al-[ ]uku-e se-am-sa_
9. The spirit of wrath like a _lion_ ... and the people lament.

10. _gis- gi- gal -bi- im_
10. This is its antiphon.

11. _ud-ba ud uru-da ba-da-an-gar uru-bi_ ...
11. At that time the spirit of wrath upon the city was wrought and the
city....(255)

12. _a-a __d.__Nannar uru dim-dul-dul-da ba-da-an-[ ]uku-e se-am-sa_
12. Father Nannar upon the city of _master workmen_ ... and the people
wail.

13. _ud-ba ud kalama-ta ba-da-an-kar uku-e se-am-sa_
13. At that time the spirit of wrath _descended_ upon the Land and the
people wail.

14. _uku-bi sika-kud-da [nu-me-a bar-ba ba-e-si]_
14. Her people without water jars sit without her in desolation

15. _bad-ba gu [?_(_256_)_]-nin [kaskala im-ma-an-gar-gar uku-e se-am-sa_]
15. Within her ... in the ways are _placed_ and the people wail.

16. _ka-gal-mag gir-gal-la-[ba ad-a im-ma-] an [BAD]_
16. The great city gate and the highways with the dead are _choked up_.

17. _duk?-tun-sir-gim du-a-ba [sag-bal-e] ba-ab- gar_
17. Like a leather vessel all of her the usurper cast asunder(?)

18. [ ] _e-sir gir-gal-la-ba ad im-ma-an-gar-gar_
18. In her ... streets and roads corpses he _heaped up_(?)

LITURGICAL HYMNS OF THE TAMMUZ CULT. 3656 (MYHRMAN NO. 5)

The obverse of this fine single column tablet contained a hymn in
thirty-eight lines to the departed Tammuz. It represents the people
wailing for the lord of life who now sleeps in the lower world. Thirteen
lines have been completely broken away from the top. The reverse carried a
long liturgical song of the cult of this god in which the mother goddess
is represented wailing for her ravished lover. Songs of the weeping mother
are common enough in these wailings for Tammuz, but all other known
examples of this _motif_ represent the major unmarried type of mother
goddess Innini-Ishtar wandering on earth, crying for her departed son. The
hymn on our tablet reveals in a wholly unexpected manner the close
relation between the mother goddess Gula of Isin and Innini. It was known
that both sprang from a common source, a prehistoric unmarried goddess,
but one had hardly supposed that the liturgists went so far as to
introduce the married goddess of Isin in the role of the virgin mother
Innini. The great mother divinity of Isin, although attached in a loose
way to a male consort Ninurta, in that city retained, nevertheless, much
of her ancient unattached