The primeval deities also appear in a number of Hurrian myths, including multiple sections of the Kumarbi Cycle and the Song of Release.

[15] Based on a passage from a purification ritual (KBo 10.45 + ABoT 2.30), it was believed that they were driven there by Teshub, who subsequently made birds the standard offering for them in place of cattle and sheep.

[19] Their inclusion in the group might have reflected their perception in areas on the periphery of the sphere of Mesopotamian cultural influence, where they plausibly could have been viewed as primordial figures.

[26] Alfonso Archi notes that the shared association with the primeval deities and with the underworld might have in turn influenced the well attested connection between Išḫara and Allani.

[28] Most frequently listed sequence consists of Nara, Namšara, Minki, Ammunki, Ammizzadu, Tuḫuši, Alalu, Anu, Antu, Apantu, Enlil and Ninlil.

[31] Gernot Wilhelm [de] argues that the fact the group was referred to ammatina enna, “divine grandfathers”, indicates that the seven best attested deities belonging to this category (Nara, Namšara, Minki, Ammunki, Ammizzadu, Tuḫuši, Alalu) were all male.

[19] Piotr Taracha interprets the lists of primeval deities attested in various texts as combinations of figures received from Mesopotamia and from a “local substrate”.

[12] He also notes that the absence of the primeval deities from Mitanni sources makes it implausible that the group originated in Upper Mesopotamia, as sometimes suggested.

[32] Volkert Haas argues that their names were received by the Hurrians from a non-Semitic substrate language, with Mesopotamian deities added to the group later on.

[36] Alfonso Archi instead argues some of the names represent corrupted forms of Mesopotamian theonyms, possibly reflecting early transfer.

[60] Additionally, anonymous divine ancestors of multiple Hurrian deities, including Teshub, Ḫepat, Šauška, Šimige, Ningal and Lelluri, are mentioned in ritual texts from Kizzuwatna.

[61] It is presumed that the worship of primeval deities was a part of the traditions of Hurrians living in Syria and Kizzuwatna, but it is not attested in Mitanni sources.

[66] However, while later sources indicate that underworld deities received birds as offerings, the Urkesh pit instead contains the remains of piglets, puppies, sheep, goats and donkeys.

[24] One example is a ritual meant to help purify a house from blood, which had to last two days and involved the preparation of statues of the primeval deities from clay from a riverbank sprinkled with oil and honey and the offering of birds to them.

[73] It is assumed that a group of twelve gods from the Yazılıkaya sanctuary reliefs dressed in pointy caps and armed with curved swords can be interpreted as a depiction of the Hurrian primeval deities.

[76]It is commonly assumed that the invocation of this group reflected their character as members of an earlier generation of gods who witnessed the described events firsthand.

[78] In a later section, Ea decides to dispose of LAMMA, who was temporarily made the king of the gods, and announces his plan to Nara, addressing him as a brother and ordering him to gather various animals for an unknown purpose.

[79] According to Volkert Haas’ interpretation, in the Song of Ḫedammu the primeval deities are addressed alongside Kumarbi by Ea when he berates him in the divine assembly due to the danger his plots pose to mankind.

[84] A further fragmentary myth sometimes classified as a part of the same cycle, KBo 22.87, describes a period during which one of the primeval deities, Eltara, was the king of the gods.

[7] In an episode from the Song of Release the interpretation of which remains a matter of debate, the primordial deities sit with Teshub during a feast held for him in the underworld by Allani.

[86] Gernot Wilhelm [de] suggests that the scene might be meant to mirror rituals for deceased kings who were believed to feast in the underworld with their ancestors.

[87] A possible reference to the primeval deities occurs in the so-called ritual of Maštigga [de] (CTH 404), which alludes to an eschatological event when “the former kings” (karuilieš LUGALmeš), who Gary Beckman identifies as the same group rather than as deceased mortal rulers, “should return and examine the land and (its) custom(s)”.