this still leaves the remaining two children inside him, and he travels to Nippur to seek a solution. It is presumed that the reference to this city reflected the theological tradition known from the Syro-Hurrian milieu, according to which Kumarbi and its main god, Enlil, were regarded as analogous. He apparently discusses the best course of action with Anu, Ea and Teshub, in this passage designated by the epithet KA.ZAL. Following the weather god’s argument that the only safe way for him to leave Kumarbi’s body would be to split the skull of the latter, the fate goddesses perform this operation, and subsequently mend the head “like a garment” while apparently the river Tigris leaves through another, unspecified, route. Kumarbi is not fond of his newborn children, and demands to have Teshub (here referred to as NAM.ḪÉ, “abundance”) to be handed over to him so that he can devour or crush him. However, a stone is given to him as a substitute and he breaks his teeth trying to bite it. It is assumed that the ultimate outcome of the myth, while not preserved, was most likely favorable for Teshub. However, he was not yet granted kingship over the gods, and in a surviving passage seemingly expresses displeasure, cursing the older deities. Song of LAMMA The Song of LAMMA, also known as the Song of KAL, is focused on a deity designated by the sumerogram LAMMA. It is considered improbable that a Mesopotamian lamma (lamassu) is meant, and Alfonso Archi suggests that the name is a logographic writing of Karḫuḫi. In the beginning of the narrative, LAMMA manages to defeat Teshub and Šauška. He is selected to act as the king of the gods by Kumarbi and Ea. He ignores the advice of Kubaba, who implores him to meet with the other gods. Ea and Kumarbi as a result eventually grow displeased with him . The former sends a messenger to the underworld to discuss how to depose LAMMA with Nara-Napšara, a pair of primeval deities, and in the end he is seemingly defeated and subsequently subjugated by Teshub. Anna Maria Polvani notes that Song of LAMMA appears to indicate that Kumarbi was not necessarily always portrayed as seeking kingship for himself or his sons, as he also supports LAMMA. However, Harry Hoffner argues that it is not impossible that he was also regarded as a son of Kumarbi. Song