I would like to express my thanks to Bendt Alster and Takayoshi Oshima for giving me the opportunity to add a few comments on their article. Within the limits of these pages, I will restrict myself to certain general subjects and one theme in the Old Assyrian Sargon Legend.

As Alster and Oshima suggest above, the Old Assyrian Sargon Legend is obviously a written improvisation. However, improvisation has little to do with whether the text is to be taken in a serious (Hecker, Dercksen) or trivial (“humorous”) manner (Van De Mieroop, Foster, Cavigneaux, Alster and Oshima) nor does it relate to accuracy (see Alster and Oshima, fn. 17). Rather, it relates to the mode of composition: whether or not a fixed text was followed, whether or not there was a written model (see Alster and Oshima, fn. 17). In my opinion, this text is a written “improvised” composition based on oral traditions (see also Alster and Oshima, pp. 2 and fn. 8, 6 and 8, Cavigneaux 2005: 596). In this period, orality and literacy existed alongside each other. This written composition may have developed from an oral set of thematic scenes, the building blocks of traditional oral literature. The episodic structure of the narrative reflects such a concatenation of scenes. These oral building blocks could be varied at will according to the needs of the moment, modified to suit the new purposes and new places. It can be deduced that such legends were known orally from internal evidence — the words placed in the mouth of Sargon in this Old Assyrian composition, “Why should I enlarge (upon this theme) in an inscription? Where do (peoples) noi know me (a-«a»)-nu-um lá i-tí-a-ni, suggested reading of Aage Westenholz), that I am the King, that I conquered the Upper and Lower Lands?” (ll. 63–5). In this writer's opinion, these lines indicate that the author implies that Sargon's fame is so well known that it does not need to be written down.