Cuneiform transliteration

**Transliteration** is the process in which a Sumerologist decides how to represent the cuneiform signs in Roman script. Depending on the context, a cuneiform sign can be read either as one of several possible logograms, each of which corresponds to a word in the Sumerian spoken language, as a phonetic syllable (V, VC, CV, or CVC), or as a determinative (a marker of semantic category, such as occupation or place). (See the article Transliterating cuneiform languages.) Some Sumerian logograms were written with multiple cuneiform signs. These logograms are called diri-spellings, after the logogram 'diri' which is written with the signs SI and A. The text transliteration of a tablet will show just the logogram, such as the word 'diri', not the separate component signs.

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Cuneiform has a specific format for transliteration. Because of the script's polyvalence, transliteration requires certain choices of the transliterating scholar, who must decide in the case of each sign which of its several possible meanings is intended in the original document. For example, the sign DINGIR in a Hittite text may represent either the Hittite syllable *an* or may be part of an Akkadian phrase, representing the syllable *il*, it may be a Sumerogram, representing the original Sumerian meaning, 'god' or the determinative for a deity. In transliteration, a different rendition of the same glyph is chosen depending on its role in the present context.

Therefore, a text containing DINGIR and MU in succession could be construed to represent the words "ana", "ila", god + "a" (the accusative case ending), god + water, or a divine name "A" or Water. Someone transcribing the signs would make the decision how the signs should be read and assemble the signs as "ana", "ila", "Ila" ("god"+accusative case), etc. A transliteration of these signs, however, would separate the signs with dashes "il-a", "an-a", "DINGIR-a" or "Da". This is still easier to read than the original cuneiform, but now the reader is able to trace the sounds back to the original signs and determine if the correct decision was made on how to read them. A transliterated document thus presents the reading preferred by the transliterating scholar as well as an opportunity to reconstruct the original text.

There are differing conventions for transliterating Sumerian, Akkadian (Babylonian) and Hittite (and Luwian) cuneiform texts. One convention that sees wide use across the different fields is the use of acute and grave accents as an abbreviation for homophone disambiguation. Thus, *u* is equivalent to *u1*, the first glyph expressing phonetic *u*. An acute accent, *ú*, is equivalent to the second, *u2*, and a grave accent *ù* to the third, *u3* glyph in the series (while the sequence of numbering is conventional but essentially arbitrary and subject to the history of decipherment). In Sumerian transliteration, a multiplication sign 'x' is used to indicate typographic ligatures. As shown above, signs *as such* are represented in capital letters, while the specific reading selected in the transliteration is represented in small letters. Thus, capital letters can be used to indicate a so-called Diri compound – a sign sequence that has, in combination, a reading different from the sum of the individual constituent signs (for example, the compound IGI.A – "water" + "eye" – has the reading *imhur*, meaning "foam"). In a Diri compound, the individual signs are separated with dots in transliteration. Capital letters may also be used to indicate a Sumerogram (for example, KÙ.BABBAR – Sumerian for "silver" – being used with the intended Akkadian reading *kaspum*, "silver"), an Akkadogram, or simply a sign sequence of whose reading the editor is uncertain. Naturally, the "real" reading, if it is clear, will be presented in small letters in the transliteration: IGI.A will be rendered as imhur4.

Since the Sumerian language has only been widely known and studied by scholars for approximately a century, changes in the accepted reading of Sumerian names have occurred from time to time. Thus the name of a king of Ur, read *Ur-Bau* at one time, was later read as *Ur-Engur*, and is now read as Ur-Nammu or Ur-Namma; for Lugal-zage-si, a king of Uruk, some scholars continued to read *Ungal-zaggisi*; and so forth. Also, with some names of the older period, there was often uncertainty whether their bearers were Sumerians or Semites. If the former, then their names could be assumed to be read as Sumerian, while, if they were Semites, the signs for writing their names were probably to be read according to their Semitic equivalents, though occasionally Semites might be encountered bearing genuine Sumerian names. There was also doubt whether the signs composing a Semite's name represented a phonetic reading or a logographic compound. Thus, e.g. when inscriptions of a Semitic ruler of Kish, whose name was written *Uru-mu-ush*, were first deciphered, that name was first taken to be logographic because *uru mu-ush* could be read as "he founded a city" in Sumerian, and scholars accordingly retranslated it back to the original Semitic as *Alu-usharshid*. It was later recognized that the URU sign can also be read as *rí* and that the name is that of the Akkadian king Rimush.

## See also

* Ali faisal