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.