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Oh lady surpassing the gods who beside thee brings? Establisher of decrees, oh great lady, their lady, KA-ldl-mu iu-? Intelligent and wise, oh queen of the lands, Oh breath of life of thy Land, 1 will recite thy holy songs. Divinity who has been made agreeable unto the fury of battle, whose words unto their place Thou of the unsearchable heart, who purgest faithfully, I will relate thy decrees.

The holy mi-ib weapon verily thou causest to enter upon the foe. The reed censer 1 bear and 1 arrange the ritual? At the parentalia 1 place it; and these things I cease not to do. By day 1 and daily renew By night and day 1 and in. My of honey 1 bring. By my pious offerings of baked cakes thou wilt be pacified. Something Enlil lord of heaven and earth To Anu spoke as a command and verily Heaven is opened. Now unto Anu he has spoken the command and thou causest Heaven to shudder. The royal power of Anu thou a woman hast seized.

The psalm begins with twelve lines sung by the choir and addressed to Enlil. They then in lines introduce Innini whom they represent in discourse before Enlil in lines This part of the song service contains refrains characteristic of public worship. Theo- logically the text illustrates one of the most profound principles of Sumerian religion, the sympathy and concern of the virgin mother for mankind.

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Our text is unique and noteworthy for one salient fact. It illustrates the scenes so common on Babylonian seals, where the mother goddess stands in intercession before the god, with one or both hands raised in supplication and the left foot advanced as though about to set it on the paved approach to the throne of the deity. Oh Enlil, arabu-bird, thou art he whose name is proclaimed in the world. Enlil of unsearchable heart, of faithful word. He that bends the neck, that speaks the word. Thou art he whose name is pro- claimed in the world.

At thy name which is pro- claimed in the world, 9. At thy discourse which is pro- claimed in the world, At thy aid which is wrought in the world, In my city heaven trembles of itself, earth quakes of itself. In Nippur the heaven trembles of itself , earth quakes of itself. The mother virgin, the mother courtesan, my mother began discourse.

Were it not for the reference to this bird in the omen text, Boissier, DA 67, 18, one might conclude that the bird is mythical. For the reading arabd, see also Reisner, SBH. V Raw. XI ,8. Note also umun urMar, SBH. When in thou dwellest, When in thou makest thy abode, With Ninlil? My foot 1 lifted not. That bends the neck, that speaks the word, My foot 1 will lift.

To my father, my benefactor, verily 1 will go; Unto Enlil my hand 1 will raise; Historical and Religious Texts, p 34, 6. Mu-ul 4 il-r a uru-ni Ie 4 b nibru- ki Unto my father, my benefactor, 1 will say, May the father live. Words which set aright all things I will say. In my city may the mother hail her son, may the son hail his mother. In Nippur may the mother hail her son, To ewe and her lamb may he be propitious. May the word of Enlil be pro- pitious to the she-goat and her kid.

For Enlil, his city, brick-walled She offers devotion, she offers devotion, my mother offers devotion. II , in his Sumerische Kultleider. Father [ 2 3. How long? At that time the word like a storm 5. The word of Enlil 6. Enlil who the fate of determined, 7. Enlil 8. Mama the princely son 9. Ninmar The holy one who lapis lazuli in great ships 1 1.

The queen humiliates 1 See lines 3. The translation given above is preferable to the interpretation accepted in my previous volume. Note also that dumugu is a title of Sin, II Raw. The queen The land of Lagash he abandoned unto the hand of Elam. At that time his wrathful word verily attained the queen.

His wrathful word attained unto the divine Bau even as a messenger. Woe is me, the spirit of wrath into her hand he entrusted. The spirit of wrath that destroys the city into her hand he entrusted. Sirar her beloved habitation an evil one has overthrown. I 12 See also SBP. The same sense of gar will be found in Gudea, Cyl A 6, 16; 7, 14; St. B q, 16; Cyl. A 12, For the ideogram see SBP. Of the. Of the holy ''Dark Chamber" the priestly rites are suspended. Its high priest from the " Dark Chamber" has been taken and unto the land of the foe has gone.

Variant has du line This text supplies two more signs and makes possible a better translation. Babylonian Liturgies, No. Xll No. As for the goddess Nin her Ninliga weeps bitterly, Ninharsag Like a dove The composition reflects the standard theological ideas found in the canonical psalms and liturgies. The mother goddess Innini is represented as a divine mother wailing for the misery of her city and her people.

X , But the lamentation does not have refrains and at the end the style approaches nearly that of a prayer. The tablet also bears no liturgical note at the end. For these reasons and because of the general impression which the lines leave with the present interpreter, he classifies this text as the product of a scholastic liturgist of the Ur or Isin period whose work was not incorporated into the corpus of the official breviary. Obverse 1. Oh pure one thy? Thy proceeding arrow scatters the 3. Meal of the She that gives fish to the stream, in the streams fish as nume- rous as dates she causes to dart about.

Rushing like an ox in the street of Erech like a multitude? Multitudinously in the habita- tions they dwelled. For the meal of the gu 4 ig see also CT. Here begins the rehearsal of the woes of Erech. Her precentor, 2 the defender king, whither they go, went up. The hosts of peoples she beholds. The singer refuses to chant and from his hand has thrown the drum. Thou drinkest not; thou drink- est not. Water thou drinkest not, but thy sheepfolds drink. Thou drinkest not; thou drinkest not.

Beer thou drinkest not, but thy proteges drink. Like an ox going forth in the streets of Erech like a multi- tude? In multitudes they have taken up their abodes in the habita- tions. As for me what shall I do? I who have bestowed care. A sacred devotee 1 am. Coming forth like an ox, hasten- ing in destructive fury he came ; even thee thyself he pursued. The sar-ur weapon, arm of my heroic power 1 have taken not in my hand. Gudea, St. B 9, Originally it has a sacred meaning and probably denoted a musical director who was also a priest.

The application of a priestly title to the king is in accord with his royal prerogatives. UN is certain but the sign SAL is not clear on the tablet. Of my temple in Hallab its treas- ures he has hidden far away. Like an ox he came up against thee on the highways. Like an ox going forth in the streets of Erech he slaughtered multitudes?

Sumerian Liturgies and Psalms by Stephen Langdon

Multitudes in their habitations he caused to die. The doors of the city gate he shattered. Her defender he caused to go forth, The fisherman, the son fisher- man of Innini. The copper vessels he scattered. Hastening like an ox he has wrought demolition. Coming forth like an ox tears he has caused to fall and misery he caused to be. The prefix a is difficult and probably the noun aug- ment, see Sum Gr. II IV Index. V 2 Obv. The form above arose from bar-ri-a-a-dug. Oh Innini, grant me favor. Oxen of the mountains I will give thee; thy stables I will enrich for thee.

Sheep of the mountains I will give thee; thy sheepfolds 1 will enrich for thee. Holy Innini replied: — Oh Innini, I will rehearse thy valor. It is good to sing thy praise. In the first melody of fifteen lines the choir chant the glory of the moon god and his city Ur. The second melody of twenty-four lines is appa- rently an address of the earth god Enlil to his son the moon god.

This melody must remain obscure as long as the recurring liturgical phrase dh-mu-ha-li-in-dih is unexplained. V 25 I 15; II 13 mu-na-ni-ib-gUgi. See also Reisner, SBH. His city? As lord unto eternal days in his city, 7. In Ur the city which his heart has chosen Q. The temple like a strong bull calls unto the regions? Of my king, may his net? Be upon tomb and ruins. Of Sin, may his beloved city, n.

Of my king may his chapel. IS It is a sagar melody. Nannar, of the flocks? In my city of the lifting of the eyes, the home of his own abode, which is his fulness of luxury, Whose design is like Suruppak, 21 1 have caused him to be a shepherd? SBH 93, 1. XII V V 13, with which compare n pra. V ibid. The hymn to Sin, SBP , contains in line 14 the same phrase.

Into my city of the lifting of the eyes, the home of his own abode, which is his fulness of luxury, Whose design is like Suruppak, Reverse 1. ASimur the whom my heart has chosen, 6. In Emudkurramu 1 caused to be a shepherd? First son of Enlil, in the Land he is ruler.

Sumerian Liturgies and Psalms

ASimur thou art; where my heart has chosen, In Emudkurramu I have caused thee to be a shepherd? Lord of the clean sheepfolds, ruler of the flocks is he, the glorious? The end of the name is broken in BL.

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Perhaps Smith copied the sign wrongly. In the temple of the holy stylus a shepherd 1 caused him to be? First son of Enlil, in the Land he is ruler, glorious? In the meadow a sanctuary I built; in the abode of my city Ur, In the temple Sagnamsar which is in the mount of Dilmun, In the temple of the holy stylus a shepherd I have caused him to be?

It is a melody. Song on the flute to Sin. Broken evenly at the center from top to bottom the right half of this tablet preserves part of Col. The reverse correspondingly contains Cols. Like so many similar liturgical compositions of the period of Ur this lamentation is divided into a series of kimhs or songs, here of unusually great length.

The third song ends at Obv. It probably denotes a specific kind of melody 1'hree other musical instruments have given their names to classes of melodies, the erlcmma, balag and me-i't, see SBP. II, which has been lost. The fourth song began at Obv. Ill 42 and ends at Obv. IV 23, containing thirty-four lines. The fifth song begins at Obv. IV 27 and ends at Obv. V 7, containing forty-seven lines. In the following fiages will be found a translation of twenty-three lines of the end of the fourth song which describes the wrathful word of the gods Anu and Enlil.

The fifth song, a remarkable ode to the wrathful word of Enlil, has been translated so far as the text permits. The sixth song begins at Obv. V 1 1 , and probably terminated in the broken passage at the top of Rev. Its length was also unusual, having at least forty-five lines.

I'his song was edited on a small tablet Ni. It has been published as No. X of the Publications of the Babylonian Section. Only a few lines at the commencement of this song have been translated here. From this point onward the language of the liturgy presents such difficulty that the writer has been unable to offer a translation. Section seven probably ended at the top of Rev. The eighth song probably began at the top of Rev. II and ended perhaps at the top of Rev. It is another doleful ode to the weeping mother and many of its lines are clear and translatable.

The entire song is marked by sorrowful refrains: me-li-e-a uru-mu nu-me-a, Oh woe is me, my city is no more. The tenth song probably occupied most of the space in Rev.

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Speculation concerning the number of songs in the entire liturgy is limited to the number of about We know from the single tablet variant of the sixth song that another edition of this series existed in which small tablets carried each a single kisub. A similar condition of editorial redaction is revealed by Zimmhrn, KL. This calamity left many traces in the temple songs of Sumer, and the Sumerian prayer books of Nippur contain other lamentations on the fall uf Ur, written perhaps during the Isin period.

The writer has already published a single column tablet which rehearses the same catastrophe, mentioning Ibi-Sin himself and naming the Elamites as his captors. Anu may prevent his word. Enlil may order kindness. And may my heart be at peace from sorrow. The foundations it has anni- hilated, and reduced to the misery of silence. Unto Anu 1 will cry my ''how long?

Unto Enlil 1 myself will pray. May Anu prevent his word. May Enlil order kindness. Ur which has been destroyed may they Of its slain people may they decree a new dispensation. I will say to them : "In my city they have despised the splendor. Anu whose words in this man- ner change not. It is the fourth song. Her city has been destroyed, da-kur-am her ordinances have been changed. E nlil utters the spirit of wrath The spirit of wrath prosperity kar from the Land has destroyed The great spirit of Heaven has e se-dm-sd been uttered and the people wail.

Ktngaludda is mentioned as one of four evil spirits tlu limmu in CT. The spirit that annihilates the Land The shepherd of the city it slew. Of heaven its foundation it. Idnes mostly illegible. Lines mostly illegible. Ur like a garment thou hast. It is the fifth song. The spirit of wrath like a lion se-am-sd and the people lament. Father Nannar upon the city of ba-da-an-[ ]uku-e se- master workmen and dm-sd the people wail.

At that time the spirit of wrath uku-e le-dm-ld descended upon the Land and the people wail. Lines 1 are restored from PBS. Her people without water jars sit without her in desolation Within her in the ways are placed and the people wail. Like a leather vessel all of her the usurper cast asunder? In her. It repre- sents the people wailing for the lord of life who now sleeps in the lower world.

I'hirteen lines have been completely broken away from the top. Songs of the weeping mother are common enough in these wailings for 7 'ammuz, 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. The great mother divinity of Isin, although attached in a loose way to a male consort Ninurta, in that city retained, never- theless, much of her ancient unattached character. In the standard liturgies she is almost invariably the type of weeping mother, whereas Innini is this type in the Tammuz liturgies. Since Gula of Isin was the ordinary liturgical type we find the influence of the ordinary liturgies effective in the composition of the Tammuz hymn.

It explains the extraordinary phenome- non of the introduction of a long passage Rev. In a most gratifying manner our tablet shows how the lamenta- tions of the mother goddess in the canonical prayer books express sorrows for certain concrete misfortunes and certain defined temples and cities and find their general expression in the lamen- tations for Tammuz, the representative of all human vicissitudes.

This edition has been made from my own copy. The tablet was first published by Myhrman, PBS. To these copies I have been able to make only slight additions. Hymns of the Tammuz Cult 1. Oh strong one [ ] 3. Thy weary 2irms — breast — hands 4. Oh strong healer, oh healer [ ] 6. Oh strong one, my Damu [ ] 7. Oh child, lord GiSzida [ ] 8.

Oh healer, how long husband wilt thou be weary? Oh healer, how long son wilt thou be weary? When before thou sittest, 1 1. Oh strong one, when into his assembly thou Because of thee she wanders far for thee. My sturdy Damu, my irrigator is he. Thy mother she of lamentation rests not. The mother, queen who gives life to the afflicted, tarries not to repose.

In thy perdition, in thy seizure, in melodious sighing she speaks of thee. Oh hero, in thy contumely, in thy removal, in melodious sighing she speaks of thee. See also dakan, dWine abode, Delitzsch, Glossar, Title of Tammuz as spirit of the waters, see Tammui and Ishtar, pp. For the title galu-a-bal in this sense, see CT. The later usage of the word as libator of water for the souls of the dead, Semitic nak mi is a strictly conven- tional development, see Babyloniaca, VI My child-bearing mother, my lamenter?

Oh sturdy one, prostrate thou art, a man of the land of wailing? Oh lord, thou art, a man of the land of lament. A lord am 1. A laborer am 1. Unto the faraway land 1 go. Oh sing to the lyre; 1 weary with heart woe, where shall I rest? Daughter of the temple. Queen Gunura.

Holy iumlu mother of Esabba am I. Thirteen lines have been broken from the top. Omitted in translation. Enanun mother of lamentation am I. Weeping and sighing where shall I find rest? Weeping for Ekur, where shall 1 repose? Weeping for Kenur, where shall 1 repose? Weeping for Duazagga, where shall I repose? Weeping for the chief city, where shall I repose? Weeping for the sacred forest, where shall 1 repose? Weeping for I sin, where shall 1 repose?

Weeping for Egalmah, where shall 1 repose? Weeping for Larak, where shall 1 repose, where shall he rest? The ravished one my husband, the ravished one, my son, V , 7. The liturgies, however, constantly place Niginmarat Isin. U-ab [ ] AN-NE [ 1 The little son, the. How long his ravishing? The fragment was brought to Europe in by the assyriologist Charles Virolleaud, having been purchased by him during his excavations in Persia.

It is light brown and varies from the center to the edge by two inches to one inch in thickness. The fragment is from the upper left corner of a large three? About half of the first melody is preserved on the obverse. The reverse preserves the last two melodies. From their rubrics we learn that the entire series contained eleven sections. This tablet has the rubric ki-Sub-gu after each strophe. X , , etc. The series as it finally issued from the hands of the liturgists in the Isin period was written upon a huge five?

Each column contained about fifty lines. By borrowing from old songs and other liturgies the redactors have greatly increased the length of this service. At least ten songs have been lost on Cols. Ill, IV of the obverse and 1 , 11 of the reverse. The late Assyrian redaction is mentioned in the catalogue of prayer books IV Raw.

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Ill of K. A fragment published by Meek in BA. The titular litany of the e-lum gud-sun series is identical except for some variants with the famous titular litany of the mother goddess series mu-ten NU-NUNUZ gim-ma, tablet five, edited in SBP. Exterior is separating from the text block, but is entire. The textblock is good. Pages are clean and firm. Hard to find title. Seller Inventory GRP More information about this seller Contact this seller 1. Condition: New. Language: English. Brand new Book. This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

Seller Inventory APC More information about this seller Contact this seller 2. More information about this seller Contact this seller 3. Published by Createspace Independent Publishing Platform New Book. Shipped from US within 10 to 14 business days. Established seller since Seller Inventory IQ More information about this seller Contact this seller 4. Published by Pranava Books About this Item: Pranava Books, Condition: NEW. Reprinted from edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white.

Each page is checked manually before printing. As this reprint is from very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Preston Peet. Alien Hybrids in Ancient Times. First Writers—The Sumerians. Gary Arthur Thomson. Ancient Aliens on the Moon. Mike Bara. Darker Side Of The Moon. Rob Shelsky. Ultimate Reality. Mark Carroll. Leonard W. The Magus Illustrated Edition.

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Joseph P. Magicians of the Gods. Graham Hancock. The Mythic Dimension - "Comparative Mythology". Joseph Campbell.