Chapter I: Part 1

Sumerian Liturgies and Psalms

By

Stephen Langdon

Professor of Assyriology

at Oxford University

Philadelphia

Published by The University Museum

1919

CONTENTS

Introduction. Lamentation of Ishme-Dagan Over Nippur. 13856 (No. 1) Liturgy of Ishme-Dagan. 11005 (No. 2) Liturgical Hymn to Innini. 7847 (No. 3 and duplicate No. 4) Psalm to Enlil Containing a Long Intercession by the Mother Goddess. 15204 (No. 5) Lamentation on the Pillage of Lagash by the Elamites. 2154 (No. 6) Lamentation to Innini on the Sorrows of Erech. 13859 (Poebel No. 26) Liturgical Hymn to Sin. 8097 (No. 7) Lamentation on the Destruction of Ur. 7080 (No. 11) Liturgical Hymns of the Tammuz Cult. 3656 (Myhrman No. 5) A Liturgy to Enlil, Series _e-lum gud-sun_ (Zimmern KL. No. 11) Reverse of Tablet Virolleaud (The titular litany) Early Form of the Series _d.__Babbar-gim-è-ta_ 11359 (Myhrman No. 8) Liturgy of the Cult of Kes (Nippur Fragments and Ashmolean Prism.) Ashmolean Prism, Col. II Third Tablet of the Series “The Exalted One Who Walketh” (_e-lum didara_) (No. 13) Babylonian Cult Symbols. 6060 (No. 12) Addendum On Obv. I 10 F. Description Of Tablets Index Of Tablets Index To Vol. X Autographed Texts Footnotes

INTRODUCTION.

[Transcriber’s Note: This e-book is Number 4 of Volume X of a series, which had a single page numbering system throughout the Volume. Thus, although this e-book is pages 233 through 351, it contains references to pages outside of this range in the same Volume.]

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 _résumé_ 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 _zag-sal_.(1) 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 _zagsal_ compositions(2) 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.(3) A long mythological hymn in four columns(4) 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 Innini(5) 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.(7) 1 have already signaled the unique importance of this extraordinary hymn to the god-man Dungi in which he is described as the divinely born king who was sent by the gods to restore the lost paradise.(8) 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 [_d__Dungi_] _zag-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 _zagsal_ 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.(9)

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(10) 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.(11) 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.(12) 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.(13) In the present and final part of this volume another Enlil liturgy has been largely reconstructed on pages 290-306.(14) 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 _kišubs_ or songs of prostration. These _kišub_ 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 liturgical 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 Sumer and Babylonia liturgies to each of the great gods. Even in the less elaborate _kišub_ 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.(15) It is an excellent example of a Nippurian musical prayer service. It contained eleven _kišubs_, 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.(16) 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 Keš 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 liturgists 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(17) 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-šu_(_18_)_ sìr-gal __d__Enlil_, “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.(19) 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,(20) or choral songs, and adds that it is sung to the lyre.(21) 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 _eršagģunga_, or prayers to appease the heart. Only one has been found in the Nippur collection,(22) and none at all have been recovered elsewhere. Seals of Sumerians showing them in 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 _šu-illa_, or “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.(23) 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 (_kišub_ in later terminology is the rubric of priest’s prayers in incantations) or by penitent (_šu-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 volume(24) 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 _kišubs_ sung in the cult of the god-man Ishme-Dagan, fourth king of the Isin 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 lines(25) 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. It 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 Libit-Ishtar, son of Ishme-Dagan, likewise in Berlin, has been translated there on pages 69-79.(26) 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.(27)

OXFORD, July 9, 1919.

LAMENTATION OF ISHME-DAGAN OVER NIPPUR. 13856 (NO. 1)

The liturgical character of this tablet is unique among all the numerous choral compositions of the Isin period. It is a large two column tablet containing six long _kišub_ melodies. Liturgies of such kind, compiled by joining a series of _kišubs_, 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 _kišubs_ in the cults of deified kings have been found(28) 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 rôle 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. II 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. II 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. I, 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.

[Transcriber’s Note: In the original book, throughout the book, all of the transcriptions and translations were done in two columns. The left column showed the transcription, and the right the English translation; each line had the line number. In this e-book, the transcription and translation of each line will be shown in succeeding lines.]

OBVERSE. COL. I

(About eighteen lines broken away.)

1. ... _túg ba-ra-pad-da_ 1.

2. _d.__A-nun-na-ge-ne na-ba-an-ri-gi-eš-ám_ 2. The Anunnaki he caused to take their seats.(29)

3. _ub-šu-ukkin-na_(_30_)_ ki di-gal tar-ru_ 3. In the Assembly Hall, place where the great judgments are decided,

4. _eš-bar-e si-di ba-ra-an-zu-uš_(_31_)_-ám_ 4. Decisions to arrange he caused them to know.

5. _dingir-bi-ne ki-dúr ba-ab- gar-ra_(32) 5. These gods he caused to take up there their abode.

6. _šug-láģ-bi im-šub-ba aga-bi im-ri-a_ 6. Their clean sacrificial food he gave, their crowns he clothed upon them.

7. _ki-lugal du-azag_(_33_)_ ḳin-sîg_(_34_)_ unù_(_35_)_-gal-ba_ 7. In the king’s place, the throne room, the _ḳinsig_ of the vast abode,

8. _tin_(_36_)_ làl bal-bal-e mu-šú be-ib-tar-ra_ 8. The libation of wine and honey yearly he decreed.

9. _Nibru-(ki) uru giš-gig-dagal-la-bi-šú_ 9. For Nippur the city whose shadow extends afar

10. _uku-sag-gig-ga ní-im-ši-ib-te-en-na_ 10. The people, the dark headed, he caused to have reverence.

11. _ki-dúr-ba gú-ni a-gim_(_37_)_ ba-ra-an-šub_ 11. But its habitations he cursed ...

12. _ab sīg-gan-dúg-ga-gim e-ne sīg-gan-ba-ra-an-dúg_ 12. Like scattered cows he scattered them.

13. _uru šag-bi er-gíg sȋg- bi_ 13. The city’s interior is filled with weeping,

14. _en-na_(_38_)_ dam_(_39_)_ dingir ga-ša-an-bi li-bi nu-tar-ri_(40) 14. While the consort, its divine queen, is not solicitous for her.

15. _é-gu-la za-pa-ag ib-zu-a-bi_ 15. The great house which knew the cry of multitudes,

16. _é-ri-a-súd-gim galu nu-un-tur-tur_ 16. Like a vast building in ruins men enter not.

17. _Nibru-(ki) uru ki ligir-ligir-gal-gal-e-ne šu-im-ma-an-ḪA_(_41_)_-eš-ám_ 17. In Nippur, the city where great princes were prosperous,

18. _a-na-áš ú-gu i-ni-in-de-eš_(42) 18. Why have they fled?

19. _uku sag-gig gú-sa-ģi-a_(_43_)_ udu-gim be-ib-?_(_44_)_-a_ 19. The people, the dark headed, all of them like sheep....

20. _e(?)-en-šú KAK-RU_(_45_)_ er a-nir šag PA-ḪI-BAD-a_ 20. How long shall loud crying(?), weeping and wailing _distress_ (?) the heart?

21. _en-šú bar_(_46_)_ be-íb- ... ùl_ 21. How long shall the soul be terrified?

22. _šag nu-ub-ši-túg-e_ 22. And the heart repose not?

23. _su__ùb __su__á-lá mu-un-tuk-a-ri_(47) 23. To the drum and cymbals I sing.

24. ... _gíg-ga a-a na_.... 24. ... sorrowfully(?)....

25. ... _síg ... ne ba-dúr-ru-ne-eš_ 25. ... _brick_ ... they dwell.

26. ... _gar-ra-bi er-šú ba-ab-bi-ne_ 26. ... in tears they speak.

27. ... _šub-ba tūr-ru-ba-ne_ 27. ... are made small.

28. ... _sìr-ri-eš ba-ab-bi-ne_ 28. ... in misery they speak.

29. ... _ki-dúr-bi ḳar-ra_ 29. ... whose habitations are desolated.

30. ... _im-ši-sìr-sìr-e-ne-eš_(48) 30. Unto ... they have hastened.

31. ... _ne-ne-túg_ 31. ...?

32. ... _ga(?)nu-zu-gim_ 32. ... like one that knows not.

33. ... _sūģ_(49) 33. ... is in confusion.

(END OF COL. I.)

COL. II

(About fifteen lines broken away.)(50)

1. ... _gál_ 1. ....

2. ... _-e ba-ab-dúg-ám_(51) 2. ....

3. ... _ma-lal im-mé_ 3. ....

4. ... _ģul-nu-zu-ne nig-dug be-ib-tar-ru-uš-ám_ 4. ... evil they know not, good they have decreed.

5. _i-lu-gíg im-me_ 5. Bitter lament I(52) utter.

6. _nam-lù-găl-bi máš-anšu-gim šag-ba mi-ni-ib-tíl-la-aš_ 6. Her population like cattle of the fields within her have perished.

7. _a ka-na-ăm-mu im-me_ 7. Helas! my Land! I sigh.

8. _ki-el kalag tul-tul-lá-bi-ne sùr_(_53_)_-ri- -eš mi-ni-ib- sal-la-áš_ 8. Maid and young man and their children cruelly have been scattered far and wide.

9. _iš-a-bi im-me_ 9. Tearfully I sigh.

10. _šeš-bi imi-dugud šèg-gà-gim di-e-be-ib-sud-ám_(54) 10. Their brothers like a rain storm have fled afar.

11. _er-šú nu- gul-_(_55_)_ e_ 11. I cease not to weep.

12. _é-e áb amar-bi kud-du gim ní-bi-šù ūr-gíg-ga_(_56_)_ im-gub_ 12. The household like a cow, whose calf has been separated from her, stand by themselves with sorrowful souls.

13. _sîg-sîg_(_57_)_ ni- mal- mal_ 13. They have lapsed into the misery of silence.

14. _balag-di_(_58_)_ lù-ad-dug-ga-ge_(_59_)_-ne um-me-da-ū-a-di-gim_ 14. Oh sing to the lyre! The wailers like a child nursing mother who cries in woe

15. _mu-bi er-ra mi-ni-ib-bal-bal-e-ne_ 15. because of them devised lamentation.

16. _uru ù-mu-un-bi sag-ib-ta-an-dīm-ma_ 16. The city whose lord had been magnified,

17. _igi-ni sá kûr-ra ib-ta-an-gar-ra ad-e-eš ba-an-ara-áš_ 17. In whose presence a hostile rule has been established, with sighing they have caused to walk.

18. _é-zid kur-kur-ra igi-šú ba-an-gín-na_ 18. As for the faithful temple, which in the lands excelled all,

19. _uku sag-gig-gi uš-zi_(_60_)_ be-íb-tùb-ba_ 19. (Where) the people, the dark headed, reposed _in security_;

20. _a-na ib-ag a-na im-ģa-lam-ma-bi_(61) 20. What has done it, what has destroyed it?

21. _ù-mu-un-bi ib-ta-kàš sag-ki-a mu-un-du_ 21. Its lord is a fugitive, he _hastens in flight_.

22. _ki-šub_(_62_)_- gú- 2 kam_ 22. A melody with prostrations. Second section.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

23. _me-gal šag-bi_(_63_)_ ba-ra-an-è-a-áš gù-gíg-ga nu-mal_(_64_)_-aš_ 23. The meaning of the great decrees they have glorified. Sorrowful words they restrain not.

24. _giš-gí-gál-bi-im_(65) 24. This is its antiphon.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

25. _uru ù-mu-un-bi šag ba-da-an-dib-ba_ 25. The city whose lord is distressed,(66)

26. _en-šú la-ba-ši-gur-ru suģ_(_67_)_-ám-bi nu- um- im me_ 26. Until when shall it not return (to its rest)? Until when shall its “How long” not be spoken?

27. _síg-bi a-na-šú gĭr-ib-ta-an-gar_ 27. Why are its brick walls trodden underfoot?

28. _tu(ģu) za-pa-ág mà-mà-bi ab-ta ib-ta- an-dal_ 28. The doves screaming flew from their nests.

29. _é ? zu síg nar-balag ág-zí-ba_(68) 29. The temple ... the sweet voiced flute,

30. ... _be-in-gí_ 30.

31. Entirely destroyed. 31.

32. _é dû- na_(69) 32. The temple violently....

33. _é ní-nu-tuk-gim si-ga_.... 33. The temple like one without reverence....

34. _ág-me-bi nu-azag-azag-ga_ 34. Its regulations unholy ones....

35. _šu-luģ-bi kur-kur-ra nu-ub-da-suģ_(_70_)_-a-gim_ 35. Its cult of ablutions like those which had not been chosen above those of all lands

36. _šu-be-in-ḳal tuģ-ni ib-ta-an-zig_ 36. He has demolished, its wealth he seized away.

37. _ág-gíg-ūr-ra a a-še-ra mu-un-di_ 37. In misery of soul how long shall I utter lament?

38. _ta-še_(_71_)_ egir na-ăm-ga-lim_(_72_)_ dū-a la-ba-an-kalag_ 38. Why after the destruction has been done is it not respected?

39. _ág-el-dū-a-gim ģur-ri_(_73_)_ zag-be-in-bi_ 39. As one who accomplishes pure things this one has uttered a curse:—

40. _síg-bi pā-e a-na-aš ib-ta-an-è_ 40. “Why rise her brick-walls in effulgent glory?”

REVERSE, COL. I

1. _gig-an-bil_(_74_)_-ba šag-ba er be-in-[zí-em]_ 1. Night and day within her wailing is made.

2. _á-še kúr ág-gíg be-ib-aga-a_ 2. Now the stranger has wrought insult.

3. _ù-mu-un-bi im-ģul-ám šu-bi be-in-gí-ám_(75) 3. Its lord like a storm wind _their hands have removed_(?)

4. _uru-bi é-bi in-gul-gul-ám_ 4. Their city, their temple, he has destroyed.

5. _ùr-bi in-sir-ra-ám šitim_(_76_)_-e-ne in-ra-ám_ 5. Its foundation he laid waste, the skilled workmen he transported.

6. _dam dumu-bi šag-ba mi-ni-in-dìg-ga-ám_ 6. Wife and children within her he slew.

7. _uru-bi uru-šub-ba im-ma-ni-in-tu-ra-ám_ 7. Their city a subjected city he caused to become.(77)

8. _mu-un-ga-bi ní-e be-in-ne-ra-ám_(78) 8. Its property he himself took as plunder.

9. _uru-gál-la-bi nu-gál-la mi-ni-in-tu-ra-ám_(79) 9. Their city which was he has caused to become a city which is not.

10. _dim-ma-bi gĭr ib-ta-an-kúr-ra-ám_ 10. Its works of art he placed a hostile foot upon.

11. _túg-bi in-sūģ_(_80_)_-ám lil-e be-in-sīg-ám_ 11. Its garments(81) he seized away, the winds tore them in shreds.

12. _ú-kaš-a-bi ib-ta-an-kar-ra-ám_ 12. Its food and drink he pilfered.

13. _ga-zu-bi ... mi-ni-ib-tíl-la-ám_ 13. Their infants(?) ... he caused to perish.

14. _é-e kúr ág-rig_(_82_)_ ... be-ib-aga-a_ 14. The temple a stranger plundered.

15. _a-še-ir-gíg im-me er be-ib-lu-lu_ 15. Bitter sighing I utter, tears I pour out.

16. _balag-di galu i-lu ba-ab-bi-ám_ 16. Oh sing to the lyre, he that speaks the songs of wailing.

17. _šag nu-zí-ba-bi mu-un-na-ni-ib-gí-gí_ 17. Their hearts which are not glad it will pacify.

18. _ù-mu-un-bi me-bi ba-ra-an-è-a-áš_(83) 18. The decrees of their lord they have glorified.

19. _á-bi nu-mu-un-tag-ga-ám li-bi nu-tar-ra-ám_ 19. He(84) concerns himself not with their oracles; he cares not for their future.

20. ... _ki-šub-gú 3-kam-ma-ám_ 20. A melody with prostrations. Third section.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

21. _me-gal-gal-la-ni a-gim ba-ra-an-ēš_ 21. His great decrees thus he has ordered.

22. _á-bi la-ba-an-tag-ga-ám li-bi nu-tar-ra-ám_ 22. He has concerned himself not with their oracles; he cared not for their future.

23. ... _giš-gí-gál-bi-im_ 23. This is its antiphon.

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

24. _mu-lu sìr-ra_(_85_)_ na-ăm-tar-gíg-ga-mu-uš_(86) 24. He of melodious song the sorrowful fate weeps for.

25. _me ib-ši-en_(_87_)_-ne-en er im-ši-šeš-šéš-en_ 25. Sound of mourning he causes to arise; lamentation he utters.

26. _á-še balag-di sìr-zu- ne_ 26. Now oh sing to the lyre! They that know the melodies

27. _ḪAR-dúr-ra-mu ma-ar ba-bi-ne-ám_ 27. My ... shall speak for me.

28. _ì-dé-šú kuš-a im-ma-sȋg_(_88_)_-ga-mu_ 28. Now I am filled with sighing.

29. _galu_(_89_)_-bi er-ra ma-an-mà-mà-ne-àm_ 29. Her population offer prayers to me.

30. _á-še šag-zu_(_90_)_-mu né-táb-táb-ba-mu_ 30. Now my intercession, my pleading(?),

31. _á-še dúr-ra-bi ma-ar galu mu-da-an-zu-ám_ 31. Now mightily the population unite with me in making known.

32. _a-rá gig-ga šag-sir-ra-mu_ 32. Upon ways of pain my mercy(91)

33. _ū-a tūr-ra-mu er-ra ma-an-tuk-ám_ 33. Oh woe! my children weep for.

34. _éš é-dū-a ki-dúr-a-ne-ne_ 34. In the house, the well builded temple, in their dwelling,

35. _nar-e-eš ba-ab-gar-ra ní-tuk ba-ab-tur-ra-ám_ 35. Sound like one chanting is raised and praise is diminished.

36. _galu erím-eka na-ăm-mu ib-tíl-la_ 36. The foe has caused my land to perish.

37. _er-ra ma-pad_(_92_)_(?)ma-an-mà-mà-ne-ám_ 37. They beseech....

38. _šag ág-gíg-ga ib-sȋg-mu ad-bi-šú PI-gà_(_93_)_-bi dé-ib-šed-dé-ne-ám_ 38. My heart which is filled with misery by their wailing ... may they calm.

39. _er-bi ugû_(_94_)_-mà mu-un-mà-mà-dam_ 39. Their weeping is made unto me.

40. _E+SAL_(_95_)_ šag-izi-du ma-ar ma-[an-tuk-tuk-e-ne-ám]_(96) 40. In the mother goddess’ sanctuary prayer to me they offer.

41. _d.__Mu-ul-lil_.... 41. Enlil....

(About twelve lines broken away.)(97)

REVERSE II

1. .... 1. ....

2. .... 2. ....

3. .... 3. ....

4. [ ... _mu-ra-ab-_]_dúg mu- na-ab_ 4. ....

5. ... _ŭg-ga-gim_ 5. ....

6. [ ... _m_]_u-ra-ab-dúg mu-na-ab_(98) 6.

7. ... _aga- ... a- ... mu_ 7.

8. ... _mu- ... na- ... ab_ 8.

9. [...]_ma-a[r ... za]l-la_ 9.

10. ... _íb-dū-e KA-mu-na- ab_ 10.

11. ... _ģar-ra-ge-eš ... šag-izi-du_ 11.

12. ... _arruš_(_99_)_ ma-ra-tuk-tuk_(100) 12. Have mercy upon me.

13. _šag-zu šag-sīg ib-ta-ba-e šag-laģ ma-ra-an-gar-ra-me_ (sic!)(101) 13. Thy heart whose portion has been affliction become for me a glad heart.

14. _sag-zuzi-zi-i_(_102_)_giš-šub-ba-za ul-šú_(_103_)_ ma-ra-an-mà-mà_ 14. Thy head which is held aloof turn unto me to glorify thy portion.

15. _ág-kúr-ri za-ar_(_104_)_ i-ri-ib-aga-e šu-bi dé-ib-gí-gí_(105) 15. The hostile deeds which he did unto thee be returned unto his hand.

16. _uru-ki-a šu-bar-ri nu-zu-a mur-ri_(_106_)_ dé-ib-sĭg-gi_ 16. In the city which knew not forgiveness let there be given _the cry of multitudes_.

17. ... _ki-šub gú 5-kam-ma-ám_ 17. A melody of prostrations. Fifth section.

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18. _à-še ù-mu-un-zu gú-šub-ba kúr me-e-ši-in-ra-ám_ 18. Now thy lord _anger upon the foe_ will direct.

19. _arruš_(_107_)_ ma-ra-an-tuk-ám na-ám-zu in-tar-ra-ám_ 19. He will have mercy and will decree thy fate.

20. _síg-zu a-še-ir ib-ta-an-è-a ib-si be-in-dúg-ga-ám_ 20. Unto thy brick walls where lamentation arose he will command “it is enough.”

21. _ģar-šág-gi-zu-ra_(_108_)_ ma-ra-ni-in-tu-ra-ám_ 21. Thy happy soul he will cause to return for me.

22. _d.__Nin-urašā maškim kalag-ga sag-zu be-in-tuk-ám_(109) 22. Ninurash the valiant guardsman will sustain thy head.

23. _dun-ú-a-ni ... giš-ib-ši-in-gub-ba-ám_(110) 23. His pastor(111) he will establish over (the city).

24. _é-kur ḳalag-ḳalag dū-dū-ù-dam á-mu-un_(_112_)_ ba-an-ag-ám_ 24. Ekur like (a temple) which has been tenderly built he will make....

25. _ág-dú-bi ki-bi be-in-gí-ám_ 25. Its beauty he will restore to its place.

26, 27. _gi-gŭn-na-bi_(_113_)_ ki-gí-gí-bi ud-gim kar-kar-bi_(114) 26, 27. That its great dark chamber be restored to its place, that it shine like day

28. _suģ_(_115_)_-ba-la-túm-túm-mu in-na-an-dúg-ga-ám_ 28. Unceasingly he commands.

29. _garza kúr-ri ib- sūģ_(_116_)_- ám_ 29. The ordinances the stranger has placed in confusion.

30. _me_(_117_)_ ib-bir-a-bi ki-bi-šú in-gar-ra-ám_ 30. The ritual utensils which have been scattered he will restore to their place.

31. _šu-luģ erím_(_118_)_-e šu-be-in-lá-a-ba_ 31. The rituals of hand-washing which the wicked caused to lapse into disuse,(119)

32. _azag-gi ... el-e- ... bi_ 32. To cause to be holy and pure

33. _uru-azag nam-šub-da-ni in-na-an-dúg-ga-ám_ 33. In the holy city which has been consecrated he commands.

34. _[__d.__] Iš-me-__d__Da-gan sib kenag-gà-ni-ir_(120) 34. For Ishme-Dagan his beloved shepherd

35. _... bi(?) gú ul-šár-šár-ri-da_ 35. ... to cause rejoicing

36. _in-na-an-dúg-ga-ám_ 36. ... he commands.

37. ... _azag nam-tar-ri-da-ni_ 37. The holy ... whose fate has been decreed,

38. ... _-ra-ám_ 38. ...

39. ... _DU-ra-ám_ 39. ...

(About twelve lines broken away, in case this section continued to the end of the tablet.)

LITURGY OF ISHME-DAGAN. 11005 (NO. 2)

COL. II.

... ...

3. _d.__En-lil lugal dingir-ri-e-ne-ge_ 3. Enlil king of the gods

4. _sig igi-nim-ma nam-en-bi ģa-ma-an-sĭg_ 4. In the South and North(121) may give lordship over them unto me.

5. _dúg-dúg-ga __d.__Nu-nam-nir-ra-ta_ 5. By the commands of Nunamnir,

6. _ka-ta-è-a __d.__En-lil-lá-ta_ 6. By the utterance of Enlil,

7. _An-ni enim-zid-démà-a-ar ģa-ma-an-de_ 7. May Anu speak for me an order of confidence.

8. _šibir-šibir šu-mu ģe-ma-sĭg_ 8. Scepters may he give unto my hand.

9. _d.__Uraša-e dû-azag-ga_(_122_)_-ni-a sal-zid ģa-ma-ni-dúg_ 9. May Uraša bestow upon me faithful care in his holy throne room.

10. _d.__Nin-lil-li šag lăg-lăg-ga-ni_(123) 10. Ninlil whose heart is pure,

11. _bara-maģ ud-sud-du gú-KU-MAL_(124) 11. She that in the far-famed chapel _assures_ length of days,

12. _giš-šub-ba-mà bal-bi šág-gi-da_ 12. She that renders good my portion exceedingly,

13. _kuš_(_125_)_-__d.__En-lil-lá ka-dug-gi-mà_ 13. She who unto Enlil spoke assuringly for me good words,

14. _é-kur-ri ud-šu-uš sag-uš-mà_ 14. She who daily protects Ekur for me,(126)

15. _ki-úr ki-gal-e_(_127_)_ nam šu-ģa-ma-ni-tar_ 15. May render me my fate in Kenur the vast place.

16. _d.__En-ki en-gal erida-(ki)-ga-ge_ 16. May Enki the great lord of Eridu

17. _ganun zid-maģ sag-mà ģa-ma-ni-in-uš_(?) 17. Sustain(?) my head in the ritual chamber, the faithful, the far-famed.

REVERSE I

5. _ki-úr gal-la li-bi tar-ri-ge_ 5. Of the great Kenur its care....

6. _d.__En-lil-li á-bi ģu-mu-da-na-ág_ 6. Of Enlil his oracle be proclaimed.

7. _dúg-dúg-ga a-a __d.__En-lil-lá-šú_ 7. Unto the words of father Enlil—

8. _d.__Iš-me- __d.__Da-gan me-en gú-mu ģe-in-ši-ri_ 8. Ishme-Dagan am I—verily my neck I will turn.

9. _ka-ta-è-a lugal-mà-šú giš-túg-ni_(_128_)_ ģe-im-ši-ag_ 9. To the utterance of my king may I lend my(129) ears.

10. _ki-en-gi-ra nig-si-sá ģe-ni-in-gar_ 10. In Sumer justice may I institute.

11. _Nibru-(ki) an-gim gú ģe-im-mi-uš_ 11. Nippur may I exalt like heaven.

12. _é-kur-ra me-bi ģu-mu-un-ŭr-ŭr_ 12. Of Ekur its decrees I will deliver.

13. _giš(?)-ģar(?) ù-a-ba li-be-[in-tar]_ 13. Of the plans(?) unto their care may I give heed.

14. _garza_(_130_)_ ki-ta šub-ba-bi ki-bi ģe-[mu-un-gí]_ 14. The sacred relics which have fallen from their places may I restore to their places.

15. _d.__En-lil-lá me ḳal-ḳalag-[ni]_ 15. Of Enlil his precious decrees—

16. _d.__Iš-me-__d.__Da-gan me-en_.... 16. I am Ishme-Dagan—I will....

17. _d.__Nin-lil-lá_.... 17. Of Ninlil her ... I will....

LITURGICAL HYMN TO INNINI. 7847 (NO. 3 AND DUPLICATE NO. 4)

COL. I

1. _nin me-dug-ga_(_131_)_ babbar dalla-è-a_ 1. Oh lady of the good decrees, that risest splendidly like the sun.

2. _sai-zid me-lam gùr-ru kenag __d.__Uraša-a_ 2. Faithful woman, bearing a sheen of terrible splendor, beloved of Urashâ,

3. _nu-gig an-na nin(?) sìr-gal-gal-la_ 3. Heavenly virgin, queen(?)(132) of the great songs,

4. _aga-zi-dé ... nam-en-na tum-ma_ 4. Who _puttest on_ a faithful crown, who hast been created fit for rulership,

5. _me-imin-bi šu-sá-dúg-ga_ 5. Whose hand attaineth the seven decrees,

6. _nin-mu me-gal-gal-la sag-sìr-bi za-e me-en_ 6. My queen, of the great decrees their directress(133) art thou.

7. _me-mu_(_134_)_-ila me šu-zu-šú mu-e-lal_ 7. The decrees thou bearest; the decrees thou holdest in thy hand.

8. _me-mu_(_135_)_-ḳin me gab-zu be-tab_ 8. The decrees thou directest; the decrees thou claspest to thy breast(?)

9. _ušumgal-gim kur-ra sub ba-e-sĭg_ 9. Like a champion thou subduest the foreign lands.

10. _d__Immer-gim ki tù-gí-a_(_136_)_ __d.__Ašnan la-ba-ši-gál_ 10. Like the storm-god in the place of the ... curse the grain-goddess thou leavest not.

11. _a-ma-ru kur-bi-ta è-de_ 11. A whirlwind upon their lands thou sendest.

12. _sag-kal-an-ki-a dingir-ri-bi_(_137_)_ me-en_ 12. Oh leader of heaven and earth their divinity thou art.

13. _ne-ne-ne-ra kalam-ma a-an-mal_ 13. For them thou didst create the Land (of Sumer).

14. _dingiri-ir_(_138_)_ me-sĭg-gà_(_139_)_ nin-ur-ra-ū-a_(140) 14. That givest orders unto the gods(?), queen that guidest the universe.

15. _enim-azag-an-na-ta enim dúg-dúg_ 15. That utterest command by the holy order of Anu.

16. _garza-gal-gal-la gar zu a-ba mu- ... un- ... zu_ 16. The great decisions who (but thee) knoweth to teach?

17. _kur-gul-gul ud-de-da ba-e-sĭg_ 17. Thou that shatterest the mountains, by a spirit of wrath thou art filled.

18. _kenag __d.__En-lil-lá kalam-ma im-mi-ni-ri_ 18. Beloved of Enlil, thou hast founded the Land.

19. _á-aga __d.__Nin-lil ba-gub-bi me-en_ 19. Thou art she that hast effected the mandate of Ninlil.

20. _nin-mu za-pa-ág-zu-šú kur ni-gam-gam-e_ 20. My lady, at thy cry the lands quake.

21. _ní-me-lam-ra_(_141_)_-zu-da nam-lù-găl-lu_ 21. At the fear of thy splendor let mankind

22. _nig-me-gar gĭr-bi ù-mu-ri-gub_ 22. With shouting await thee.

23. _me-te me-ģuš_(_142_)_-bi šu-ba-e-ri-ti_ 23. Fittingly they have received their terrible decrees from thee.

24. _i-lu er-ra-zu gál-la-ra-ab-šéš_(?) 24. Thy lamentations and mournings let them wail for thee.

25. _é-a nir-gal-gal-la sil-ba mu-ri-du_ 25. Unto the temple the chief singers shall walk the streets for thee(??).

26. _igi-mé-ta gar ma-ra-ta-si-ig_(_143_) 26. From before the face of battle they hasten unto thee.

27. _nin-mu á-ní-za enim-enim-ni-dúg-e_ 27. My lady, of thy _fury_ they speak.

28. _ud-ul-ul-gim ni-dú-dú-ne_ 28. The spirit(144) like an onrushing storm rushed over them.

29. _ud ka-ra-ta uku im-da-ab-ra-ra_ 29. The spirit with a loud cry annihilated the people.

30. _d.__Immer-da tù-mu-da-an-gí-gí-in_ 30. By the storm god they were ... accursed.

31. _im-ģul-im-ģul-da im-da-kuš-ù-ne_ 31. By the storm winds they were brought to woe.

32. _gĭr-za sil kuš-ù i-ni- si_ 32. Thy foot hastens restless in the street.

33. _balag a-nir-da i-lu mu-un-da-ab-bi_ 33. Upon the lyre of weeping they utter lamentation.

34. _nin-mu __d.__A-nun-na dingir-gal-gal-e-ne_ 34. Oh my lady, the Anunnaki, the great gods,

35. _su-din-(ģu)-dal-a-gim_(_145_)_ dul-dé mu-e-ši-ba-ra-aš_ 35. Like a flying _sudin_-bird from the crannies hasten unto thee.

36. _igi-gĭr-a-za-la_(_146_)_-ba-lag-gi-eš-a_(_147_) 36. When before thy feet they run,

37. _sag-ki gĭr-a-za sag-nu-mu-un-ne-gà-gà_(_148_) 37. Unto the presence of thy feet they attain not.

38. _šag-ūb-ba-za ba-a ni-te-en-[te-en]_ 38. Thine angry heart who shall pacify?

39. _šag-ģul-la-za te-[en-te-en-na-ám]_ 39. Thine evilly disposed heart let become calm.

40. _nin ģar-ni šág nin[... -ni- ...]_ 40. Oh lady, whose soul is magnanimous; oh lady [whose ... is ... ]

41. _ib-ba nu-te-en-[te-en....]_ 41. Whose wrath is unpacified....

42. _nin-kur-ra-dirig-ga...._ 42. Lady that stormeth over the mountains....

43. _ģar_(_149_)_-sag ki-za ba...._ 43. The mountains (?) thy place (?)....

44. _ká-gal-a_ 44. The great gate....

COL. II

1. _ģalba_(_150_)_-ba nu_.... 1. Its frost....

2. _ki __kuš__lu-úb_.... 2.

3. _ka-sìr-la_(?)(151).... 3.

4. _nir-da-ni-bi_(_152_).... 4. Their afflictions....

5. _uru tuš dinig-di-bi mer-i-in-si-[si]_ 5. Their city, an arid habitation, the whirlwinds have filled.

6. _ḳal-šag-gan-bi ... -šú ma-ra-ab-mú-[mú]_ 6. Their ... workmen in ... supplicate thee.

7. _uru-zagin-ra li-be-in-dúg-ga_(_153_) 7. For the brilliant city they mourn in song.

8. _a-a uku-za li-be-in-eš-a-a_ 8. The father thy creator sends forth cries of distress for it.(154)

9. _ka-azag-zu dé-in-dúg-dúg gĭr-za ģe-ib-gí_ 9. May thy holy mouth speak the command and thy feet return.

10. _šă-ab-bi-ta ģuš ģe-ib-ta-an-zí-ni_ 10. From her midst mayest thou cast the cruel one.

11. _sal-bi dam-a-ni-ta šág-ga-na-áš an_(_155_)_-da- ab- bi_ 11. Let a woman with her husband speak kindly.

12. _gíg-ù-na-la_(_156_)_ na-an-ba-ni-ib-gí-gí_ 12. During the nights forever let her return unto him.

13. _nig-azag šag-ga-na nam-mu-da-an-bur-ri_ 13. That which is pure in her heart may she disclose.

14. _ù-gul-zi-zi-i dumu-gal __d.__Zu-en-na-áš_ 14. _Fervid_ intercession unto the great son, Sin,

15. _nin dingir-ra dirig-ga_(_157_)_ a-ba ki-za ba-an-tum_ 15. Oh lady surpassing the gods who beside thee brings?

16. _me-zi-de nin-gal nin-e-ne_ 16. Establisher of decrees, oh great lady, their lady,

17. _uru-azag-ta è-a ama-uku-ni-ir dirig-ga_(_158_) 17. Thou that risest from the holy city, thou that surpassest his(159) child-bearing mother,

18. _gal-zu igi-gál nin kur-kur-ra_ 18. Intelligent and wise, oh queen of the lands,

19. _zi-gál kalama-zu-a sìr-azag-zu ga-a-an-dúg_ 19. Oh breath of life of thy Land, I will recite thy holy songs.

20. _dingir zi-me-a tum-ma ki-bi dúg- -ga-bi...._ 20. Divinity who has been made agreeable unto the fury of battle, whose words unto their place....

21. _šag-sud-du sal-zid lăg-lăg-ga me-zu ga-mu-ra-ab-dúg_(?) 21. Thou of the unsearchable heart, who purgest faithfully, I will relate thy decrees.

22. _mi-ib-azag-gà ģu-mu-e-ši-in-tu-ri_ 22. The holy _mi-ib_ weapon verily thou causest to enter upon (the foe).

23. _en me-en en- ... -ul-an-na me-en_ 23. “A ruler am I, a ruler ... of heaven am I.(160)”

24. _gi-ma-sá-ab ni-gùr-ru kešda-bi-dúg_ 24. The reed censer I bear and I arrange the ritual(?).

25. _ki-sĭg-ga be-in-gar mà-e nu-mu-un-ne -ti-li_ 25. At the parentalia I place it; and these things I cease not to do.

26. _ud-de ba-nim ud-eš da(?)-bíl_ 26. By day I ... and daily renew

27. _giš-gig ud-de ba-nim? -da im-mi-dù_ 27. By night and day I ... and in ... am clothed(?)(161)

28. _KA-lál-mu šu-? a-ba-ab-tum_ 28. My ... of honey ... I bring.

29. _ninda-mur-šág-šág-mu da-ta ba-e-de-gí_ 29. By my pious offerings of baked cakes thou wilt be pacified.

30. _nam-mu __d.__En-lil lugal an-ki_ 30. Something Enlil lord of heaven and earth

31. _an-ra enim-mu-na-ab an-e ģa-ba-duģ-e_ 31. To Anu spoke as a command and verily Heaven is opened.

32. _a-da-lam an-ra enim-mu-na-ab an-e mu-e-tūb_ 32. Now unto Anu he has spoken the command and thou causest Heaven to shudder.

33. _nam-lugal-an-ni sal-e ba-ab-kár-ri-en_ 33. The royal power of Anu thou a woman hast seized.

.... ....

PSALM TO ENLIL CONTAINING A LONG INTERCESSION BY THE MOTHER GODDESS. 15204 (NO. 5)

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.(162) The title, _árabu-(ģu) árabu-(ģu) múzu kúrra munmállašu záe alménna_, 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,”(163) 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.(164) 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.

1. _arâ-bu-(ģu) arâ-bu-(ģu) mu-zu kur-ra mu-un-ma-al-la-šú_ 1. Oh bird _arabu, arabu_,(165) thou art he whose name is proclaimed in the world.

2. _za-e al-me-en-na_

3. _d.__Mu-ul-lil arâ-bu-(ģu) mu-zu kur-ra mu-un-ma-al-al-la-šú_ 3. Oh Enlil, _arabu_-bird, thou art he whose name is proclaimed in the world.

4. _za-e al-me-en-na_

5. _d.__Mu-ul-lil šag-sud-du e-ne-em zid- da_ 5. Enlil of unsearchable heart, of faithful word.

6. _gú ki-ma-al_(_166_)_ e-ne-em di- di_(_167_) 6. He that bends the neck, that speaks the word.

7. _mu-zu kur-ra mu-un-ma-al-la-šú za-e al-me-en- na_ 7. Thou art he whose name is proclaimed in the world.

8. _mu-zu kur-ra mu-un-ma-al-la-šú_ 8. At thy name which is proclaimed in the world,

9. _dúg-ga-zu kur-ra ám-da-ma-al-la-šú_ 9. At thy discourse which is proclaimed in the world,

10. _taģ-a-zu kur-ra ám-da-ma-al-la-šú_ 10. At thy aid which is wrought in the world,

11. _uru-me-a_(_168_)_ an ní-bi nam-dúb ki ní-bi nam- sīg_ 11. In my city heaven trembles of itself, earth quakes of itself.(169)

12. _nibru-(ki)-a an ní-bi nam-dúb ki ní-bi nam- sīg_ 12. In Nippur the heaven trembles of itself, earth quakes of itself.

13. _ama mu-gíg-gi ama nu-bar-ra ama-mu ni-mi-ni-in-gí-gí_ 13. The mother virgin, the mother courtesan, my mother began discourse.

14. _d.__[...]-e ga-ša-an urú-bar-ra-ra_(_170_) 14. She the divine ..., queen of the villages,

15. ... _ni-mi-ni-in-gí- ... gí_ 15. ... discoursed.

16. ... _ku-a-zu- ... dé_ 16. When in ... thou dwellest,

17. ... _-la ku-gar-ra_(_171_)_-zu-dé_ 17. When in ... thou makest thy abode,

18. _[__d.__Nin-lil-da?]_(_172_)_ ga-ša-an keš-(ki)-a-ge_ 18. With Ninlil (?) queen of Keš

19. ... _ģen mu-e-da-ab-tar-ri_ 19. ... thou decreest.

...(173)

20. ... _ge me-ri-mu-šú_(_174_)_ nu-GÁ-e_ 20. [As I was ...] my foot I lifted not.(175)

21. _[a-a-mu lu-]lu-mu-ùr_(_176_)_ su-din-ģu ab-ba-ge_ 21. To my father, my benefactor, as a _sudin_-bird of the sea,(177)

22. _me-ri-mu-šú nu-GA-e_ 22. My foot I lifted not.

23. _d.__Mu-ul-lil-]-e šag-sud-da_ 23. [To Enlil of] unsearchable heart,

24. _[ù-mu-un e-ne]-em zi-da_ 24. [Lord] of faithful word,

25. _[gú ki-ma-al e-]ne-em di-di_ 25. That bends the neck, that speaks the word,

26. ... _ge me-ri-mu-šú nu-GA-e_ 26. [As I was ...] my foot I lifted not.

27. _[__d.__Mu-ul-lil ?]-e me-ri-mu-šú ù_(_178_)_-GA-e_ 27. [But unto Enlil] I would lift my foot.

28. ... _-ra ga-ám-ši-rá_ 28. Unto ... verily I will go;

29. _[me-ri]-mu-šú ga-mu-ni-ib-GA_ 29. My foot I will lift.

30. _[a-a-mu]lu-lu-mu-ùr ga-ám-ši-rá_ 30. To my father, my benefactor, verily I will go;

31. _me-ri-mu-šú ga-mu-ni-ib-GA_ 31. My foot I will lift.

32. _d.__Mu-ul-lil-ra šu-mu-šú ga-mu-ni-ib-GA_ 32. Unto Enlil my hand I will raise;

33. _me-ri-mu-šú ga-mu-ni-ib-GA_ 33. my foot I will lift.

34. _me-e __d.__Mu-ul-lil-ra um-ma dé-til_ 35. ... _ṭu_(_179_)_-mu-na-da- ab- dúg_ 34. I unto Enlil will say, “May the mother live.”

36. _a-a-mu lu-lu-mu-ùr ab-ba dé-til_ 37. ... _ṭu-mu-na-da-ab- dúg_ 36. Unto my father, my benefactor, I will say, “May the father live.”

38. _gù-gù gù-si-di ṭu-mu-na-ám-mar_ 38. Words which set aright all things I will say.

39. _urú-me-a ama dumu dé-im-me_ 40. ... _dumu ama dé-im-me_ 39. In my city may the mother hail her son, may the son hail his mother.(180)

41. _nibru-(ki)-a ama dumu-dé-im-me_ 41. In Nippur may the mother hail her son,

42. ... _dumu ama dé-im-me_ 42. may the son hail his mother.

43. _ùz_(_181_)_-e síl-bi ģe-im-ši-ib-še-gi-en_ 43. To ewe and her lamb may he be propitious.

44. _e-ne-em __d.__Mu-ul-lil-lá UZ-dé_(_182_)_ máš-bi_ 45. ... _ģe-en-ši-ib-še-gi-en_ 44. May the word of Enlil be propitious to the she-goat and her kid.

46. _d.__Mu-ul-lil-ra uru-ni še-ib nibru-(ki)_ 46. For Enlil, his city, brick-walled

47. _ki-bi ga-mu-na-ab-gí_ 47. Nippur, unto its place I will restore.”

48. _ní-na-teg ní-na-teg ama-mu ní-na teg_ 48. She offers devotion, she offers devotion, my mother offers devotion.

LAMENTATION ON THE PILLAGE OF LAGASH BY THE ELAMITES. 2154 (NO. 6)

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 lamentation 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.(183) 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 _Sumerische 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_[...] 1. Father [

2. _? dingir_[...] 2. ...

3. _a uru-gul-la é-[gul-la-mu gíg-ga-bi im-mi_] 3. How long? oh my destroyed city, my destroyed temple, sadly I wail.(184)

4. _ud-ba enim ud-dam bi_-[...] 4. At that time the word like a storm ...

5. _enim __d.__En-lil-lá_ [...] 5. The word of Enlil ...

6. _d.__En-lil galu nam-tar_ [...] 6. Enlil who the fate of ... _determined_.

7. _d.__En-lil-li nim_-[...] 7. Enlil ...

8. _d.__Mà-mà_(185) _dumugu_ [...] 8. Mama the princely son ...

9. _d.__Nin-mar-(ki)-ra-ge gú_[...] 9. Ninmar ...

10. _azag dāg-zagin __giš__má-gal-gal-la bal-[...]_ 10. The holy one who lapis lazuli in great ships ...

11. _nin nig-ga-šù igi-[...]-ti-la a azag pi-el_ ... 11. The queen ... humiliates ...

12. _nin-e KA.? gim NE-a im-da-ra?_ 12. The queen ...

13. _ki lagaš-(ki) nim-ki šu-ni-a im-ma-ši-in-gí_ 13. The land of Lagash he abandoned unto the hand of Elam.

14. _ud-bi-a nin-e ... ud-da-ni sá-nam-ga_(_186_)_-mu-ni-ib-dúg_ 14. At that time his wrathful word verily attained the queen.

15. _d.__Ba-ú galu-sukal-lu-gim ud-da-ni sá- nam-ga-mu-ni-ib-dúg_ 15. His wrathful word attained unto the divine Bau even as a messenger.

16. _me-li-e-a ud-dé šu-ni-a im-ma-ši-in-gí_ 16. Woe is me, the spirit of wrath into her hand he entrusted.

17. _ud uru gul-gul-e šu-ni-a im-ma-ši-in-gí_ 17. The spirit of wrath that destroys the city into her hand he entrusted.

18. _ud é gul-gul-e šu-ni-a im-ma-ši-in-gí_ 18. The spirit of wrath that destroys the temple into her hand he entrusted.

19. _[uru?] __d.__Dumu-zi-abzu-ge-ta ki nir-ša-ki-ba-ge im_(_187_)_-ma
ba-an-teg_(_188_)
19. In the city(?) of Tammuz of the sea, the place of _wailing_ ... terror
it caused.

20. ... _nir-šag-(ki) uru nam-šibir-ka ni-ḳar-ḳar-ge izi-ba-ab-dúg_ 20. The city ... _nirsag_, city of ... with fire it consumed.

21. ... _uru(?)-ni Ninā-(ki)-a kur-ri ba-ab-gar_(_189_) 21. ... of her city Ninā it seized away to the mountains.

22. _[Si]rar_(_190_)_-(ki) ki-dúr kenag-gà-ni ģul-gál-e ba-ab-šub_ 22. Sirar her beloved habitation an evil one has overthrown.

23. _[a uru]-gul-la é-gul-la-mu gíg-ga-bi_(_191_)_ im-me_ 23. How long? my destroyed city, my destroyed temple, sadly I wail.

24. _[gè-pàr]_(_192_)_ azag nam-en-na-ba šu-ba-e-lá-lal_ 24. Of the holy “Dark Chamber” the priestly rites are suspended.

25. _[en]-bi gè-pàr-ta ba-da-an-ḳar ki-erim-e ba-ab-KA(du)_(_193_) 25. Its high priest from the “Dark Chamber” has been taken and unto the land of the foe has gone.

26. ... _KU-si-na __d.__Nannar-ka da-dugud ba-ši-in-du_ 26.

27. ... _gan kaskal-gid __d.__Nannar-ka tùr-dugud_ ... 27.

28. ... _ḳar-ra-gim íb-ri ba-ra_- ... 28.

29. ... _gim íb-ri ba-an-de i-im-gul-gul-lu-ne_(_194_) 29. ... they destroyed.

30. ... _azag-ga-bi im-zí-ir-zí-ri_(_195_)_-e-ne ... -e-ne_ 30. Of the ... its holy ... they shattered and ...

31. _[a uru-gul]-la é-gul-la-mu gíg-ga-bi im-me_ 31. How long? oh my destroyed city and my destroyed temple, sadly I wail.

32. _[gè-pàr] azag nam-en-na-ba šu-ba-e-lá-lal_ 32. Of the holy “Dark Chamber” the priestly rites are suspended.

33. _[en]-bi gè-pàr-ta ba-da-an-ḳar ki-erim-e ba- ab- du_ 33. Its high priest from the “Dark Chamber” has been taken and unto the land of the foe has gone.

34. ... _gid-da-bi[...]a-nir ba-an-da-di_ 34.

35. ... _-bi nu gud-du sag me-te-a-áš li-be-íb-gál_ 35.

36. ... _KA íb-bi ba-ra-an-kád_(_196_) 36.

37. ... _a ... a-ri-a-e ba-da-ab-lal_ 37. ... has bound with him(?)

38. ... _ka lù-erím-e ba-an_-? 38. The ... of the ... the foe has ...

39. ... _-da(?)-ab-ag_ 39.

40. _é ... -sug-ga ba-an-dū_ 40.

41. _ki ... LU a-ri tùr-dugud-gim ba-gul_ 41. ... like a ruined cattle stall has been destroyed.

42. _dingir Nin [...] mà [...] gĭr kúr ba-ra-an-ku_ 42. As for the goddess Nin ... her ... the foe has set his foot.(197)