Lammašaga

[3] Irene Sibbing-Plantholt notes that the addition of the element šaga to a theonym also finds a parallel in Memešaga, a variant form of the name of the goddess Meme.

[10] The name Lammašaga was also applied to the personal Lamma of the deified king Lugalbanda, who according to Åke W. Sjöberg should be considered distinct from the goddess under discussion.

[19] It is considered difficult to translate[21] due to the presence of many terms otherwise entirely absent from similar compositions written in Sumerian, though common in lexical lists.

[22] This conclusion has also been tentatively accepted by Jeremiah Peterson, though he notes that a degree of caution is necessary, as there is an overlap between terms used to describe living beings and statues in Mesopotamian literature.

[21] The text refers to Lammašaga as the "sun goddess of the land," though this epithet does not indicate that her character was solar, but rather that she was understood as benign and that she held a special status in the eyes of her worshipers.

[8] This artifact, distinct from the tablet of destiny though according to Janice Barrabee directly related to it, is elsewhere associated with other deities, including Ninimma, Nungal, Ḫaya and Nisaba, and it was believed that gods used it to write down the righteous deeds of humans.

[24] After detailing Lammašaga's role in the court of Bau, the composition moves on to describing her appearance in three separate sections, focused respectively on her head, nape, forehead, lips, ears, and jaws; skin, neck, sides, limbs, and fingers; navel, hips, and pudenda.

[21] While a king is mentioned as well, and presumably he is a supplicant on whose behalf Lammašaga intercedes with Bau, he is not identified by name in the surviving fragments,[25] which makes it impossible to precisely date its composition.