lalluwyawa(/i)-

The lexeme occurs always in the same context of a song presented in the Ištanuwa festival.

[E.R.]

Checked against the photographs in the Mainzer Fotoarchiv. – The alleged gloss wedges before la-al-lu-ú-⸢ia-wa⸣ at KBo 14.121 iii^? 6’ and 10’ are used as boundary markers between the two repetitive lines of the song.

[E.R.]

The lexeme has not received a semantic interpretation so far (see DLL:60, CLL:124, HHw:91), but as Melchert (DCL:s.v.) points out, it functions as an epithet of tapāla ‘thunder clouds’. The repetitive line of the Wechselgesang presented several times by the lead singer and the chorus at the Ištanuwa festival runs as follows: lalluwyawa tapāla duwayai kuiš=ti=appi wašša “he reveres the thunder clouds belonging to Lallupiya, (he) who is behind thee, rain” (for an analysis of the syntax and semantics of the passage, see under the Lemma of wašša-). The interpretation of lalluwyawa starts from the remarkable observation that two adjectival suffixes, -i(ya)- and -wa(/i)-, seem to be attached to the reduplicated stem *la-lluwa-. The “superfluous” -wa(/i)- suffix is best known from place names, e.g. Aḫḫiyawa beside Aḫḫiya. If lalluwyawa refers to a city or region, an association with ^URULallupiya becomes likely, i.e. the home of the “men of Lallupiya”, who play an important role in the Ištanuwa festival (KUB 25.37++). The seemingly problematic switch between the spellings with 〈ú〉 and 〈p〉 can now be explained as the attempt to render a voiced fricative such as [v] or [β], which emerged as an allophone of /w/ after alveolar in Hittite (see Rieken forthcoming), or alternatively, the labial element of [γ^w] (in *la-lluwa- < *[la-lγ^wa-], see below) remained consonantal throughout, hence the transcription lalluwyawa above.

On the other hand, the stem *la-lluwa- is easily analyzable as a reduplicated form of CLuw. lūwa-⁽ⁱ⁾ ‘to pour’ (besides li-luwa-⁽ⁱ⁾ ‘to pour’; cf. Hitt. la-lḫuwa-nt- ‘poured, pouring’ besides li-lḫuwa-^(ḫi) ‘to pour’ derived from the simplex lāḫu-^(ḫi)). This primarily linguistic analysis finds confirmation in the context, since a relational adjective in -i(ya)-, i.e. *la-lluw-ya-, built from a thematic action noun of *la-lluw-a/i- would mean ‘related to pouring’, which is an excellent epithet for tapāla ‘thunder clouds’.

In sum, unless only a word play is on hand, the men of Lallupiya would come from a place that is named ‘related to pouring’ (cf. e.g. Gießen in Hesse, Germany, derived from Germ. gießen ‘to pour’). However, if in fact a word play lies behind the use of the epithet lalluwyawa for the thunder clouds, a connection of Lallupiya with the country name Luwiya is a serious possibility.

[E.R.]

For the argument in support of the derivational analysis proposed here (verb lūwa-⁽ⁱ⁾ ‘to pour’ → reduplicated verb *la-lluwa- ‘to pour continuously’ → thematic action noun *lalluw-a/i- → relational adjective *lalluw-i(ya)- → adjectival derivative for place names lalluwya-wa(/i)-), see under Meaning.

[E.R.]

The alleged gloss wedge word la-al-lu-ú-ia-w[a] (nom./acc. pl. n.) is found in the context of a song from the Ištanuwa festival (KBo 14.121 iii^? 6’, CTH 773). However, the Winkelhaken imprinted before the word functions as the demarcation between two repetitive lines of the song (see under CLuw. lalluwyawa(/i)- above). The lexeme must therefore be deleted from the list of gloss wedge words.

[E.R.]