The only Sumerian cult songs to deified kings not in the Nippur collection have now been translated by the writer and made accessible for wider study. One hymn to Ur-Engur which proves that he had been canonized at his capitol in Ur will be found in the _Proceedings of the Society of Biblical Literature_, 1918, 45-50. The twelfth song of a liturgy to Ishme-Dagan published by ZIMMERN from the Berlin collection is translated on pages 52-56 of the same article. Finally a long liturgy to Libit-Ishtar, son of Ishme-Dagan, likewise in Berlin, has been translated there on pages 69-79.(26) Since the Berlin texts probably came from Sippar their existence in that cult is important. For they prove not only the practice of cult worship of deified kings in that city, but the domination of Isin over this north Semitic city is thus documented for a period as late as Libit-Ishtar. Nearly all the existing prayer services in the cults of the deified kings of Ur and Isin are now published and translated. The student will observe that they are all of the compiled type but that there is in most cases much musical arrangement and striving for combined effect. A few, and especially the Ishme-Dagan liturgy published as No. 1 of this part, reveal theological speculation and an effort to give the institution of god-man worship its proper place in their religion. The hymns of these cults comparatively so richly represented in this volume will be among the most interesting groups of religious texts supplied by the excavations at Nippur.(27) OXFORD, July 9, 1919. LAMENTATION OF ISHME-DAGAN OVER NIPPUR. 13856 (NO. 1) The liturgical character of this tablet is unique among all the numerous choral compositions of the Isin period. It is a large two column tablet containing six long _kišub_ melodies. Liturgies of such kind, compiled by joining a series of _kišubs_, or melodies, attended by prostrations, represent an advanced stage in the evolution of these compositions in that the sections are not mechanically joined together by selecting older melodies without much regard for their connection, but as a whole they are apparently original compositions so arranged that they develop a motif from the beginning to the end of the liturgy. Choral services composed of _kišubs_ in the cults of deified kings have been found(28) wherein the deeds and personality of the king are sung, his divine claims are emphasized and his Messianic promises rehearsed. But the liturgy here published resembles in literary style the classical lamentations which always formed the chief temple services of Sumer and Babylonia. It more especially resembles the weeping mother liturgies, but here Ishme-Dagan appears in the lines of the service in a rôle similar to that of the sorrowful mother goddess of the ordinary liturgies, as he weeps for Nippur. “Her population like cattle of the fields within her have perished. Helas my land I sigh.” So reads a line from the second melody.