a-dl and construe lei as a plural?

^Agul*=kal&, restrain, is ordinarily construed with the infinitive alone; le-du nu-ulgul-e-en —damilma ul ikaUa, Lang. B.L. 80, 25; SBH. 133, 65; 66, 15, etc.

• Variant of sig-slg, etc. See Sum. Gr. p. 237 stg. 3. Also Poebel, PBS. V 26, 29.

* For suffixed ni, bi, ba in interrogative sentences note also a-na an-na-ab-du&~ni₉ What can I add to thee? Genouillac, Drehem, No. 1, 12, a-ba iu-td-la-ba, Who shall restrain? Ni. 4610 Rev. 1.

¹ See BL. p. XLV, and PBS. X 151 note 1.

⁴ On the anticipative construct, see § 138 of the grammar.

⁴ Probably a variant of namialam, namtilim^lahlul&H.

• mtei u urra, IV R. 65; CT. 16, 20, 68.

¹ Literally, "caused to enter."

⁴ Br. 11208.

• Variant of nam-rig-aga = ialalu.

⁴ Br. 3739.

6 Here treated as plural.

• The tablet has SU. For 1ag-{u synonym of teilitu, see IV R. 2i*b Rev. 5.

* Text uncertain. Perhaps PI-SI-£&-bi.

⁷ Probably a refrain.

⁷ See line 12 above.

¹ Literally, "Below and above."

¹ Probably a variant of dH-aiag. As the phrase is written dug-a^ag-ga might mean "holy knees/' birku ellitu, but that is not probable. A parallel passage occurs in ttfe liturgy to Dungi, BE. 31, 12, 8, where my interpretation is to be corrected. For db_t d&, rendered into Semitic by the loan-word dH_t with the sense "high altar, pedestal of a statue, altar or throne room" see AJSL. 32, 107.

*Cf. Gudea, Cyl. B 13, 4.

⁴ This phrase should have a meaning similar to "speak words of peace," "assure, comfort." The expression occurs also in Gudea, Cyl. A 7, 5, Ningirsu, son of Enlil g& \a-ra ma-ra-&un- gd-e, "will speak to thee words of peace."

• kui, preposition *=eli, is derived from kut={umru, "body," literally "at the body."

⁴ Or read billudu. This passage proves that gar^a and billudu really do have a meaning, sanctuary, cult object or something synonymous. See billudil in VAB. IV Index. The meaning, sanctuary, has been suggested for the Semitic par$u and this must be taken into consideration.

⁴ Var. mu-c.

¹ Var. ni. Sic!

* Var. ma.

³ i&mimat killati.

⁴ Sic! Prepositions ra and da in the same phrase!

⁵ Text gir!

•Cf. mar-fen, gar-{en = b&lu, SBP. 116, 33; K.L., 15 II 12.

>Cf. SBP. 6, 16.

* For ra. Read \a-la f^r lal4a ?

¹ For the form, see PBS. V 102 IV 3.

¹ If la be correct, then the reading is ka-sil-la.

⁴ For i-lu-d&g = far&bu.

⁶ So the text for Idg-ga-dl na-an-da-ab-bi.

¹ For a discussion of these early Sumerian single song services, see the writer's Babylonian Liturgies, pp. XXXVI1 If.

• *=kad&du la kiladi, see SBP. no, 22, "bend the neck," i. e., "grant favor."

¹ Cf. V Raw. 39a 33.

• For this method of forming the plural see Sumerian Grammar, § 124. For uru-bar**kapru,

see Meissner, SAI. 543. Note also umun ur&-bar, SBH. 22, 57- 19, 56 and K. 69 Obv. 20. title

¹ Cf. Historical and Religious Texts, p. 34, 6.

¹ For Ninlil as queen of KeS, see also Zimmern, KL. 23 3; SBP. 23 note 17. At Kel she was identified with the unmarried and earlier deity Ninharsag.

¹ The line drawn across the tablet intersects the address of Innini and, if not for some unknown musical purpose, must be regarded as an error.

⁴ For the construction, see Sumerian Grammar, § 9!.

* G/4=naI&_t variant of ga (IL/l) = naM. The figure of lifting the foot and raising the hand (line 30) to Enlil refers to the attitude of adoration assumed by the mother goddess as she stands before one of the gods and intercedes for mankind. She is frequently depicted on seals in this attitude; see for example Ward, Seal Cylinders oj Western Asia, 3030, 304, 308, etc.

¹ For $URIM with value u{=lafyru_t see Thompson, Reports 103, 11 and supply u-ui in CT. 12, 26a 22.

10. The holy one who lapis lazuli in

great ships

11. The queen humiliates

'Cf. SBP. 4, 6.

¹ The third sign of this ideogram is clearly UNU not NINA on the tablet. For the ideogram see SBP. 284, 6.

¹ KA with value du**al&ku occurs here for the first time. Variant has du (line 33). text supplies two more signs and makes possible a better translation.

² nam-en-na=en&tu, priesthood. ¹ A title of Nergal.

⁸ Written t6g. gu-Ug is a kind of plant, on a tablet of the Tello Collection in Constantinople, MIO. 7086. For the meal of the gu-Ug see also CT. X 20. 11 33 and Reisner, Tetnpleurkunden. 128Col. iii.

¹ Restored from line 14. Here begins the rehearsal of the woes of Erech.

⁴ Cf. also CT. 15, 19 Rev. 2 where a place word is also expected.

¹ Cf. Gudea, St. B 9, 27.

¹ Semitic iattamma a title employed in later times apparently in a secular sense. Originally it has a sacred meaning and probably denoted a musical director who was also a priest. The application of a priestly title to the king is in accord with his royal prerogatives.

¹ The sign is Br. 8899.

¹ Phonetic variant of gil-sa=sukuttu. The prefix a is difficult and probably the noun augment, see Sum. Gr. § 148. The vowel a seems to possess another sense in SBP. 284, 1.

* Part of the door; see VAB. IV Index.

⁴ Variant of d4ai=ri$u. The final ka is for the emphatic ge in the status obliquus (ga). This emphatic particle is here attached to the object which is not a construct formation, 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 accusative; see Sum. Gr. § 135. "Defender" refers to Tammuz.

• The rise of the semi-vowel i between the vowels a-a occurs under similar circumstances in igi-ie-ni-ib-tla-ia-d&g, Radau, Miscellaneous Texts, No. 4, 5. See also Sum. Gr. § 38, 2. The form above arose from bar-ri-a-a-d6g. The prefixed element d&g falls under § 153 of the Grammar. bar=sap&bu is a variant par, to spread out, scatter.

•Cf. also PBS. V 25 I 15; II 13 mu-na-ni-ib-gl-gi.

⁴ eku<uku by dissimilation of vowels. See also Reisner, SBH. 77, 17.

5. His city(?) the abode of Ur as a

name he named.

6. As lord unto eternal days in his

city,

7. The god Sin he² caused to abide.

8. In Ur the city which his heart

has chosen

9. The temple like a strong bull

calls unto the regions(?)^s

10. Of my king, may his net(?)

11. Be upon tomb and ruins.

12. Of Sin, may his beloved city,

13. The dwelling-place Ur, with

holy decrees a city

14. Of my king may his chapel....

15

16. It is a sagar melody.

17. Hail! Nannar, of the flocks(?)

thou art ruler, lord ASimur.

19. In my city of the lifting of the

eyes, the home of his own abode, which is his fulness of luxury,

20. Whose design is like Suruppak,

21 1 have caused him to

be a shepherd (?) 22. [Hail! son] of Enlil, in the Land he is ruler, lord ASimur.

* Enlil.

¹A reading dr-im-me, "it is glorified," suggests itself. Cf. SBH. 93, 1.

'Cf. TSA. 31 Obv. II.

•Cf. SBP. 295, 17.

⁸ Text not entirely certain. If correctly read the signs tfAR-GUD=kabattu must be read in SBP. 48, 45 after the variant SBH. 3, 10.

¹ Restored from line 10. The only previous occurrence of this name is in Smith's Miscellaneous Texts, 11, i which has RI not MU. The end of the name is broken in BL. No. 27. Perhaps Smith copied the sign wrongly.

¹ Rev. 11 22.

¹ Rev. II 30.

¹ Rev. II 37:41. Cf. er-gig mu-un-lil-Jit, Zimmern, KL. 25 II 2 f.

* See Historical and Religious Texts 5-8.

* nig > ni.

¹ Lines 50-54 on Col. 111 may be restored from lines 8-12.

* Literally, "decree again their oracle."

• gtrn, emphatic suffix.

¹ We meet here for the first time with two avenging angels or genii who attend the Word in its execution of the wrath of god. Kingaludda is mentioned as one of four evil spirits ilu Itmmu in CT. 25, 22, 44. He is mentioned with the ZQ bird and the demon ltdu as appearing in dream omens, Boissier, DA. 207, 34. See also Boissier, Choix, 11 53, 4. On uddugub as a title of kings see BE. 31, 22 n. 9.

¹ See PBS. X 161, 13.

^J The traces on Ni. 7080 are against the restoration le-atn-fd. Lines 11-19 are restored from PBS. X No. 10.

¹ So from my copy and CT. IV 4b 12 = Babyloniaca, III 17.

¹ al as synonym of DE (in line 21) is probably a variant of ilu=nag&.

¹ This line is connected with the classical interlude ma-a-bi ud-nu-na-gim etc. discussed in SBP. 185 n. 10 and BL. XLIX.

³1 see traces of a sign after te.

• Rendered bit larru> V Raw. 16, 52, probably a royal chapel or room in Ekur especially provided for the king. See also SBP. 292, 14; KL. 25 I 11.

⁸ For the restoration, cf. RA. 12, 34, 9.

¹ Erroneously designated the fourth tablet of ante baranara in SBP.

* SBP. 112 and 126 have umun, et passim.

⁴ Vars. nag.

* See Yale Vocabulary 135.

⁹ On this passage see PBS. X 170, 13 and Ni. 15204, 8 of this volume.

⁴ Sic! Error for ni-bi-d&b.

⁶ With line 19 the variant SBH. 42 lower fragment begins.

* The god Ea of Eridu is meant.

* Cf. Col. II 19. On this variant for dumu-ma^ see note in Sumerian Liturgical Texts 163.

* We expect the sign EDIN( = rl) but the traces are clearly not those of EDIN.

¹ Probably a title of Ekur. elgalla title of the temple in Kullab, KL. 3 11 20. The late version rejects this line since its local reference was not suited to general use.

⁴ Here this line begins an Enlil melody within the body of a series. Originally a-gal-gal lel-su-su was a Nergal melody and a series based upon it is catalogued in IV R. 53a 33 of which K. 69 is the first tablet. See also Bollenrucher, Nergal, No. 6.

•The late redaction of this melody revises this litany with the new liturgical movement ursaggal—elimma placed before alternate lines. When this scheme is employed all feminine deities are omitted. See SBP. 114. Note 5 p. 115 ibid, is to be suppressed.

² Lines 11-17 restored from SBP. 116, 16 ff.

* Meaning and restoration uncertain.

• Var. u-mi-a, SBP. 116, 33.

⁴ Line 29 is false and to be corrected after the late text SBP. p. 118, 35 f. which has two lines. Read ki an d&r-ru-na-lii ^dA-nun-na [gar-mp-an-tf-en], where Anu sits let the Anunnaki hasten.

*Cf. SBH. 44, 37.

¹ It is not certain that this melody ended here. Possibly all the titles in lines 19-27 followed here with the refrain atn-nta-ab-t&g-e. At any rate the traces of a last line on SBH. 44 are those of the last line of this melody. There is not space enough on SBH. 44 after line 37 for more than the lines 31-40 supplied above for we must make some allowance for the interlinear Semitic translations in the break on SBH. 44.

1. sukkal-iid mu-dug-ga-sb-a [ ]

¹ End of the sixth melody.

² Heart is used here in the sense "wrath."

*Cf. SBP. 98, 40 f.

⁴Cf. SBP. 98, 44; 124, 19.

'Cf.SBP. 38,13.

*Cf. SBP. 82, 47.

¹ A title of Egalmah in Isin, SBH. 94, 29 = SBP. 186, 29.

⁴ Sic! An error for en-ne? See SBP. 120, 1. Perhaps di—te, "where?" strengthed by en=adi.

• Glossed gU-da.

¹ Lines 21-26 may not have stood in the ancient liturgy.

¹ Nippur.

⁴ Beginning of a melody of a weeping mother series, BL. p. 94, 12. It is not certain that this

melody stood in the ancient text. See for the text 81-7-28,203 (= 78239) in this volume.

* The duplicate, Meek, No. 11, has here another melody not a titular litany. This text does not belong to the c-lum gud-sun series.

'This title of Ura§a remains unexplained. In all other examples ^dUrala ki-le-gu-nu-ra, SBP. 150, 6; 90, 20; K. 3931 Rev. 29; KL. 17 Rev. II 6. Perhaps also Gudea, Cyl. B 19, 13 is to be restored ki-le-gu-lnu-ra].

¹ Enlil names, CT. 24, 4, 24 f.

⁷ Usually me-l&T-ra. Enlil name, CT. 24, 4, 26. Not originally associated with Nergal. See Historical and Religious Texts, p. 35.

¹ Usually title of Ninlil as here, SBH. 132, 23; SBP. 150 n. 5, 13. But consort of Ninurta, CT. 24, 7, 12.

⁶ Var. ^dNappasi.

* A title of Immer the thunder god.

⁸ Zimmern, AZAG an error?

⁴ Vars. fun, or ten SBP. 158, 61; CT. 24, 23, 24. Hence tJU (muien) has also the value ten or iun. See on lines 9 f. Sumerian Liturgical Texts 174 n. 5.

• Gunu of tfU. Var. NU-NUNUZ-ki-a, see SBP. 158, 62-CT. 24, 10, 2.

• Variant SBP. 158, 63 = SBH. 86, 63 reads Unga-mai abfu-ge. For the writing of ianga, see Babylonian Liturgies, p. XXII n. 2.

* Two lines not on any variant.

6 See for reading, Sum. Lit. Texts 176, 5.

¹ For this sign»REC. 46, see now K.L., 25 III 15. The two signs balag and dup are distinguished clearly on this tablet; see Obv. 9 for dup. On the distinction of two original signs in Br. 7024, see Thureau-Dangin, ZA. 15, 167; Chicago Syllabary 208 f., and PBS. 12 No. 11 Obv. Col. II 45 and 46 and page 13. Syl. B distinguishes the two signs.

•See RA. 11, 45 n. 5.

• This Semitic rubric is unique in the published literature of Sumerian liturgies. 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 tablet; see the preceding edition of K. L. 11 Rev.

* For Enlil connected with the idea of light, see PBS. X 158 n. 1.

» The pronoun refers apparently to uru in line 15.

⁴ Text na-an!

• The moon god was held to be the son of Enlil, SBP. 296, 5.

6. ^d Mu-ul-lil dam-kar-[ra ki-dagar-

ra)

¹ Also Opis was sometimes called KeS, see CT. 16, 36, 3, ki-e-ii, gloss on the ideogram for Opis.

* Or perhaps Negun. See below.

' BL. 72, 14. Here KeS or Kisa is written with the ideogram for Opis.

<CT. 25, 12, 23. See SBP. 156, 39.

*SAK. 118 XXVII 2.

* Probably for gud-NINDA~btru, mtru.

• Var. na.

⁴ Some verb seems to be missing here. The construction is obscure

* So the prism.

• Var. ni.

¹ Variant Constple. omits ki.

*Cf. ki-gim rib-ba = kima irfitim Wukat, Delitzsch, AL* 134, 5. KAL (ri-ib) = Wu£u, Chicago Syllabar 287; rib = lutukku, CT. 19, 11, 12; nam-kalag-ga-ni rib-ba—dannussu l&tukai, IV Raw. 24a 48; ana-gim ki-gim rib-ba-iu-ne = la kima lami u irfitim l&tugala, SBP. 250, 6. See also Ebeling, KTA. 32, 5, rib-ba = lu-tu-%u.

¹ The meaning is obscure. For the suggested rendering cf. en me-a ibm-ma_% the lord who

cares for the decrees, SAK. 204, 6.

⁴ For this emphatic verbal prefix cf. Delitzsch, AL¹, 134, 5; Zimmern, KL. 68 Rev. 24.

* I. e. Nintud. For ummu in the sense of "mother goddess" note CT. 16, 36, 1-9 where the various mothers of Eridu, Kullab, KeS, Lagash and Suruppak are invoked. The reference here is undoubtedly to Ninlil as the mother of Negun, SBP. 156, 39.

^e a-ba=arka, and then. The same phrase in BE. 31, 2, 7 and for aba_t see especially Sum. Gr.

¹ So? kur=napabu, better than my former rendering of this passage.

* idim = ieg&, nadaru (cf. Thompson, Reports 82, 6 with 108, 5), refers to the rumbling of the great gates of the temple.

« Br. 2729? Cf. R (si-gf) = kakkabu, CT. 18, 49, 4.

⁴ Same phrase in Clay, Misctl. 31, 33.

5. ur-sag-bi ^d'Al-lir-gt-gim rib-ba

ama li-in-ga-an-u-tud

* First example of the verb iu strengthened by augment a; cf. a-ru, a-sil in Bdbyloniaca 11 96.

» Cf. Gudea, Cyl. A 10, 18.

⁴ Semitic ;tnu? Cf. Ebeling, KTA. No. 4 Rev. 13.

* Var. Cstple. an.

• Read ge-nt? Ni. 8384 ge(?)-e-ne.

⁷ Ni. 8384 dam.

• So on 8384.

¹ Var. Cstple. i. See below line 21 and BL. 88 n. 4.

¹ First sign on Ni. 8384 Rev. 1.

⁴ Ni. 8384 gf.

¹ Same sign on Var. Cstple. But Ni. 8384 has a sign apparently related to the difficult sign which I assimilated to Br. 4930 in AJSL. 33, 48. The sign on Ni. 8384 recurs in Zimmern, KL. 35 II 5.

⁷ Ni. 8384 edin-na; Var. Cstple. edin.

• Var. of g&~gar=pubburu. See BL. 10, 30.

⁴ First signs on Radau, Miscel. No. 8=Ni. 11876.

⁶ So Ni. 11876.

¹ Var. Cstple. en.

¹ Radau's copy has KIN.

⁴ Var. a-an.

• Ni. 11876 has Ihl-e ki-a^ag-ga nam-mi-in-KU?

⁶ Ni. 11876 omits e. This text proves that in the ideogram Br. 1202 the gloss isimu belongs properly to the first two signs only and that the original reading was isimu-abkal. See especially CT. 12, 16, 34 (i-si-mu) = PAP-stg=usm&. In the later period abkal was apparently not pronounced and the whole ideogram was rendered by isimu.

^lOxg*.

* 1 edited this tablet in SBP. 120-123 where I erroneously assigned it to the Enlil series anu baranara. The tablet has been partially restored from Meek, No. 11. 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 pp. 300-2 in the edition of the elum gudsun series.

* SBP. 236.

¹ SBP. 140.

¹ The first line, together with its Semitic translation, is identical with the first line of the third tablet of the series muUn nu-nunu{-gim, see SBP. 140. Otherwise the melodies differ.

• Cf. SBH. No. 84, 13, there a title of the river goddess.

⁴ Lines 10-13 form a duplicate of SBH. No. 25, Rev. 2~5 = SBP. 122.

⁴ $i-m&, literally karttanu, the horned, referring to the new-moon. The variant SBP. 296, 1 has md-g&r, the crescent boat. Undoubtedly md-gur should be rendered by nannaru in this passage.

¹ See BL. p. 132.

'I.e. Sin himself is the author of Nippur's sorrows.

¹ Glossed ki.

⁴ LA{/; transcription and interpretation uncertain.

⁶ Hereby is established the reading pa{g)-db = m&du_t kapdu. Probably a kind of augurer.

* Temple of Ninurta in Nippur. A syllabary recently published by Scheil (RA. 14, 174 I. 7) explains the name by bit gi-mir par-fi bamtnu, Temple which executes the totality of decrees. Note, however, the epithet i i-di-ila = bit nil \nl, House of the lifting of the eyes, SBP. 208, 11.

⁴ See also SBH. 132, 46; BL. No. 56 Rev. 31; Craig, RT. 20, 30. This text has a variant a for di.

⁴ Probably part of the great city Isin, see SBP. 160 n. 7.

II Raw. 52, 61 f. Note the similar title of the city of Bau uru-afag-ga in SAK. 274; BL. 147. Here the title refers to Isin not Lagash.

* Cf. Craig, RT. II 16, 18 ^dAma-$U-VAL-Bl4a.

^% Cf. CT. 12, 3a 29; ina lar-tu la ultetir-Iu u ina nu-ril-tum la i-kal-li, "By fraud he has not translated it and with wilful readings has he not published it." For luteluru, "to translate or edit a tablet," see Lehmann, Sbamasb-shum-ukln, Taf. XXXIV 17 akkadH ana luUluri, "to translate into Akkadian." On this difficult passage concerning the education of ASurbanipal see Sumerian Grammar, p. 3 and corrections by Ungnad in ZA. 31,41. ikalli probably for ukallim; note the variant ufdbi=utepi.

¹ Only in a loose sense. From Tammuz to Kislev is the period of death, from Kislev to Tammuz the period of revivification of nature. See on the meaning of this passage Kucler, Im Bannkreis Babels 62-5.

* Temple of Marduk in Babylon.

* See Tammuz and Isbtar, p. 151. ASrat or the western Ashtoreth usually had the title btlit jiri, "Lady of the plains" and was identified with the Babylonian GeStinanna and Nidaba. Hence [Bilit-]}tri is dupiarrat irfitim, scribe of the lower world, K.B.V1 190,47;cf. IV R. 27629.

remains until the 28th of Kislev.

' So, because gypsum, lime and pitch are smeared on the door of the house and the god of light (Ninurta) tramples upon the demon of darkness.

•The great trinity: heaven, earth and sea. '

¹ See the Chicago Syllabar 230 where she is identified with Nidaba.

* This deity appears in incantations as the queen of the holy waters bilit egubbt, IV R. 28*^ 16; Babk III 28, Sm. 491, 3. Although placed in the court of Enlil the earth god as sister of Enlil by the theologians, CT. 24, 11, 40=24, 52, where she is associated with a special deity of holy water, ^dA-gub-ba, yet by function and character she belongs to the water cult of Eridu. . Her symbol is the holy water jar (duk) agubba and the deity ^d Agubba is lu-lul l&g-l&g-ga Erida-ge, Purifying handwasher of Eridu, CT. 24, n, 41 =-24, 53. The river goddess ^dld is also bilit agubbi, CT. 16, 7, 255 where in I. 254 Ninfyabursildu is afyat ^dA-[gub-ba], sister of Agubba, and the river goddess is mother of Enki, or Ea, god of the sea, CT. 24, 1, 2$. The reading Ja&wr for A-UA is most probable, and the cognate or dialectic form J/^ur is a name for the mysterious sea that surrounds the world. See BL. 115 n. 2. The holy water over which she presides is taken from the apsu or nether sea, which issues from springs, hence egubbd is spring water, CT. 17, 5 III 1. The name, then, really means "Queen of the lower world river, she that walks (du) the streets (*//)." The Semitic scribe of CT. 25, 49, 6 renders the name in a loose way by bilit iililti bttit alikat suit [raplati], Queen of lustration, queen that walks the [wide] streets (of the lower world). For the title bilit tililti, see CT. 26, 42 I 14. For a parallel to the description of her walking the streets of inferno, cf. ^dKal-ldg-ga sil-dagal-la edin-na, Lady of purity who (walks) the wide streets of the plain (of inferno), consort of Irragal, god of the lower world, SBP. 158, 59. A variant, KL. 16 III 8 has sil-gig-tdin-na, the dark street, etc.

¹ Conjectural restoration from ASKT. 96,21. Zimmern, Rt. 27 I 3-4 has a longer description of [Ninbabursildu a-ba-\at [^dA-gub-ba bilit] mi(?) la ndri{P).

⁴ Variant of kAn~tur_t V Raw. 42, 39.

6 In K. 165 Rev. 8 f. the tamarisk and date palm are said to be created in heaven (git an-na ii-ta) and the same is said of them in Gudea,Cyl. B 4, 10, gii-iinig gil-Ufoa (i. e. = Jig**gilimmaru) an u-tud-da. This plant appears frequently in magic rituals, IV R. $9b 4 ^ipibi-ni (Semitic), IV R. \6b 31, Shurpu IX 1-8, and also in medical texts, binu has been identified with Syriac btnd, tamarisk. If this identification be correct, a comparison with the Hebrew legend of the manna (bread of heaven in Psalms 105, 40), said to have been the exudation of the tamarisk, is possible.

⁷ Passim in rituals and medicine. See BE. 31,69,27; 72,29; King, Magic 11,44; Meissner, SAI.2805.

⁸ In Shurpu VI11 70 mentioned with lalalu. A magic ointment made of the El and maltakal, CT. 34, 9, 41. See also Ebeling, KTA. 90 rev. 17; King, Magic 30, 25. Perhaps identical in name with the stone arzallu, SA1. 8545. On a Dublin tablet often git EL. Cf. H-slg-el-lar* l&mu, onion.

• For the correct reading ni-nd-a, see AJSL. XXXI11 194, 159.

¹ Here a wood employed in magic, cf. BE. 31, 60, 6+15. In syllabars giUBUR =gilburru, gilkirru, indicates a weapon or an utensil.

² NITA-DU, fire god, title of Nergal as fire god and identical with "gir = Nergal.

¹ Here certainly Anu, heaven god, followed by Earth and Sea gods. Note also ^dGu-la in liturgies passim as title of Anu, BL. 136. Anu = Sin, see p. 343.

⁴ Title of Enlil, lord of the totality of decrees. Enlil = SamaS.

6 Originally title of the great unmarried mother goddess btlit il&ni, but often a title of the virgin types Innini and Nin4, BL. 141; of Gula ibid. Also somewhat frequently she is Damkina, consort of Ea, IV R. 54ft 47; CT. 33, 3, 21 her star beside that of Ea. Here she is the mother goddess and the same order, Heaven, Earth, Sea, Mother Goddess in Sburpu IV 42, where Nin-mag has the Var. Nin-tud, Ebeling, KTA. p. 121, 11. Symbols of these four deities on boundary stones in same register, Hinke, A New Boundary Stone, p. 28 second register, et passim.

• Possibly a metal stood here, identified with ^dMA$, a star in Orion (Kaksidi = Beteigeuze), CT. 33, 2, 6; King, Magic 50, 29.

⁷ Possibly the constellation Ursa .Major. Margidda, the Wagon is intended, identified with Ninlil on a Berlin text, Weidner, Handbucb 79, 10. See also Bezold in Deimel, Pantheon Babylonicum2\$.

• From the context certainly a title of Marduk. Zim. 27 I 19 omits LU-TU.

•Or Btt-$arbe, title of Nergal, v. VAB. IV 170, 67. Between lines 17 and 18 the variant inserts two lines.

¹⁰ But Mars in Amos 5, 26. I accept here the later identifications, Nergal-Mars, Ninurta- Saturn. The identifications in the earlier period of Babylonian astronomy appear to have been Ninurta-Mars and Nergal-Saturn.

¹¹ Probably the astronomical form of Nusku as god of the new moon, IV R. 23a 4. His character as fire god is symbolized by the torch, ZA. VI 242,24. In 11 10 supply Gibil after Zimmern RT. 27, 5. As fire god he is messenger of Enlil.

^u Papsukaly messenger of Zamama, god of KiS, a form of Ninurta. He also like Nusku derives his messenger character from his connection with light, Papsukal la lc-ir4i, Papsukal of the morning light, CT. 24, 40, 53. Since Ninurta is identified with Alpha of Orion, Pap-sukal is

¹ Here variant Zim. Rt. 27 Obv. 11 begins.

9 Written sig dar-a.

I 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 UUig and gunu of Galu, that is REC. 100 later RAB+GAN_f (v. SAL p. 155 note 1). After this sign Zimmern and I have seen a sign KUor Su. Labartu is usually written RAB+GAN-MHere we may have to do with some new ideogram for this deity. She is the daughter of Anu, Haupt, ASKT. 94, 59. A prayer to the daughter of Anu is King, Magic No. 61, 5-21.

⁴ Zim. SU.

⁹ But in ZA. VI 242, 23 symbol of Azagsud.

⁹ But ZA. VI 242, 24 Nusku, fire god in Nippur pantheon.

⁷ See Muss-Arnolt, p. 940. Also note niknakku la bu4a-ri, censer of incense, CT. 29, 50,9;

kutari la lipti, incense pertaining to the ritual of the incantation, ibid. 20. kutari is a plural form employed to denote several acts of fumigation.

¹⁰ In ZA. VI 242, 19, symbol of Enlil. But CT. 16, 24,25 hero of Anu. In rituals generally with kulgugaM.

II Symbol of Anu in ZA. VI 242, 19.

¹⁹ Priest of Enlil, CT. 24, 10, 13. Cf. GUD-NINDA=miru, young ox, SBG. 19, 14.

• Patron of flocks and fire god.

⁴1, e. Ea as the god of potters. Nunurra is pafraru rabA of Anu, Meek BA. X pt. 1 p. 42, 14.

Note CT. 24, 14, 41, ^dNun-&r-ra{duk) fa-[gaz].

⁶ Sic! Semitic.

• Cf. IV R. 28* No. 4 Rev. 3. The symbols in lines 24-6 are obscure.

• A form of Enki as patron of metallurgy. See RA. 12, 83 n. 5.

¹⁰ sun probable reading for BAD in this sense. Offerings to the giUsun, Genouillac, Drebem, 5505 Obv. II 15.

^II Sign a confusion of Nl+gii and KAK+gil_t see RA. 13, 3.

¹² Z£, the eagle, bird of the blazing sun, Ninurta, Ningirsu, is the only emblematic animal that figures as a deity. The myth of his conflict with the serpent in the story of Etana dramatizes the old legend of the conflict between sun and clouds. He appears in magic here for the first time.

2. [ KU]-$0 la* mab-ru

3. [ -]u:N(J: la-a

ba-ri

¹ Sign is ItfU-gunu an error for Sl-gunu. Only the latter sign has the values bright, burn. Line 8 proves that the sign is based on SI.

---

*So, after Dhorme.

^[2] Restore, bar ran lami ina $abati-ka, from Rev. i.

[3]Gen. 3, 16. Naturally the Eridu doctrine may have mentioned other sorrows like the Hebrew in the last lines of the Adapa legend which breaks off at the point disease is mentioned.

'The Nippur text infers that after the Flood the earth was barren and needed irrigation, so that we may conclude that this school believed that the deluge ended the blissful state of Paradise. Only disease and brevity of life had not yet entered the world.

A

in the name T&bal-Cain, patron of the smiths, clearly means, "the smith," Arabic lain, but in the name of the first son of Adam, the word has probably no connection with this Semitic root.

^[5] Or Mihoujd'il; P., Mab&lal-cl The name is probably for ^fntp, "God makes alive," or "God is my enlivener."

• So P., Gen. 5, 21: J. has Mitbousba-il, "Man of God"(?). The correct reading is doubtful, and all interpretations given for both readings are dubious.

^[7] The last three names appear to be of western origin and attached to the earlier Canaan- it ish tradition which was obtained from Babylon.

¹ See Zimmern, Ritual Tafeln, No. 24, for the identification and the text which describes the origin of divination through the hero En-me-dur-an-ki.

^[9] Semitic translation of Sumerian Zi-ud.

¹ Syl. C 292-5.

'This was the reason for my entry to tag in the sense of "rest, abide," in Sum. Cr. 24$. Cf. nabafu, napafu, "to overwhelm."

* See Sum. Cr. 247.

^[13] Bird of the storm, and symbol of the city of Lagash.

^f The meaning of this line has been suggested by nigin-galam-ma «= l&kuru, to make rare.

^he photograph appears to have da-du not D(JL-DU(=i), but in line 12 the sign DUL is clearly written. This curious form of the sign REC. 233 1 have found nowhere else. The identification with DUL is the only one which seems possible.

¹ The meaning is uncertain. The mother goddess nowhere else appears as hostile to man until he eats of the cassia and is cursed, ba-ni-in-rig might of course be rendered by uraHif, "she devastated," which is the most natural rendering. Perhaps we have to do with the verb rig > ri to fashion, build, whence rib "form," v. Sum. Gr. 234. In the latter case we should render, "Ninharsag in the fields had fashioned (men), (but) the fields received the waters of Enki."

[17] sukkal-a-ni dingir-guda-ne mu-

na-ni-ib-gi-gi

•This verb occurred in the obliterated line Obv. ill 39.

^[19] A title of Girra, god of the flocks, and interpreted by la si-ma-ni, CT. 24, 42, 95. The ideogram is usually rendered by lummanu, a nose cord for leading oxen (also men, as in Senh. Taylor inscr. V 74). simanu and lummanu are obviously connected so that Girra is thus the god who leads the oxen. (My note in SB P. 66 n. 1 is false.) This title is applied to Adad in SBH. 120, 21 and 49,8, where the phrase markas maiim seems to translate the ideogram. An unpublished text from Er:ch employs markasu as a synonym of massu, "l;ader." In CT. 24, 7, 19 the ideogram t&g-sii-nun-Hig4ud designates apparently NinuraSa son of Anu, and recurs in 24,34,2.

^ta-si-si occurs also in SBP. 330, 16 a-ni mi-ni-in-si and perhaps also in Bab. Liturgies 209 a-mu-n i-in-si-e I.

^[21] We expect de, i. e., a-bl-in-de = la%{i la iklt, but the sign is not de.

^[22] For the grammatical elucidation of this passage see PSBA. 1914, 191, note 8.

^[23] In the legend of creation DT. 41 line 9, Ninigiazag, i. Ea, creates two This

restoration is plausible but uncertain. "Two small creatures" is the version generally given for this line, gil-mal would be rendered perhaps by liknatu, "creature."

* Literally mairu, restil, "first."

¹ Read dingir-ri-ne-ge(?).

* For Abu or Tammuz as a patron of pastures and flocks see Tammu{ and Isbtar, p. 54 n. 5, 162 and 8. In line 41 below his protection over vegetation is emphasized. Since the ideogram CH Jfef in line 25 is followed by a broken sign the whole may possibly be an unknown group of signs for re'itu, pasture.

^[26] Nintulla also in CT. 24, 26, 113, where she is the consort of Negun.

* Probably goddess of femininity. In line 48 she is connected with the month (iti) and in 111 R. 66 Rev. 4 she follows ^ilua-a'i-tu, " Father of the month?"

^[28] The restoration is uncertain. Cf. Sum. Gr. §211 for emphatic en-tia.

^[29] Sic! Here a male divinity?

^f. Historical and Religious Texts, BE. XXXI, p. 18.

^[31] Nimin, written with four heads, is the sacred number of the god Ea. By confusion this

^[32] So Ungnad, Altorienlaliscbe Texte und Bilder 52, and he is erroneously followed by Rogers, Cuneiform Parallels 94.

¹ Genesis, 8, 15-22.

^[34] Genesis, 9, 1-17.

* See above, p. 15, and Poebel, Creation and Deluge, p. 61.

^[35] In view of this reading and of zi-sud-da=Ht-na-pil-U_t CT. 18, 30 a 9, it is probable that the sign BU in Ni. 10673 Obv. IH 20, Rev. IV 2, V 7 has the value sud and that the vowel u at the end is due to harmony.

* See also Ni. 10673 Rev. IV $ and na-rt-mu, Ni. 4561 Obv. Ill 41.

^[37] The rubric is employed properly after a hymn to Nidaba in Zimmern, Kultlieder, No. 207. The term came to be misused in the temple schools and hence we find it at the end of tablets which contain lists of names and other prosaic material. Thus Ni. 13889, a large tablet devoted to the names of the gods, ends ^dNidaba {agsal. Here, of course, the note cannot have a liturgical reference but is an impulse of the scribe who wishes to praise the excellence of the written tablet. Dr. Chiera in PBS. XI, p. 19, has noted several examples of this use of the term at the end of school texts. Note also the rubric placed above the long liturgical hymn to Bur-Sin and Gimil- Sin in Radau, BE. 29 No. 2 [enim-]ta *Nidaba (so Radau restores).

^[38] See p. 124.

^[39] IfMft occurs regularly for the act of slaying animals for sacrifice: In the temple gil-bi- dii "he sacrificed," RA 9, 112 II 22; gukkal gil-du, unweaned kid for sacrifice, Langdon, Drebem 21; Legrain 79, 10; mdl-gil-du> kid for sacrifice; gud gil-du, ox for sacrifice, passim in Drehem texts.

^[40] Possibly a lapsus calami for KA, dUg.

^[41]A reading mtr-si(g) is possible, in which case dingir mirst may perhaps mean "god of the flood;" for girsii, flood, see Liturgies, p. 96.

^ala-ba^ma^Lafyamu, of the Creation Epic. Identical with Lahama, CT. 24, 1, 15; 20, 9, female principle of Laimu; here Lafomu and Lafoama are father-mother names of Anu, or emanations of the first principle Heaven. As emanations of Heaven they probably represent the ocean and belong to the order of the gods. In CT. 17, 42, 14-24 La()^mii is described as a sea-serpent and identified with Ea; cf. Rm. 279, 1-12. The paragraph 25-40 probably describes Laframu or Damkina; she has the body of a fish and scales like a [serpent?]. Laftmu and Laftaniu ^are the first emanations who are called gods, Creat. I 10. They are the fathers of the gods III 68 and counsel them against Tiamat III 125. On the other hand, the female Labium] belongs to the dragons of chaos, I 121; II 27; III 31, 89. In our passage Lahama clearly represents the ocean.

⁴Cf. Liturgies 115, 1.

*Cf. Rev. I 8.

^%idim, abyss, well, the deep, is employed in the title of Ea dingir idim, "god of the deep."

⁶ Chapel of Ninlil in Ekur temple of Enlil.

^[45] This text does not distinguish between the sign NIN*=beUu and SAL+K(J=abatu. For Aruru sister of Enlil see part 1, Index.

^[46] Emab appears to have been applied to temples of Aruru in Nippur, Larsa, and Babylon. For Emab at Nippur and Larsa_# see SBP. 60 n. 3, and at Babylon, VAB. IV p. 302 where she has the title Ninmah as in CT. 24, 12, 2=25, 75. In Kei> where she was chiefly worshipped her temple is called UrSabba, see BL. 147. This leads to the inference that our hymn applies to Aruru of Nippur where she seems to have been confused with Ninlil.

^[47] Cf. St-lAl kur-ri-gdl mu-na-ab~lub_t 'The el-lhl which is in a strange land he occupies," Cstpl. 2378, 16 in Historical and Religious Texts No. 35. Cf. also l&l-e ki-a^ag-ga nam-mi-in- durun, "The M/, a holy place she inhabits," Radau, Miscel. 8, 16. This sign has also the value ru, ri,(King,CT. 24 pages 12 f.) hence we may have here some new value for LAL a "sanctuary." Confusion with EDIN is hardly to be assumed in this period.

* Lines 16 f. probably refer to the weeping of Innini for Tammuz.

^[49]This title applies here to Damkina. It designates also Aruru and Gula.

⁸ The Igigi.

^[51] The Anunnaki.

[52] Supplication.....

[53] The man who [.... thou dpst

[54]This title designates Nina the water goddess in BL. 72, 29, who was worshipped in Sirar a quarter of Lagash, SBP. 284, 5 f. MAR-TU, a western title of Immer, the rain-god, therefore, becomes the father of the irrigation goddess in theological speculation. This western Amurru, Adad, is really a married type, a western ba'al, who after his identification with Immer becomes a composite and illogical character.

* Var. of d; the title would probably be rendered mult<r mefrtti~ia.

^[55] Probable variant of aggig, IV R. 10a 34.

^[56] Literally uggatu mal&t, "the wrath is full," ma$t, "it is enough;" a phrase characteristic of penitential psalms; see ASKT, 122, 14, galan-mu e-ri-^u-lu ib-si ba-ab-dug_t "Oh my queen, for thy servant say unto him, 'it is enough';" also BL. 122, 27.

^[57] guru = gurul = idlu.

^[58] Var. of lag-dib = ki$ libbi.

^[59] lu-al=lu-ila = katd nal&(?). See al 1), Sum. Gr. 202.

^[60] Sec Bab. Liturgies, p. 75 n. 10.

^[61] sag-bi — mamit, is the original of the regular form sag-ba, from yjsig to cast and hi to utter.

^[62] For the root mur, to heat, boil, see Sum. Gr., p. 229, and kt-mu-rt, furnace, Historical and Religious Texts, p. 29, 32.

^[63] Or gub. Literally, "has been placed outside."

⁶ Restored from Zimmern, K-L., 199 II 51. The variant has a somewhat different text, ^den4tl'lidur MI(?)

^[64] This line is omitted on the variant.

^[65] Var. omits.

'Applied to a temple(P) in SBH. 94, 35, mtt-ul-lfin-ti ka-ttag-gd, "the skilled work(?) of the land."

^[67] Cf. Gilgamish Epic. VI 174.

* Same title Obv. 25.

^[68]anaku anammar, cf. SBH. 54, 5 and SBP. 2, 14.

• For ta passive. See Sum. Gr. §200 and fa-ma-U-diig, "let it be proclaimed," Zim. KL., 199 II 43.

^[70] Su-nigin occurs as a verb also in KL. 65, 10, lu*mu-un-nigin-e, "it gathers, captures."

^[71] The foreign expeditions of this king are referred to in a date formula of his reign, "Year when Ur-Engur the king from below to above directed his footsteps," Thureau-Dangin, SAK. 228d).

^[72] This term appears to coincide with Sumer here.

^[73] Literally, "route."

^[74] For ki-e?

¹ For bum, "to eat," v. BL. 98 n. 3.

¹ Cf. galu nig-gal-gal-la = la rapdti la atrdti, "he of greatness, excellence," Voc. Hittite, 7455.

^[77] Cf. d-kur-ra, SBP. 86, 28 n. 2.

^ls»LU-KU=lubbu.

^[79] ttdi\ bMtim, BL. p. 80, 14.

* So, probably not "temple," see Expository Times XX 457.

^[81] gil-sa refers to a definite object here as in Gud. B. 6, 76.

* Probable value of REC. 215. For su-lag-ga cf. SAK. 48 V 14.

^[83] PA+USAN is given in CT. 12, 13 as the full form of USAN (su-ub)=ri-e-um, or USAN (mu-un-su-ub), Weissbach, Miscel. p. 30, 7. For the full form PA+USAN see also DP. 31 b V 14, where it forms a proper name, and RTC. 76 I 3; sib and munsub are both rendered by ri'u shepherd which makes their conjunction here inexplicable. Evidently some distinction exists between these words.

^[84] badarana~lat-tar-ri (or pa-far-ri?), syn. pa\ru, sword, BL. 79, 21 = P1. LXI 16 and ASKT.

iiten nindanaku, "reed one ninda long," which verifies Meissner's restoration, SAL 1654. Note also \gi~BAR-NINDA\ = \an [milil nindana%i\ or a reed ninda long, CT. XI, 47 III 25.

^[86] The scribe seems to have omitted a line here referring to the rebuilding of the wall and palace of Ur.

^[87]Cf. Gud. Cyl. B. 9, 8; 17, i.

¹ la inubba. •Cf. Obv. I 34.

^[89] dag, the part of the bed on which the sleeper reposed; see Sum. Gr. 208 dag 2.

^[90] For this title see also Allotte de la Fuye, DP. 81 III; Thureau-Dangin, RTC. 43 Rev. 2, etc.

¹ Sic. For nte-e. For e and e-cn as inflections of the second singular see RA. 11, 47.

[92]Cf. Thureau-Dangin, SAK., 52 n. f.

^[93] For the root ad, wailing, which is not entered in my vocabulary, note the following passages: ad-da = ina riggint, SBH. 101 Rev. 6; ad-mu = rigtni, my wail, SBH. 75, 7; mulu ad-da-ge= btl nissMi, lord of wailing, Zimmern, K-L., 12 II 3; mulu ad-du-ge, IV R. II1223; ad-du — nissatu,

[94] The heart of bitter sorrow I made glad.

^[95] Sic! lu twice.

⁴ Uncertain; cf. nig-gi-gi-na, SAK. 72, 38. The inflection lu after the verb mh-ar indicates a plural object.

for the great Code of Hammurapi; a fragment of such a code has been published by Professor Clay, OLZ. 1914, p. 1. Se: also Ni. 4574 in this volume.

^[98] Redactions of Sumerian laws existed before the first Semitic dynasty and served as a model

¹ nig-d&g-ga = adannu_f "fixed time in which things occur."

[100] The first sign resembles UR more than LIL. Both Hilprecht and Poebel's copies are inexact. [The name of the fourteenth king is probably Ur-azag, since this name occurs in Ni. 13954]

^[101] For PA+DU instead of PA+DU gunufied, see BM. 91-5-9, 279, 8, in CT. 6; and 88-5-12, 711 line 42, in CT. 4.

^[102] Or if these syllables are simply an epithet we may translate "the holy wind/' a reference, to the divine spirit of the deified king.

'Cf. K. L. 199 Rev. I 1.

⁶ The sign is REC. 447 = SA1. 3752. It has ordinarily a meaning synonymous with "canal," but here the sign obviously conveys a sense synonymous with "shepherd, guide," and probably

recurs in the title sag-X.

^[106] ta-gi-in, 1 would compare with tam-gin in iar-bi tam-gin-di_t "to encourage his soul," SBP. 328, 4 (instead of the reading ug-gi there given). tam = kinu, CT. 12, 6, 46 and la has the meaning kaitu, "form," probably from the same root. Also gin has the meaning kinu. to(m)-|m is probably one of those intensives made by compounding two roots of similar meaning, as mal-gar, luUrig (IV R. 16a 62), lul-ru.

^[107] Variant of ^dnun~nam-nir and ordinarily an epithet of Enlil, CT. 24, 5, 43; frequently of ASur, V R. 3, 33; KTA. 14, 25; of Shamash, ZA. IV 245, 9. In this passage it refers to NinuraS as in BA. V 644, 5.

^[108]See F. Thureau-Dangin, SAK. 108, XVIII 17.

^s In lines 4-8 Innini is described as the consort of the sun god. Ordinarily the consort of Shamash is Aja, who is by origin perhaps a personification of the sun's light. She is in reality a special aspect of Innini in her role as queen of heaven and a light goddess. The theologians of the late period identified Aja with Innini-Ishtar, CT. 25, io, 12-33, and our text proves that the idea belongs to the classical Sumerian period. On the whole subject of Innini as a goddess of light and her connection with the sun god, see Tammui and Isbtar, 96 ff.

^[110] This reference to a serpent adversary is unusual and is referred to but once in other Sumerian literature; a passage in Gudea Cyl. B Col. 10 refers to a serpent who is prevented from robbing the mother of Ningirsu of the goats' milk by which she feeds the "leading goat." Here the serpent is the traditional adversary of the prehistoric earth goddess, represented as a patroness of goats who feeds the young goat Ningirsu. The tradition of the serpent adversary probably reveals itself in the story of Gilgamish from whom a serpent stole the plant of life, see the Epic of Gilgamish XI 304. The same tradition has found its way into Hebrew legend, and the ancient version of the temptation and fall of man in Genesis 3 represents the serpent as the moral adversary who brought about the loss of immortality. Evidently the tradition of the serpent, incarnation of evil and all hostility to mankind, permeates Sumero-Babylonian religion and was transmitted to the Hebrews. The hostile character of the serpent must not be confused with the beneficent serpent symbol of the mother goddesses and other vegetation gods. Serpent worship, which forms one of the important features of ancient religion, is of course based on this latter aspect of ophidian tradition. See for the ophidian worship, Tammui ^and Isbtar, Chapter III. [See now Ni. 7184 Rev. 21.]

^[111] The sign is the lellig of UR and is to be identified with Br. 6964 where the sign has also the regular gunufication at the left. The sign either letlig or IcVsig plus the gunufication has the values dul> dun "to cover" and ligir "prince/' For this sign see also Zimmern, Kultlieder, 199, 41 and Poebel, PBS. V 125, 5. See also Radau, MisceL No. 3, 27; PSBA. 1913, 278 ff. Christian, WZKM. 1911, 143.

^fl ga, indirect construct for ka.

^[113] A synonym of enem^amatu, "the word." See SBP. 98 n. 7.

^[114] The city Ur is meant and the reference to an usurper in Obv. 8 leads us to suppose that the calamity referred to is none other than the invasion of the Elamites who seized Ibi-Sin, last of the rulers of the dynasty of Ur. a lamentation on this event was published in my Historical and Religious Texts 6-8; according to that text Ibi-Sin was taken captive to Elam.

destroyed.

I For the reading den, gen, see SB P. 12, 29.

* lag-g&-bi-gt-a_t literally "the returning of the waters to the bank/' the restoration of normal conditions of a canal. The literal sense occurs in Gudea, Cyl. A. 1, 5. The figurative sense appears to be ''the return of the affections to their normal state," to repent. This meaning occurs in lag dingir-ri-ne gb-bi-gt-a-dm, "the hearts of the gods returned to their bank," i. e., they repented, Cyl. A. 25, 21.

^[118]Cf. Br. 632 pH purrulu. The verb is a variant of d&g-tar=dtnu, v. K. 4610 Rev. 17.

^[119] Cf. igi-kar-barH.

^[120] For idim, wailing(P). Note li-du = {amaru, a synonym in line 24.

^[121] Variant of Gu-ur-a; Meissner, SA1. 484.

⁹Cf. for this line, Bilingual 0/ Samsuiluna, 27-31.

¹ The same signs in Zim. K. L. 199 II 21, nam-lugal4a d&-lu_t to adorn the kingship.

^[124] Syl. Ass. Berlin, unpublished, renders IGI-LAMGA-BU{ildu) by illat kalbi, troup of dogs. The phrase obviously refers to the group of lion-images mentioned in line 18. ilia I have taken for igi-illa —nil tni. For ntlu without tni, cf. allot ntli-ka, CT. VI 28b 23, 27.

^[125] IV R. 11 is certainly not the first tablet of this series as I supposed in SBP. 246. If this were tablet one its first line should agree with the title ^dbabbar-gim l-ta. But its first line is the beginning of another Enlil song, see SBP. 238, 1.

MV R. 11.

^[127] BL. p. 123, 9; SBP. 195, 72.

' Zimmern, KL. X introduction to No. 12 on the basis of a copy by Radau, has already discovered the connection between 497 and VAT. 1334.

'According to IV Raw. ii, b 50, a similar series to Enlil was known as ^dbabbar-gim i-ta, "Arise like the Sun-god." Such also was the title employed for this series by the catalogues of series in the Neo- Babylonian period, IV R. 53 I 5 ^dbabba r-gim-b-ma, and the old erlemma from which the series arose has the same title (^dbabbar-gim-h~ta) in the great catalogue III 16. A small catalogue published by Luckenbill in AJSL. Vol. 26, has in line 8 this title in the

^[130] The restoration [dingir]-babbar which would make "God Shamash," a title of Enlil does seem probable. Enlil is obviously connected with light in these lines and his father-mother names en-ul, nin-ul, en-mul_t nin-mul connected him with the stars probably as the son of Anu. Note also tha N. Pr. ^dSama§-^dEnlil, "Shamash is Enlil," in an unpublished text.

^[131] For the emphatic verbal ending a-ri see BL. 107 and SBP. 10, 10-12.

^[132] So traces by Zimmern, KL. No. 12 I 2.

^[133] Here stood the first syllable of the verb form at the end of lines 27-8; the verb ended in de or ne, or be. This syllable followed the seven names of Enlil as an abbreviation; cf. for this form of melody SBP. 102, 112, 120; BL. 111, etc.

[134] urU-ta u-mu-un-bi [na-dm-ba-da-

an-tar]

^[135] Here begins KL. 12 II i -SBP. 238, 19.

^[136] Var. er-ra.

• Var. ta.

^[138] Var. par.

^[139] giparu usually indicates a stage of the {igurrai. See RA. 11, 109.

^[140] For this reading of NAR-A, see Thompson, Reports 103 Rev. 9.

^[141] SBP. 240, 45 ri; SBH. 62, 21 and 92b 20 iir-iir-ra. On this passage see Sum. Gr. 254 (ur 12).

^[142] Var. de-de-c. See also SBH. 926 21.

^[143] Cf. SBH. 92b 9, mu-lu s)r-er-ra = btl $ir%i u bikiti.

^[144] mar-ma£ = tublu? Cf. t-e ltd-lal = tublu SBH 92* 24 and ma&=tublu II R .a 49. tublu designates some part of the temple here.

^[145]Zimmer*j's text has DI.

^[146] Here SBH. 62, 29 IV R. 11 a 53 = SBH. 92b 8 have e-de-bi $ul-a ni-gul-gul-e, v. SBP. 242, $3.

^[147] Here followed some unknown title of Nebo not found in other liturgies.

^[148] Cf. SBP. 150, below, note 5 1. 12 = KL. 11 Rev. Ilu, and BL. 22, 5, title of NinuraSJ.

¹ Cf. BL. No. 56 r. 20. Read utnun after gal?

^[150] KL., 16 I i.

^[151] For this title cf Nusku, see BL. No. 101, 1 =SBP. 154, 33.

^[152]1, e., NinuraSl. Cf. BL. 49, 13.

^[153] First line on KL. 12 Rev. 111.

^[154] So Zimmern's text. Not ki. Cf. SBH. 70, 21.

^[155] Temples in Kish, cf. BL. 51, 41 f. See VAB. IV 185 n. 2, where evidence warrants the conclusion that EkiSib was the chapel of Emetenursag.

KL. 199 r. I 35 Harsagkalamma is also the name of a temple in Kish.

^f. BL. 51, 44.

^[158] The restorations at the end of this column are conjectured. Cf. BL. No. 73, 45 ff.

¹ Meek. No. 32, is an Assyrian duplicate.

^[160]Cf. SBH. 99, 75.

[161] {imbir-(ki) e-dii-e, "Sippar be rebuilt."

[162] tin-tir-ki ie. "Babylon, etc."

[163] Thy neck thou hast placed in

thy bosom.

^[164] Indicated by "ditto."

[165] See for these restorations Babyloniaca 111 249.

*Cf. SBP. 8 n. 2.

*Cf. SBP. 276 Rev. 1, ga-la-att nu-um-til dam-pi ga-la-att ab-da_t "A queen there is not, thy consort as queen rules."

^[167] Semitic version, "Thy consort is the goddess 'Mistress of the gods'."

^[168] Note 1. 6 and Var. AB-gal, SBP. 156, 51.

^[169] My rendering depends upon the passage VAB. IV 274 III 14, la $andati sibitti labbu, "[IStar] who harnesses the seven lions."

• mu < gil as in mu-uri=urinu, M⁸, 82-5-22, 574, 8. For gil-uri, a spear with handle, see

^[171] ni-mi-ir=nimgir > ni-gir > li-gir = nagiru, potentate, lusapinnu, bridegroom, see Sum. Gr. 231 and RA. 10, 72, 26 MIR-SI (li-gir) ^lusapinnu. The feminine nagiratu has not been found.

^[172] For gilgal??

^[173] Var. of g&si-sd, title of Nergal, SBP. 82, 43; alpu multelliru. SBP. 158, 58 has gu-d- nu-sd=* KL. 11 Rev. Ill 7 k&-a-nu-si=alpu la immafybar, SBP. 86, 28. See note on Enanun I. 3. These lines correspond to SBP. 158. 57 f.

^[174] durru siga is a variant of A-SUG, i. e._t durusug in SBP. 159, 64. duru = A = ratbu, "watered," Syl. Berlin 3024 1 3 and dUr — labdku, "pour out," II R. 48^ 30, hence duru, dur has probably the meanings, flow, pour, and libation, hence "She that sprinkles the libation (of meal or grain)." The Var. KL. 11 Rev. Ill 11 has the more common a^ag-sug, a title of Nidaba the grain goddess, CT. 24, 9, 35 = 23, 17 and the same title also applies to the fire-god Gibil, the langammabu oi Enlil, Meek, No. 24, 4; CT. 24, 10, 12; IVR.28*fri2. a\ag probably means roasted cakes, here {ellitu) as in PSBA. 1909, 62, 15 and Myhrman, BP. I 14, 49, and is connected with the root roast, burn, Sum. Gr. 257; a^ag-sug, "He or she that sprinkles roasted grain."

^[175] matugi=*mdl-sag=alaridu, SAI. 1178, and probably identical with mdf-lug = mass&, leading-goat; hence, lord, chieftain. Shamash is mdl-sag kur-kur-ra = aiarid matata, "sovereign of the lands," Meek, i, 21, and the same title of Shamash in Bab. Ill 78. Our passage refers to Gula as the earth-mother, the idea original with all the mother goddesses.

^[176] Var. tdg'ga-damlfu, SBP. 160, 14; KL. 8 IV 6.

^[177] gunura is title of both Nin2 and Gula as patroness of healing Both in CT. 17, 33 Rev. 34 and SBP. 160, 13 she occurs with Damu, 1. e., Tammuz as healer. See BL. 136.

• Var. KL. 8 IV 5, gihmd-mug.

^[178] ablim > ablin > ablenu, "ear of corn."

⁴ So also ^den-gi-du, KL. 8 IV 11, but SBP. 162, 27, ^den-ki-im-du. For the rise of a phonetic nasal, cf. saglienlar=saglilar = pakidu. This deity is the well-known ^iluEnkidu, related to Gira, patron of cattle. A description of him is given in the first book of the Epic of Gilgamish,

Col. II 35-41 and in K. 10164, (2 A. 25, 380) where he is called lugal-e-p& ra-ab[?.......... ],

and cf. CT. 24, 28, 58 where both titles follow TaSmetum, hence related to the Nebo group. Since the theologians regard him as specially connected with canals the name probably means bilu Ia irfilam udabfradu, "lord that makes the earth fruitful."

* SBP. 162, 27 umun-e-pa-a-ra. ra, ri are employed here for the conjunction and.

^[181] Published by Radau, Miscel. No. 2; see Sunt. Cr._t p. 196.

¹ an-gub-ba = itia lami kajamanu, originally said of the stars which stand as sentinels, CT. 33, 1, 23. Then as sentinel, guard, CT. 24, 24, 67; 25, 6, 15; BL. 195, 33. For the Semitic rendering see IV R. 28a 7.

^[183] See Sum. Gr. 218, gub 2.

⁹ Literally "mighty."

^[185] See also Ni. 4566, 4 in this volume.

^[186] In Gudea, St. E 6, 16 i-$il-sir-$ir, temple of Bau in Lagash. See SAK. Index, p. 268, and RA. 10, 102, n. 1. A Berlin vocabulary renders sil-sir-sir by ussuru, sunnuku, unnuku, suk&tu, alley, narrow street. Hence a long narrow chapel of Bau in the temple EninnO.

^[187] A double plural, el probably indicates the past tense here.

• Semitic mudammikat bin&ti, she that makes the limbs healthy, a title which harmonizes with Bau, goddess of healing. See also Genouillac, Drebem, AO. $501 Rev. 1 end. But the title is also employed for Shala, the western goddess, CT. 25, 20, 23. The variant me-dim-Id, is employed for Shala, II R. 57a 36; RA. 13, n and KL. 24 II 4.

^[189] A liturgical rubric found as yet only in liturgies to deified kings. The full form is sa-bar- sud~da-dm, KL. 199 I 29; cf. bar-sud-da-dm, Radau, BE. 29, 1 1 5. The rubric occurs also in KL. 199 II 34 and BE. 29, 1 III 22.

^[190] MA-GUNU, SAL 2767.

^[191] Perhaps ra is here the demonstrative pronoun, in which case Enlil is the subject.

^[192] See Sum. Gr. §72.

¹ See OLZ. 1912, 447; Jastrow, Religion II 713. The gunii grain has not been identified.

^[194] Note the unusual method of writing buranun.

¹ We have here an additional reference to the serpent adversary, which occurs also in another liturgy to Ishme-Dagan, Ni. 456). See above, p. 138, n. 4.

^[196] For the verb dur-gar see Meek No. 83 rev. 4. For the noun dur-gar see RA. 12, 82, 41.

^[197] Published in PSBA. 1895, pi. I, II.

¹ See Sum. Gr., p. 177.

'Cf. SBH 60, 21.

^[200] Var. id.

I Var. ma-ma.

^[202]The Semitic version in SBH. 60 Obv. 16 completely misunderstood the Sumerian; mu indicates that the second part of 1. 1 is to be repeated.

^[203] Var. i-iid ki-lu-SU(?). Reisner's copy is probably incorrect*.

[204] e tur-amal-gim lu-lu-a mu⁴

[205] e-11-gim amal-gim lu-a mu

[206] uru ma-mu-da ma-du-a[mu]

^[207] The Semitic rendering in SBH. 60 Rev. 17 is illegible.

11 Var. ba-da-kur-ri=tap-[.... ], sic!

^[209] See the Rev. Col. I end ki-mi, in the place of battle.

^[210] 1 misunderstood this text in my edition, pp. 31 f.

^[211]Cf. sag-sar-sar = rummuku, RA. 10, 77, 37.

^[212] Semitic ttadiiu, v. Landsberger, ZDMG. 69, $06.

¹ Note the distinction between the use of bi and ni in 11. 14 f.: ni refers to Enlil, a person, and bi to a thing, 1. e._t the instrument. See Sum. Gr. §159.

*al-bi, "to speak on the instrument AL" is employed as a synonym of nam-tar in SAK. 320 f._t II I3=e, II 13.

^[215]1. <?., Aruru, or Nintud, see PBS. X, pt. i, p. 17, n. 3.

^[216] Var. Damgalnunna, wife of Enki. Ninmenna is one of the titles of Nintud the mother goddess, CT. 24, 12, 18=25,83; ZA. IV 245, II; IV R. 17a 15. We have here evidence to trace the origin of the wife of Enki to the same unmarried mother goddess from whose character all

* Var. inserts dingir.

^[218] Var. da-bi. The phrase occurs frequently in pre-Sargonic texts: PAD-^id e-diib, "he made the meal-cake offerings," Nik. 32 Obv. II, Rev. 1. Also without fid in the title of a priest, lii-pdd~dub-ba_t "The offerer of sacrificial cakes," DP. 151; Hussey, Harvard Mus. 2 Obv. I 2, ei passim.

⁶ Vars. gil-al. Ni. 10215 a^ab-bi lu-a-an~[gdl].

^[219] See Tammui and Isbtar, p. 81, n. 6.

^[220] So read also bl. 46, 63; 43, 8.

^[221] Vars. have dumu-sag S-a-ge, see bl., p. 105, n. 1.

^[222] See BL. 88, n. 4.

*Cf. Maklu II 46.

^[224] Sic! So also Maklu II 48. Tallquist read tim-mu as ti-ia, but the writing suggests that perhaps mu was read as Sumerian. For TIM—ti, see perhaps V Raw. 64 III 16, ga-ti(m) *^iu$amli. See also Maklu I 32.

^[225] So our text. Ma\lu 1 97 t*-}ab-bi-tu.

^[226] So restore Maklu I 98.

^[227] From da*apu_t dtpu, to shatter. So also id-i-pu, Maklu I 98. See also Zimmern, Rt. No. 60, Obv. 5; Meissner, Supplement, p. 30; PSBA. 18, 158, etc.

^[228] So restore Ma\lu I 99.

^[229] The traces are against this restoration.

^[230] Maklu I 132 imlusu. The Babylonian root is malalu, Arabic malusa, to shear, see Holma, Personal Names of the type /«'«/, p. 72. Also Tx. El. Vol. 14, p. 70, a plant malasu.

^[231]Cf. CT. 17, 15, 2i_t and King, Magic 12, 55. For mandatu, form, outline, see also K. 2563, 16, mdn-da-ti-ia likdt.

^[232]Cf. Myhrman, PBS. I 13, 21.

^[233] Here i$$ur iamt is employed for unclean birds such as hawks, crows, etc.

^u n&n apsi is also employed for some kind of unclean fish.

^[235] btu probably connected with ep&, be pale, dark.

*Cf. li-ta-'-pu, CT. 23, 10, 18 1 2.

•This passage yields the first example of the verb temeru, root of tumru oven. The verb is obviously a synonym of iarapu.

^[238] See Rev. 15.

^[239] ardmu, entered in Delitzsch, H. W. 134b as meaning "destroy" really has this general sense. The original idea is cover, Syn. katdmu, RA. 10, 74, 24; often in this sense in liver omens, Boissier, Ckoix, 93, 8-10; CT. 20, 15, 10; 31, 26 Rev. 12. It is employed in the sense quench with kuiru in Ma\lu III 170.

| ft * For the passive meaning of the l² form note liplasis "may it be annihilated," Ebeling, KTA. 67 Rev. 27.

^[241] Here to be read some derivative from ep&.

^[242] Var. of paiarru, a kind of weapon. Loan-word from ba~da-ra_t BL. 79, 21; cf. (giyba-da-ra = Ifularu, PSBA. 1901 May, PI. II I. 1. urudu^sun-tab iabar-£ul-a=pattaru_t t. e., double axe of red bronze, K. 8676 R. 30 in Meissner, Suppl. pi. 15.

^[243] Sic! Error for ba?

¹ Title of some incantation.

^[245] The fragments which have been assigned to Book 11 in the British Museum collections by Haupt, Jensen, Dhorme and others belong to later tablets, probably III or IV.

^[246] Here this late text includes both variants pal&ru and zakdru. The earlier texts have only the one or the other.

¹ For kakabi; b becomes u and then is reduced to the breathing.

^[248] Var. da-an

¹ Literally "he attained my front."

¹ Text ma?

* ilianamma > iltilamma.

^[252]1, e., in the suburb of Erech.

^[253] Restored from Tab. 1 Col. IV 21.

^[254] Cf. Dhorme Cboix de Textes Religieux 198, 33.

* namaltii a late form which has followed the analogy of reltH in assuming the feminine t as part of the root. The long it is due to analogy with namalld a Sumerian loan-word with nisbe ending.

^[255] Or anammim ? The word is probably an adverb; hardly a word for cup, mug (??).

^[256] For lapparu. Text and interpretation uncertain, uttappii 11* from tap&lu, Hebrew tapai, seize.

^[257] Text ta\

^f0n ekeiu, drive away, see Zimmern, Sburpu, p. 56. Cf. uk-kil, Myhrman, PBS. I 14, 17; ukkiit, King, Cr. App. V 55; etc., etc.

^[259] Text uncertain. kal~lu4im is possible.

[260]............................ i-il-la-ak-

^[261] In addition to the examples of epical poems and hymns cited on pages 103-$ of this volume note the long mythological hymn to Innini, No. 3 and the hymn to Enlil, No. 10 of this part. An unpublished hymn to Enlil, Ni. 9863, ends a-a ⁴En-lil tag-sal, "O praise father Enlil." For Ni. 13859, cited above p. 104, see Poebel, PBS. V No. 26.

^[262]Ni. 112; see pp. 172-178.

* For example, Myhrman, No. 3; Radau, Miscel. No. 13; both canonical prayer books of the weeping mother class. For a liturgy of the completed composite type in the Tammuz cult, see Radau, BE. 30, Nos. 1, 5, 6, 8, 9.

[264] One of the most remarkable tablets in the Museum is Ni. 1400$. a didactic poem in 61 lines on the period of pre-culture and institution of Paradise by the earth god and the water god in Dilmun. Published by Barton, Miscellaneous Babylonian Inscriptions, No. 8. The writer's exegesis of this tablet will be found in Le Pobne Sumirien du Paradis, 13$-146. It is not called a Iag-sal probably because the writer considered the tablet too small to be dignified by that rubric. Similar short mythological poems which really belong to the tag-sal group are the following: hymn to Shamash, Radau, Miscel. No. 4; hymn to Ninurta as creator of canals, Radau, BE. 39, No. 2, translated in BL., 7-11; hymn to Nidaba, Radau, Miscel. No. 6.

^[265] Now in the Nies Collection, Brooklyn, New York.

^[266]A similar liturgy is Ni. 19751, published by Barton, Miscellaneous Babylonian Inscriptions, No. 6.

^[267] See IV Raw. 53, III 44-lV 28 restored from BL. 103 Reverse, a list of 47 lu-il4d prayers to various deities.

^[268] The twelfth kilub of a liturgy* to Ishme-Dagan is published in Zimmern's Kultlieder, No. 200. A somewhat similar song service of the cult of this king has been published in the writer's Sumerian Liturgical Texts, 178-187. a portion of a series to Dungi was published by Radau in the Hilprtcbt Anniversary Volume, No. 1. The liturgy to Libit-lshtar in Zimmern, K L. 199 I—Rev. I 7, is composed of a series of sa-(bar)-gid-da.

^[269] For the suffixes el, ul_f denoting plural of the object, see Sum. Gr. p. 168. ⁴ On ki-d&r-gar cf. Gudea, Cyl. B 12, 19.

Enlil king of the gods In the South and North¹ may give lordship over them unto me.

By the commands of Nunamnir, By the utterance of Enlil, May Anu speak for me an order of confidence.

8. Scepters may he give unto my

hand.

9. May UraSa bestow upon me

faithful care in his holy throne room.

10. Ninlil whose heart is pure,

^[270] Usually written db-aiag, throne room. On the meaning of du in this word, see AJSL. 32, 107. Written also d&-a{ag, in Ni. 11005 II 9

^[271] Tin alone may mean "wine," as in Gudea, Cyl. B, 5, 21; 6, 1. See also Nikolski, No. 264, duk-tin, a jar of wine.

¹ For en-na in the sense of "while," see Pery, Sin in LSS. page 41, 16.

•Cf. SBP. 328, 11.

^[274] On ugu-de = balaku, na'butu, to run away, see Delitzsch, Glossar p. 43. Also ugu-bi-an- de-t, V R. 25a 17; u-gil-di, RA. 10, 78, 14; ii-gu ba-an-di_t if he run away, VS. 13, 72 9 and 84, 11,

^[275] Sic! g&sa-bi is expected; cf. RA. 11, 145, 31 g&-sa-bi=napbar-tu~nu.

^[276] The tablet has MAS. The Semitic would be adi mati kabattu iparrad.

^[277] Sign BrGnnow, No. i 1208.

* The first melody or liturgical section probably ended somewhere in this lost passage at the top of Col. M.

•Text A-AS!

•The sign is a clearly made Br. No. 10275 but probably an error for 10234. For sHr-ri-ei see BA. V 633, 22; SBH. 56 Rev. 27; Zimmern, KL. 12 Rev. 17.

^[281] On the liturgical use of balag-di, see BL p. XXXVII.

• Var. of ad-du-ge^btl niss&ti, IV R. 1 la 23: ad-da-ge, Zim. K.L. 12 II 3. See for discussion, Lang. PBS. X 137 n. 7.

^[282]A new ideogram. Perhaps ullu ktnu, "sure foundation."

⁹ On the use of this term, see PBS. X 151 n. 1 and 182, 33.

^[284] Cf. BL. no, 11.

•Written Br. 3046, but the usual form is the gunu, Br. 3009. su£-dm-bi=abulap-lH, Poebel, PBS. V 152 IX 8: cf. also lines 9 and 10 ibid. In later texts sui-a=abulap, Haupt, ASKT. 122, 12. Delitzsch, H. W. 44a. afydap has the derived meaning of mercy, the answer to the "How long" refrain as in this passage. See also SBP. 241 note 27 and Schrank, LSS.

HI 1, 53.

⁰ Cf. nar-balag nig-dug-ga, Poebel, PBS. V 25 IV 48. Our text has the emesal form ag-{ib.

^[285] For d&-na = lal\il, see RA. 11, 146, 33.

¹ Written Br. 3046=nasaku.

^[287] Text A-A$.

•Sign AL. litim, hdim^idirtnu is usually written with the sign GIM, Poebel, PBS. V 117, 14 f. anulu GIM = idinnu_t passim in Neo-Babylonian contracts.

¹ munga with ra, to carry away property as booty, see SBH. No. 32 Rev. 21 and BL. No. 51. The comparison with line 11 suggests, however, another interpretation, immer-t be-in-ne-ra-dm₉ "the storm-wind carried away."

*The passage refers to the priests' robes and garments of the temple service. See also SBP. 4, 9.

^[290] Enlil.

^[291] Rendered la sirbi, BL. 95, 19. On this title for a psalmist, see BL. XXIV.

* ul 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 passage. We have here the variant of iJ, el—bakH with vowel u. See Sum. Gr. 213 and 222.

^[293] The sign like many others on this tablet is imperfectly made, ma-pad? or tna-iigj The meaning is obscure.

⁹ Written A-KA. An unpublished Berlin syllabar gives A-KA (uga)*>mubbu.

^[295] Read A-AN, i. e., dm.

• The analysis of the text and the meaning are difficult. Perhaps a should be taken with the following sign a-tfAR-ri, an unknown ideogram, mur-ri is here taken for rigmu.

^[297] The epithet refers to ISme-Dagan.

^[298] On gigunna, part of the stage tower, see VAB. IV 237 n. 2; BL. 38, 14.

• ir is uncertain. The sign may be either iiI or ni.

3. ^d'En-lil lugal dingir-ri-e-ne-ge

^[300]Cf. SBP. 52, 5; BL. p. 138.

¹ Sic! third person.

* Text "his."

^[303] Var. lar-ra.

^[304] In liturgies usually translated by "the Word."

[305] Note the overhanging vowel a denoting a dependent phrase without a relative introductory adverb, and see also Sum. Gr. page 163, examples cited bi-tn-da-ra-dti-a, etc.

⁴ The plural of this verb has been indicated by doubling the root, a case of analogy, being influenced by the similar plural formation of nouns. See Sum. Gr. § 124. An example of the same kind is sag-nu-mu-utt-da-ab-gA-gd^ul l-ir-ru-Iu, "they approached it not," K. 8531, 6 in Hrozny, Ninrag, p. 8.

•Text ub! Read ub sag-ki-{a=tupbi pani-ki("'?).

^J Cf. nir-da-an_t K. 45, 6, and ttir-da, Gudea, Cyl. A 12, 26 with 18, 3 where nig-erinr**nir-da

^[307] See above, line 36.

¹ For the construction dirig with ra, see lH-nt-ir dirig—eli annim rabi, Poebei . PBS V 152

*a-a=l-a=a&. CT. 15, 11, 7; K. L. 3b 28. Cf. also the N. Pr. ^d'Gilbar-a-^d-Gilbar-i "The fire-god causes to come forth."

• Refers to Sin.

^[311] See also line 13.

* See Tammu{ and Isbtar, p. ill.

^[312] The Sumerian ari-bu (UD-DU-BU) is rendered into Semitic by the loan-word arabA, called iffur mebu, bird of the storm, ZA. VI 244, 48. In CT. XII 7a 2 UD-DU (<ara) = namru, fierce, raging, where the entry is followed by UD-DU (ara) = ta UD-DU-bu (in), hence in any case a bird of prey. Were it not for the reference to this bird in the omen text, Boissier, DA 67, 18, one might conclude that the bird is mythical. For the reading arabU, see also Reisner, SBH.

of Nergal as lord of the city of the dead.

^[314] Cf. dagan-me-a = ina pufrri-ni, RA. XI 144, 8.

• Cf. SBP. 45, 13; 79, 13; 98, 44, etc.

• The suffixed pronoun mu with affixed preposition ra.

¹ For the optative use of this vowel, see Sumerian Grammar, § 217.

^[318] Innini is compared to the sudin-bird in SBP. 6, 16 also.

^[319] Dialectic for du=da=ga (by vowel harmony). Note the form ga-mu-ra-ab-lid with variant da-mu-ra-ab-lid, Sumerian Liturgical Texts, 155, 30 (variant unpublished). See also Sumerian Grammar, § 50.

^[320] The sign for en\u certainly has a phonetic value ending in d; note Nikolski No. 262, where the sign is followed by da and Zimmern, Kultliederj 123 111 9, where it is followed by dl.

^% For the idea, see also SBP. 292, 25-29.

[322] How long? oh my destroyed city,

my destroyed temple, sadly 1 wail.¹

^[323] For natnga as an emphatic adverb, see Journal of the Society of Oriental Research, I 20, Metropolitan Syllabar, Obv. 1 12-15. Variant nanga, Sumerian Liturgical Texts, 188, 1, 4 and 5.

^[324] For the adverbial force of hi see Sum. Gr. § 72.

^[325] Cf. Babylonian Liturgies, No. 78, 3. •Cf. PBS. XII No. 6Obv. 11. ⁴ Identification uncertain.

^[326] The line is parallel to PBS. X 122, 13.

^[327] igi-da occurs also in the title of Sin, tgt-da-gdl, Zimmern, KL., No. i Obv. 1 3 and 6. The most natural interpretation is to regard da as a variant of du, hence "to go before."

« For ni=nu, see SBP. 138, 22, ni-kul-& = nu~kul~&; SBH. 70, 3- 131, 48. Read li?

^[329] e is here interpreted as a phonetic variant of UD-DU. Cf. also e-dam in SBP. 118, 39.

• The text is difficult. UN is certain but the sign SAL is not clear on the tablet.

^[331] Text SU.

* gi**pi}}&, confine, RA. 9, 77 I, 10,* note also i-a-dm gi.= ina biti pib&, K. 41 Col. II 12.

^[333] tig is probably phonetic for leg=magaru, see Sum. Gr. 258, 1ig⁷.

¹ For ama—ummatu, ummandiu, see Sum. Gr. 202, ama¹ and Weidner, Handbucb der Babylonischen Astronomic, p. 86,4.

• See, for the musical instrument AL_t Sumerian Liturgical Texts, Index, p. 221.

' Text omits 1u, which is not on the tablet.

^[337] Written KU-KI. Cf. also CT. 16, 44, 80 KU-KI-gar-ra-bi=ina atdbi-lu.

¹ See PBS. Vol. XII 12.

^[339] td-ti=bubuiu, "the lusty man," Poebel, PBS. V 136 V 13, with which compare n. pra. Iiubbufu, £iubbutfu, in Holma, "Personal Names of the Form fu ul," p. 50. Note also ul-ti-a» b&b$atum, PBS. V ibid. 1. 12. The hymn to Sin, SBP. 296, contains in line 14 the same phrase.

[340] Pronounced udugga = $altn.

[341] an-ni e-ne-em-bi ba-ra-mu-un-'gur

[342] ^d Mu-ul4il-e ni*-ldg ie-Am-bi

[343] lag-mu ba-ra-be-in-led-di

[344] The ud-gal is regarded as plural — dmu rab&li and identified with the evil spirits of incantations, CT. 16, 22, 266 and 276. In the Epic of Creation the "great spirit of wrath" is one of the demons attendant upon Tiamat.

^[345] glr? Variant gii-nin!

[346] For this title of Tammuz, see Tammui Isbtar, 34.

¹ Probably for dagan^puljru, RA. 11, 144, 8. See also dakan, divine abode, Delitzsch, Glossar, 132.

<Cf. SBP. 304, 13.

¹ Title of Tammuz as spirit of the waters, see Tammui and Isbtar, pp. 6 and 44. a-bal— tabik mi, pourer of water, irrigator, is the original idea of this ideogram. For the title galu-a-bal in this sense, see CT. 13, 42, 7 ff. Ak-ki galu abal, the gardener who cared for Sargon. See also Thureau-Dangin, Lettres et Cantrats, No. 174, 6-8, galu a-bal, a kind of laborer. The later usage of the word as libator of water for the souls of the dead, Semitic mi is a strictly conventional development, see Babyloniaca, VI 208.

* Sign DE.

^[348] Below the double line the figure 38, i.e. 38 lines on the obverse. Thirteen lines have been broken from the top.

•I.e. Isin.

^[350] On this title see BL. 143.

^[351] On this line, see the commentary in Sunurian Liturgical Texts 173 note 3.

^[352] Probably name of a sacred park at Isin. It contained a chapel, i4ir-a{ag-ga, KL. 25 I 12.

¹ Temple in Isin-Suruppak. Suruppak must have been a quarter of the later and more famous Isin. Note that this temple is assigned to Suruppak in Poebel, PBS. V 157, 7. The liturgies, however, constantly place Niginmar at Isin.

^[354] Temple in Larak, a quarter of Isin. See SBP. 160 n. 7.

¹ a{ag-sug title of the deities of lustration ASnan, Nidaba and Gibil.

[356] Erroneously assigned to ante baranara in SBP.

^[357] The text of lines 1-25 is taken from Tablet Virolleaud, now Collection Nies, No

* SBH. 42 has an inserted line between II. 1-2. See SBP. 112

^[359] Uncertain. Apparently REC. 225. Elsewhere in this passage always $AB which has been read erin-na=ummani-lu, BL. 111, 16.

• Omitted by the scribe. Line restored from Ni. 15204, 11.

[361] i-de-dufc ni-te-na gud-sun

^[362] Var. adds ra.

^[363] Col. 11 23 ab-su~di. Here begins KL. N3. 11, I, which joins directly on to Tablet Yirolleaud.

^[364] This refrain is read u-um etc. on the late variant, SBH. No. 21, Obv. lower fragment.

^[365] For -na-ta?. The suffixed conjugation is frequently employed in interrogations; me-na gi-gi-mu, "When shall one restore it?," BE. 30, 12,2. a-ba ku-ul-la-ba, "Who shall restrain?," Ni. 4610, r. 1. a-na an-na~ab-ta$-ni, "What shall 1 add to thee?/' Genouillac, Drebem, i, 12. Variant SBP. 114, 32 iag-na ab-tf-em-e.

^[366] Var. SBH. 43, 35 ur-ra-ge.

^[367] Restored from Col. 11 20.

^[368] Cf. SBP. 40, 33. Restoration uncertain. This line does not appear in SBH. 42 = SBP. 112 which has here insertions for TaSmetu and Nana.

^[369] Parallel passages do not mention the "queen of the city^M but only the ordinary mother who rejects her children, SBH. 131, 58-61; BL. 74, 10. The phrase refers obviously to the mother goddess. "Her son" must be interpreted figuratively in the sense that the mother goddess is the protector of all human creatures.

^[370] This title galan-sun or nin-sun, really means beltu rirntu, "the wild-cow queen," and characterizes the ancient mother goddess as patroness of cattle. The title usually refers to the married type Gula or Bau, as in SBP. 284, 19, and note that Ninsun, mother of Gilgamish, is frequently called ri-mat, Poebel, OLZ., 1914, 4. The title also applies to the virgin type Innini in KL. 123 r. II 7.

* mu-lu imme also BE. 30, 9 I 2 = bH k&li(f), "Man of wailing." The late version replaces this line by [te-e-dm] da-ga-a-ta dumu-ni, "How long shall the wife of the strong man reject her son?", SBP. 114, 37. dagdta^dam-gufu. SBH. 131, 60.

^[372] Lines 7-10 conjecturally restored from Sumerian Liturgical Texts 165, 8-11.

^[373] First line on Zimmern, No. i i Col. II. ¹ See note on line 27 above.

• Usually p& = eku_t canal, is used in this title of Zarpanit. She is originally a patroness of irrigation and ultimately identical with Nina.

^[374] ab-su=ab-pi. sea? Cf. ab-iu-bil-la, the shining ocean, KL. 1 Rev. I 19 f.

¹ SBP. 116, 27 de-en-kiir-e.

[376] tubal pirittt. This sanctuary at Nippur is mentioned in BE. 29 No. 5 Obv. 11; d&sag in KL. 64 II 4 and III 6.

• Cf. ibid. 98,48.

[378] dingir ga-le-de a-be-in-si sag [ ]

^[379] In case the tablet possessed five columns like KL. 25 then this column is Rev. III. I know of no four column tablets of similar kind.

^[380] sag began a refrain which followed the titles of Enlil, Ea, etc. and ended with this line. See Obv. I 21-31, etc.

¹ Either DAM or SAL+KU (sister) must be expected, since we have obviously a reference

to Aruru here.

• The following melody has been restored from the late variant SBP. p. 120.

^[384] Semitic lu-uk-mi-is-su, glossed katn&. kantil, "to bind," is the natural rendering of Ud. The Semitic should perhaps be neglected as faulty and the Sumerian rendered, "Like a wildj>x by the mighty one I am hoppled."

^[385] Here begins variant 81-7-27, 203 = BA. X 87.

^[386] Cf. SBH. 132,27.

^[387] Enlil, CT. 24,4,20.

^[388] Here both titles of Ninlil. Variant nin-{id-an-na_t PSBA. 1911, 233 n. 39.

^[389] Father-mother names of Enlil, IV Raw. 1 b 17 f.

^[390] Originally title of Enlil, CT. 24, 25, 97=* 13, 42. Usually Marduk as Jupiter.

¹ Two other readings of this title of Ninlil as mother goddess are known; ^d$e-en-tuT₉ SBP. 150 n. 5, 1. 11 and ^d$e-en-tur, King, Supplement to Bezold's Catalogue, p. 10, No. 51,8 where she is identified with Nintud=^dbilit.

^[392] Perhaps=st-gal, title of Ninurta, SBH. 132, 26; BL. 92, 7. CT. 24, 7, 12.

^[393] The entire ideogram was read iir — iirru_t Smith, Miscel. Texts 25, 16.

¹ In ZA. VI 242, 21 their mother is IShara, another title of the same mother goddess. For the seven gods see IV Raw. 21 No. 1 B.

^[395] A legendary king who had received apotheosis, and was placed in the court of Enlil, CT. 24, 6, 20=8 Col. Ill 1. The variant SBP. 152, 15 inserts another deified king Ur-Sin. See also Genouillac, Drehem, 5501 II 21; Babylonian Liturgies, 92 Rev. 10; CT. 24, 6, 21.

^[396] Or gwr-sag. The Semitic is $a edil-li-la uirradat. On Innini queen of heaven, see Tammui and Isbtar, 88.

¹1, e., Gilgamish.

^[398] Aja goddess of light and battle, Babylonian Liturgies 143.

^[399]*Lum-ma or flumma, CT. 24, 6, 18 one of two utukku of Ekur. Duplicate 24, 22, 117. Often in names of the early period, Scheil, Textes Elamites-Semitiques, p. 4 and in name of ancient patesi of Umma, Ur4um-ma, see Thureau-Dangin, SAK. 273. Scheil, 1. c. 4, says that Lum, (fum is an Elamitic god. The title gaian-dig-ga indicates a female deity. Note the variant ga}an-sa4um-ma, SBP. 158, 56. An underworld deity.

•Cf. K. 7145, 7 in CT. 29, 47.

^[401] Sign NITAff. See Var. ir-ra, Sumerian Liturgical Texts, p. 174, 7.

^[402] Var. A-mh-mh. Ma-ma, Ma-mi, Mh-mh, A-mh** Bau, Nintud.

^s For en~me=bil par$i. Var. umun me. Here certainly a male deity as ^dNin-ni=Almu, form of Nergal in V Raw. 21, 25. For Nin-ni in the early period see Allotte de la Fuye, DP. 128 II 3. But Nin-ni=Nin-ni-mal=A\amu, form of Allat sister Ninlil, CT. 24, 10, 3, cf. V R. 2\, 26.

^[404] So! Var. mu-galam, "of skilful name."

"See Var. Sum. Lit. Texts 175, 10.

^[406] So Var. 1. c. I. 11. See above, line 6.

¹ Certainly these two underworld deities are intended in this line. They occur together also in CT. 25, 5, 60-64. See also 25, 8, 14 where read Nin-ni-da.

^[408] Gula of Isin.

⁴ See Babylonian Liturgies 96 n. i.

^[410] For variants, see Sum. Lit. Texts 177, 8.

•Variant SBP. 160, 16 has another text. Other variants omit the line altogether, KL.

[411] IV 8; Sum. Lit. Texts, 177.

^[412] Cf. SBP. 74, 19 and 68, 5.

^[413] All father-mother names of Enlil, CT. 24, 3, 29 ff.

IV iff.

^[415] For this rubric, see PBS. X 151 note 1.

•Cf. BL. 48, 23.

^[417] Text DI.

•Same phrase in Ni. 14005, 24. See Le Pobtu Sumbien du Paradis, p. 140.

^[418] For the interpretation, see RA. 12, 27 n. 5.

¹ See for readings bl. 38, 9.

[419] For Ninharsag at KeS, see also SAK. 14 XVI11 6. Another title of the goddess at KeS is Ninmah, SAK. 237c. .

' Here the god of Opis is given as Igidu, a form of Nergal. In this late text Opis on the Tigris at Seleucia is probably intended. The southern KeS and Opis were imitated in Akkad, at any rate in later times, and KeS was apparently confused with KiS which gave rise to a second KiS in Akkad. The ancient and historical KiS at Oheimer on the canal of the Euphrates should not be confused with KiS corruption for the new KeS near Seleucia.

¹ The god Igi-du of Ke$ is identified with Ninurta as were most of the male satellites of the mother goddesses in various cities. CT. 25, 24 K. 8219, 17+K. 7620, 18, ^aIgi~du= ^dNin-uria. According to CT. 25, 12, 17 it is one of the titles of Ninurta in Elam. But in CT. 24, 36, 52 ''igidu is a form of Nergal, and in the omen text, Boissier, DA. 238, 10 he is explained as ^dMeslamta£a, a form of Nergal.

^[420] See also Tablet Virolleaud, Rev. end.

^[421]A temple i-an-ja-kar is assigned to Opis in Poebel, PBS. V 157, 8 and Zjmmern, KL. 199 Rev. I 37 (here without i). This temple can hardly be the one which forms the subject of the liturgy on the Ashmolean Prism.

¹ Published by Barton, Miscellaneous Religious Texts.

^[422]A new copy of the Ashmolean Prism is published in the Revue d'Assyriologie, Vol. XVI.

^[423] Cf. BA. V 707, 7.

5 241. er-du(£) probably variant of er-du=damamu.

^[425] Ni. 14031 in PBS. X No. 22 has as the verb the sign dug written five times, as also the prism.

^[426] Restored from the variant Cstple. Rev. I 10.

^[427]ni~nu; cf. SBP. 138, 22, ni-kut-H; Poebel, PBS. V 26, 10.

^[428] So on Var. Cstple. II 6.

¹ Fifth section on Ni. 8384.

• Var. Ni. 8384 §al-e; Var. Cstple. gal-la. According to CT. 24, 10, 8 the throne bearer of Enlil, but in 24, 26, 124 a ligir-gal in the attendance of the mother goddess.

^[431] Both variants add e.

^[432] Vars. omit gim.

^[433] Ni. 8384 omits ra.

¹ Sixth on Ni. 8384.

¹ Lines 29-IV 4 are partially restored from Ni. 14031.

^[436] So apparently Ni. 11876.

^[437] Text certain. Not NUN.

^[438] This line is not on the prism.

^[439] Ni. 11876 ga-a-an. Cstple. Var. gig simply.

[440] Meek, No. i i in BA. X pt. 1.

¹ SBP. 296.

[441] SBP. 226=SBH. No. 18.

^[442] The refrain &4i-li apparently provides an incomplete sentence.

^[443] Probably tautological writing for lallai = itabbulu, Voc. Hittite 7509.

^[444] Cf. the first melody of the Ninurta series gu-ud nim kur-ra; see SBP. 226; BL. No. 9 and SBH. 40.

^[445] Similar passages have i-l&T-ra (SBP. 226, 8; SBH. 40, 8) chapel of Ninlil in Ekur (SBP. 221 n. 7).

^a In any case an epithet of the temple of Urta in Dilbat, Ibe~^UuAnum. For this reading I-be see vars. I-bi_t Im-bi, BL. p. 134. The word ibi is probably Sumerian for igi, and shows that the phonetic rendering i-de is erroneous. The dialectic pronunciation of igi was the and despite the Semitic variant imbi the name is apparently Sumerian Ibc-Anu, Temple of the eye of Anu. Here lu-giid is an epithet for Anu, i. e. the lofty.

^[447] Probably variant of i-d&r=adur&_t kapru, village, city, Poebel, PBS. V 106 IV 30; see also

[448] Temple of Nebo in Barsippa.

^[449] mai-dii — mu init

* larafjitum.

^[451] See lines $1-4 of this tablet. Nergal descends into the earth on the 18th of Tammuz and

* farrai.

^[453] Here epitomized. It will be found transcribed and translated by Zimmern in his Zum Babyloniscben Neujabrfest, p. 129.

* MAS. See below Col. 11 15, gypsum is Ninurta, the god of war, primarily a god of light. Gypsum, Sum. im-bar, "radiant clay," became symbolic of Ninurta because of its light transparent color.

[455]Cf. ZA. 16,178,27; BA. V649, 3; Shurpu VIII 10.

^[456] Two inferior deities related to Nergal, god of the lower world. Their images placed at the enclosure of a house prevent the demons, Zimmern, Rt. 168, 21 f. The image of Lugalgirra designed on a wall prevents the devils, ibid. 166, 12. He binds the evil ones, IV R. 21* C III 26. The two are placed at the right and left of a door to forbid the devils to enter. Mafelu VI 124.

* In any case a cult utensil on which a noise was made, CT. 16, 24, 32.

^[458] Restoration from Zim. Rt. 27.

•Semitic ukuru, Aramaic kird_t see Meissner, MVAG. 1913, 2 p. 40 and BE. 31, 69 n. 2. Used both in medicine and magic.

^[460] Reading established by Rev. 11 8. But see Meek, AJSL. 31,287, li-si<nt-su{n) gloss on the star Ne-s&n; son of Ninlil, hence a star in Ninlil's constellation Ursa Major, Virolleaud, Sin XIII 22.

• Perhaps igi-sig-sig; cf. CT. 24, 3, 25.

^[461] Sword bearer (ndl pairi) of Enlil, CT. 24, 10, 16.

^[462] ZA. VI 242, 15 gypsum is

¹⁹ But ZA. VI 242, 15 bitumen is the asakhu demon.

¹⁹ A pest demon son of Anu, III R. 69, 70. On the other hand, ZA. VI 246, 22 the scapegoat represents the patron of flocks NinamaSazag who supplies the goat. When sin is transferred to the goat it falls under the protection of Kushu. See Rev. 1 6.

^[465] Cf. ^dEn-udu-til-la, SBP. 150 n. 5 I. 8.

® That is burnt offering.

^[467] Lugalgirra and Meslamtaea.

^[468] The temple of Gula and Ungal of Nippur, Clay, BE. XV 34,2. Ungal=*ttnistti, population. God of the people of Nippur.

[469] [SAG-GlR]-ME ta ina pani-H

namru⁸

[470] [ BT:]Su-u^l(>:ILA:nta-

[471]nin-mui. The sign $E$ has the value mul. Note SA1. 2629 the gloss ga-an-$E$ and variant Chicago Syllabar 212 ga-an-mul. See also JRAS. 1905, 81-4-28 1. 14. For mul=ban& cf. SAI. 1916.

'This is a real library note and is clear evidence for assuming that the temple of Nippur possessed a library, at least in the Cassite period. For similar library notes on the tablets from ASSur, see RA. 13, 99. Note also the Smith Esagila tablet published by Scheil, Memoires de VAcademie des Inscriptions et Belles Lettres XXXIX, Rev. 7, mMH mMd likallim la mMd ul immar an pi duppi gabri Barsip-ki lafir-ma (JB-fU A ba-ri. For an pi {KA), see RA. 13, 92.