¹ The following forms are known: pres. 3rd person plural tar-ku-wa-an-zi (KUB VII 11 4; 19 obv. 6; X 14 obv. 7; XI 34 IV 17; XX 38 obv. 13; XXV 9 V 8; 51 I 10); tar-ku-u-wa-an-zi (KUB X 48 II 5); pret. 3rd person plural tar-ku-e-ir (KUB IV 1 IV 32); sup. tar-ku-wa-an-zi (KUB VII 19 obv. 8) (haplology—or haplography—for ∗tarkuwawanzi); inf. tar-ku-wa-ar (KUB IV 1 IV 40b; VII 11 5).

² The supplement is conjectural, but the fact must be taken into account that the available space is limited. Hence it is absolutely certain that we have a form of karuššiya- ‘keep quiet’ more or less immediately before tarkuwanzi. Reference to menahhanda tarkuwanzi in KUB VII 19 obv. 8 likewise suggests close unity of the passage quoted above in the text. The interpretation which would result, were Summer's rendering of the verb by ‘yell, cry’ (see below) accepted, seems to me altogether unsatisfactory. The adverb karuššiyantili ‘silently’, attested in a different context KUB XXII 70 obv. 29, 72, would probably refer to the lack of musical accompaniment, i.e. to a situation opposite to that found in KUB X 89 I 25ff. (see below).

³ Instead of HUB.BIL also HUB.BI occurs (KUB X 89 I 28). This, however, furnishes no decisive proof of the Akkadian nature of the term. HUB.BI may very well be a more phonetic spelling of a Sumerian word. And looking at it in the inverse direction, it must be said that BIL for Akkadian bi/pi would be rather unusual. Moreover, the comparison with Akk. habābu which probably denotes some kind of a noise does not lead to any acceptable solution of the problem, particularly when KUB XX 38 (see above) is taken into consideration.

⁴ In KUB XI 22 V 11 the HUB.BIL men ‘turn’ (neiantari), perhaps a term of the art of dancing.

⁵ The combination of SAR-TU-U (l.c. 1. 35ff.) with Akk. sāru Ho dance' (see presently) as an infinitive of feminine form is very tempting. If correct, we had in these lines two kinds of ‘dance’ mentioned, the dance on the spot (pedi-ši; cf. Goetze-Pedersen, Murš. Sprachlähmung 32) and the dance over a wider distance (tuwaz).

⁶ Sum. h ub.sar and h u b . d u(g), both equaling Akk. lasāmu ‘sprint, run’, may also be pertinent.

⁷ The word is Akkadian in his opinion. He connects it with hubbu ‘yelling, chant of mourning’.

⁸ He supplies tar-ú-eš-ki-it (??) tentatively also in KUB I 16=2BoTU 8 II 14 as equivalent of the preserved Akkadian form i-ra-am-mu-um ‘he roars, bellows’.

⁹ One may suspect that this is a mistake on the part of the scribe for tar-wi-eš-ga-tal-la-aš; but one has to wait for at least one other occurrence, before this can be stated definitely.

¹⁰ Cf. B. Meissner, Babylonien and Assyrien 2.87; furthermore the same author, ZA 15.145 f. and Jensen, ZDMG 67.510.

¹¹ The arha may refer to a preceding ablative; the end of the preceding line is unfortunately mutilated. Perhaps ‘he looked upon him out of his eyes tar-kuwa’.

¹² For this type of derivation see Götze, Madduwattaš 81 ff.

¹³ The same semantic development is to be assumed for Akk. sāru ‘to dance’ (see above) which ties up with Hebr. sār ‘deviate, lose one's way’; note particularly sārao tā 'am 'a woman who lost her sense', Prov. 11 22. Furthermore ezēzu ‘to rage’ (see above) is from 'azāzu and belongs to Sem. 'zz 'be strong, in high spirits'.