So far as the text of this important liturgy in eight melodies can be established, it leads to the inference that, like all other Sumerian choral compositions, the subject is the rehearsal of sorrows which befell a city and its temple. Here the glories of Keš, its temple and its gods are recorded in choral song, and the woes of this city are referred to as symbolic of all human misfortunes. The name of the temple has not been preserved in the text. But we know from other liturgies that the temple in Keš bore the name Uršabba.(418) The queen of the temple Uršabba is called the mother of Negun, also a title of Ninurta in Elam.(419) The close connection between the goddess of Keš and Ninlil is again revealed, for Negun is the son of Ninlil in the theological lists, CT. 24, 26, 112. Therefore at Keš we have a reflection of the Innini-Tammuz cult or the worship of mother and son, mother goddess Ninlil or Ninharsag, and Igidu or Negun.(420) Keš and Opis must have been closely associated with both Erech and Šuruppak, and of traditional veneration in Sumer. Keš is mentioned in a list with Ur, Kullab (part of Erech) and Šuruppak, SMITH, _Miscellaneous Texts_ 26, 5. Gudea speaks of a part of the temple in Lagash which was pure as Keš and Aratta (i. e. Šuruppak).(421) The various mother goddesses of Eridu, Kullab, Kêši, Lagaš and Šuruppak are invoked in an incantation, CT. 16, 36, 1-9. The first melody of the Ashmolean Prism contains a reference to the horse of Šuruppak. The textual history of this liturgy is interesting. The major text is written upon a four-sided prism now in the Ashmolean Museum of Oxford. The object is eight inches high, four inches wide on each surface and is pierced from top to bottom at the center by a small hole, so that the liturgy could be turned on a spindle. The writer published a copy of this prism or prayer wheel in his _Babylonian Liturgies_. The elucidation of this exceedingly difficult text was lightened somewhat by the discovery of a four column tablet in Constantinople, which originally contained the entire text. It was afterwards published as No. 23 of my _Historical and Religious Texts_. Since the edition of these two sources, the Nippur Collection in Philadelphia has been found to contain several fragments of the same liturgy. A portion of the redaction on several single column tablets had been already published by RADAU in his _Miscellaneous Sumerian Texts_, No. 8 (=Ni. 11876), last tablet of the series containing melodies six, seven, and eight. I failed to detect the connection of RADAU’s tablet at the time of the first edition but referred to it with a rendering in my _Epic of Paradise_, p. 19. Another tablet, also from a single column tablet redaction at Nippur, has been recovered in Philadelphia, Ni. 8384.(422) This text utilized here in transcription contains a section marked number 4 on that tablet but all the other sources omit it. Hence this redaction probably contained nine melodies.