ontaining thirty-four lines.
The fifth song begins at Obv. IV 27 and ends at Obv. V 7, containing
forty-seven lines. In the following pages will be found a translation of
twenty-three lines of the end of the fourth song which describes the
wrathful word of the gods Anu and Enlil. The fifth song, a remarkable ode
to the wrathful word of Enlil, has been translated so far as the text
permits.

The sixth song begins at Obv. V 11, and probably terminated in the broken
passage at the top of Rev. I. Its length was also unusual, having at least
forty-five lines. This song was edited on a small tablet Ni. 4584 on which
the beginning and the end of the section are preserved. It has been
published as No. 10 in _Sumerian Liturgical Texts_, Vol. X of the
Publications of the Babylonian Section. Only a few lines at the
commencement of this song have been translated here. From this point
onward the language of the liturgy presents such difficulty that the
writer has been unable to offer a translation.

Section seven probably ended at the top of Rev. II and refers throughout
to the mother goddess who weeps over the ruins of Ur. The eighth song
probably began at the top of Rev. II and ended perhaps at the top of Rev.
III. It is another doleful ode to the weeping mother and many of its lines
are clear and translatable. The entire song is marked by sorrowful
refrains: _me-li-e-a uru-mu nu-me-a_, Oh woe is me, my city is no
more.(242) _a-uru-mu im-me_, How long? oh my city I cry.(243) _me-li-e-a
uru-ta e-a-men_, Oh woe is me, from the city I depart.(244) _dingir
ga-sa-an-gal-men e-ta e-a-men_, Great divine queen am I, from the temple I
depart.(245) _er-gig ni-ses-ses_, She weeps bitterly.(246)

Only the ends of lines of a large part of the ninth song are preserved in
Rev. III. The tenth song probably occupied most of the space in Rev. IV.
Speculation concerning the number of songs in the entire liturgy is
limited to the number of about 11-13. The liturgy was, therefore,
extremely long, attaining to a content of about 500 lines. We know from
the single tablet variant of the sixth song that another edition of this
series existed in which small tablets carried each a single _kisub_. A
similar condition of editorial redaction is revealed by ZIMMERN, KL. 200,
a small tablet which contains the twelfth song of a liturgy to the deified
king of Isin, Isme-Dagan.

The historical event referred to in this liturgy is undoubtedly the
destruction of