[1] As attested by the existence of two separate writings of the theophoric name of a Hurrian woman from Alalakh, Agap-kiaše, it could be represented not only syllabically, but also logographically (A.BA.BA.).
[9] Both feminine and masculine Hurrian personal names containing the word kiaše are known, with some examples from Alalakh being Agap-kiaše (f), Ewri-kiaše (m) and Wandi-kiaše (m).
In Enuma Elish, the name of the monstrous sea personification Tiamat is written without the divine determinative,[13] and she is otherwise mostly attested in explanatory texts depending on this myth.
[13] According to Wilfred G. Lambert, this text is likely late, with the only known copy written in the neo-Babylonian or Persian period,[15] and at least one of the figures appearing in it, Ḫamurnu ("Heaven") has Hurrian origin.
[27] In the Song of Hedammu, Kiaše makes an appearance as an ally of Kumarbi and meets with him in his dwelling to propose the marriage with his daughter to him.
[31] Meindert Dijkstra proposes that Šertapšuruḫi also reappears, possibly as one of the midwives mentioned during the birth of Ullikummi, the eponymous antagonist, presumably acting alongside Hutena and Hutellura.
[9] Two texts, a ritual instruction prescribing the singing of Song of the Sea and an ancient literary catalog, attest its existence.
[35] A number of fragments of Hurrian texts are assumed to belong to it, but nothing can be said about the plot with certainty, other than that the sea, Kumarbi and the so-called "primordial deities" played some role in it.
[41] Another fragmentary text of Hurrian origin[42] relays that at one point the sea caused a flood which reached the heavens, and demanded tribute of gold, silver and lapis lazuli from the gods, with Kumarbi possibly urging the other deities to pay.
[46] Noga Ayali-Darshan notes that it is likely based on a composition originally transmitted in a Western Semitic language (though it is not necessarily the Ugaritic Baal Cycle), rather than in Hurrian, as the personified sea is referred to as Ym rather than Kiaše.
[47] Fragmentary Hittite version of the Epic of Gilgamesh mentions the personified sea, seemingly accompanied by his Hurrian sukkal Impaluri.
[48] Gary Beckman assumes that this episode reflected the sea's more pronounced role in the mythology of inhabitants of ancient Anatolia.
[48] He notes that multiple Hurrian and Hittite additions differentiating from the standard Babylonian version are known, indicating that the epic was sometimes adapted to suit sensibilities of non-Mesopotamian audiences.