6 Pinches, Hymns to Tainmuz in the Manchester Museum. 



12. 'Mother, my release (in) joy (and) peace direct, rest not' 



13. Lord Tammuz, the singer, who recordeth — 



14. The mother directeth his great release, (in) joy (and) peace 



not resting. 



15. Saith he who is great, with full hand to his place 



returning : * 



16. ' Mother, grant my great (?) release, let it come.' 



17. Lord Tammuz, directing (and) granting (thy) [release, she 



returneth]. 



18. The mother and the great release 



19. The cry of the caller (?) 



20. The evil voice 



21. The cry of [the call]er 



22. The evil voice 



23. ' Mother, to the voice 



24. And the release 



25. Mother, the voice from the mouth 



26. A man of peace, directing (?) t 



27. Night Istar en[c]osing, she advanceth]. 



28. Istar, to what is pure 



29. Night Istar enclosing, she advanceth . . . . 



30. ' Right remains by thy side, it stands firm.' 



31. The barrier unbroken she seeth not. 



32. Night Istar enclosing, she advanceth, 



33. . . my sister (?) 



The ' place of pasture ' ki ria, is in all probability the 

 domain of delight where Tammuz, the shepherd {rS'u in 

 Semitic Babylonian) dwelt with Istar, his spouse. Here 

 the summons of Eres-e-gala in the Underworld seems to 

 penetrate, and is heard by Istar with sorrow and mis- 

 giving. It is a joyful sound, however, in the mouth of 

 her who calls. 



After line 9, there is apparently a division in the 



) >j 



* Or, by reading sa (di) for ki, and thus getting the word si-sa, as in 

 line 12: "Saith he who is great: 'Direct (my) release, return (to me), 

 Sa {di) has one horizontal wedge less than ki. 



+ Or "Tie who peace di[rectethj " 



