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.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
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)