by Ephrem the Syrian
The fifty-first of the Carmina Nisibena, composed by Ephrem the Syrian (d. 373 CE), the greatest poet of the Syriac-speaking church. This hymn is a sustained polemic against Bar Daysan (Bardesanes of Edessa, ca. 154–222), who denied the resurrection of the body. Where the preceding hymns argued for resurrection from typology (CN 48), nature (CN 49), and existence itself (CN 50), CN 51 turns to direct confrontation: heresy named, the heresiarch judged, the body defended.
The argument unfolds in three movements. Stanzas I–IV open with the parable of the tares (Matthew 13:24–30) and Ephrem's encounter with Bar Daysan's book — a text that blasphemes against both Justice and Grace by denying the body its hope of rising. Stanzas V–VIII build a chain of murderers: Cain, the serpent, the sweet-tongued heretics — all those who killed the body, openly or secretly, from the beginning of time to the end. Stanzas IX–XVII shift to philosophical proof: the soul's love for the body, the body's honour in Scripture and nature, the craftsman argument (a good tool cannot be evil by nature), and the final devastating reductio — if the body belonged to sin, no righteous one could ever have triumphed through it.
This is a Good Works Translation from Classical Syriac, based on Edmund Beck's critical edition (CSCO 218/219, Louvain 1961), via the Digital Syriac Corpus TEI XML transcription (CC-BY 4.0). No prior English translation of this hymn is known to exist.
Melody: O Giver of Distinctions.
Refrain: To you, praise — Life-giver of all.
I
I encountered the tares, my brothers —
they wore the hue of wheat
to scatter the good seed.
And when the farmers were commanded,
they did not pull them up nor uproot them.
Yet even though the farmers neglected them,
the crop prevailed over the tares —
it grew and multiplied and covered and choked them.
To you, praise — Life-giver of all.
II
The book of Bar Daysan fell upon me,
and I was compelled for a full hour
to defile my clean ears
and make them a passage
for speech filled with blasphemy.
— — —
Then I ran and bathed them again
in the pure and clean reading
of the books of the Godhead.
To you, praise — Life-giver of all.
III
I heard from that reading
how it blasphemed against Justice
and against her consort, Grace.
For if the body does not rise,
it is a wicked reproach to Grace —
that she created it as though for harm —
and blasphemy against Justice —
that she cast it as though for destruction.
To you, praise — Life-giver of all.
IV
That reading was oppressive
to soul and body equally,
for it cast between beloveds
a separation that cuts off hope.
It robbed the body of its resurrection
and the soul of its companion.
And the venom the serpent cast —
Bar Daysan called it profit.
To you, praise — Life-giver of all.
V
If one who boldly kills
a single body is guilty of death,
the one whose tongue kills
all the bodies of humankind —
even if the great sea descended,
the sea could not stand surety for him,
to repay in a measure of waters
the murders his tongue committed.
To you, praise — Life-giver of all.
VI
How many bitter murderers
the weak body has had!
— — —
Cain killed it first
and handed his murderous sword
to others, that they might practise upon it.
And behold, all his disciples are weary in his craft,
striving to resemble him —
the master who taught from himself.
To you, praise — Life-giver of all.
VII
Swords killed it openly,
and tongues also secretly.
The cunning one killed it first,
and the crafty one afterward.
The bitter serpent sweetened
his tongue while killing it.
And his bitter disciples also —
with a sweet tongue they killed it.
To you, praise — Life-giver of all.
VIII
May the good compassion of your Fashioner
raise the body for the wrong done to you.
The serpent cast you from Paradise,
and his offspring also from the Kingdom.
That one robbed you of life,
and these also of resurrection.
The serpent ran toward the beginning,
and his disciples toward the end.
To you, praise — Life-giver of all.
IX
The soul who is clothed in the body
is very watchful over it,
lest they be separated one from the other
in this passing life.
And how can she endure
at the end to live without it?
For her love will not permit her
to renounce his resurrection.
To you, praise — Life-giver of all.
X
See how their argument
is convicted and dissolved!
When they tremble before the sword
and before the creeping venomous thing —
children of the serpent who fear the serpent —
on account of the body, the killer:
they should have hated its life
as they hated its resurrection.
To you, praise — Life-giver of all.
XI
For hateful desires
are hateful when they are performed.
The Law convicts them.
The Judge pursues them.
The penitent repents of them.
But the body is honoured in Scripture.
It is beloved also by nature.
In it, man himself is watchful.
To you, praise — Life-giver of all.
XII
The Creator demands also from the murderer
who corrupted the body.
The Just One dissolves its composition
so that he may learn how evil is the corruption:
the image that Grace painted —
in the body, the afflicted one afflicts it.
In his own body the murderer learns
that he corrupted the temple of the Maker.
To you, praise — Life-giver of all.
XIII
And if the murderer is called to account —
not for killing a soul,
but for dissolving it, as their argument says —
and if the dissolver is a murderer,
where shall Bar Daysan flee,
who in debate sharpened his tongue
and killed the body from the life
that is given in the resurrection?
— — —
To you, praise — Life-giver of all.
XIV
By his counsel the first one killed,
and the second also by his teaching.
That one killed as a caretaker,
and these as helpers.
The debaters, through cunning,
have been made the serpent's partners.
The children of the serpent shall be put to shame
like their first father.
To you, praise — Life-giver of all.
XV
Through the limbs and senses of the body
the soul learns all good things.
If the body is hateful, how
shall she work good things through its hand?
And if by its nature it is false,
how shall she learn truth through it?
For they do not give the craftsman
a tool foreign to his work.
To you, praise — Life-giver of all.
XVI
No scribe writes a book
with the ploughman's sword.
No painter paints
with the carpenter's saw.
No physician heals an eye
with the vile sting of a scorpion.
No one ever lances a boil
with the bone of a serpent or a lizard.
To you, praise — Life-giver of all.
XVII
Everything indeed, fittingly,
with the tool that is akin to it,
and with the sense that shares in it,
is crafted wisely.
Even the body — if it belongs to sin,
there is none who can be justified through it.
— — —
The righteous who triumphed through it
are indignant at anyone who oppresses it.
To you, praise — Life-giver of all.
Colophon
The fifty-first hymn of the Carmina Nisibena (Hymns on Nisibis), composed by Ephrem the Syrian (c. 306–373 CE). A sustained anti-Bardesanite polemic defending the dignity of the body and its right to resurrection. Bar Daysan (Bardesanes of Edessa, ca. 154–222) is named directly in stanzas II, IV, and XIII. The argument proceeds through the parable of the tares (Matthew 13:24–30), a chain of body-murderers from Cain to the serpent to the heretics, and a philosophical reductio: if the soul uses the body as its tool for learning truth and doing good, the body cannot be intrinsically evil. Seventeen stanzas. Melody: "O Giver of Distinctions" (ʿal qālā ō yāhūbā d-fūršānē).
Translated from Classical Syriac by the New Tianmu Anglican Church, 2026. First complete English translation. Source text: Edmund Beck, ed., Des Heiligen Ephraem des Syrers Carmina Nisibena (CSCO 218/219, Louvain 1961). Digital Syriac Corpus TEI XML transcription, CC-BY 4.0.
Notes: Stanza III pairs Justice (kēnūtā) and Grace (ṭaybūtā) as consorts — Ephrem's characteristic dyad. Stanza IV uses tūkā (venom) for the serpent's teaching and yūtrānā (profit) for Bar Daysan's rebranding of it — the heresiarch calls poison gain. Stanza V: the tongue-murderer argument — killing all bodies by denying resurrection is a debt not even the sea can repay. Stanza VIII addresses the body directly in second person: "May your Fashioner raise you for the wrong done to you." The serpent attacked the beginning (Eden); his disciples attack the end (resurrection). Stanzas XV–XVI: the craftsman argument — no artisan uses a tool foreign to his craft; if the body were evil, the soul could not learn truth or do good through it. Stanza XVII: the final reductio — the righteous triumphed through the body; therefore the body belongs to righteousness, not to sin.
Compiled and formatted for the Good Work Library by the New Tianmu Anglican Church, 2026.
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 51 (Carmina Nisibena 51)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܥܰܠ ܩܳܠܳܐ ܐܳܘ ܝܳܗܽܘܒܳܐ ܕܦܽܘܪ̈ܫܳܢܶܐ
1.
ܒܙܺܝܙܳܢܳܐ ܦܶܓܥܶܬ ܐܰܚܰܝ̈
ܕܰܠܒܺܝܫ ܗ̱ܘܳܐ ܓܰܘܢܳܐ ܕܚ̈ܶܛܶܐ
ܕܰܢܕܰܘܶܕ ܙܰܪܥܳܐ ܛܳܒܳܐ
ܘܕܶܐܬܦܰܩܰܕܘ̱ ܐܰܟܳܪ̈ܶܐ
ܠܳܐ ܫܰܩܠܽܘܗ̱ܝ ܐܳܦ ܠܳܐ ܥܰܩܪܽܘܗ̱ܝ
ܘܳܐܦܶܢ ܐܰܗܡܺܝܘ ܐܰܟܳܪ̈ܶܐ
ܥܫܶܢ ܙܰܪܥܳܐ ܡܶܢ ܙܺܝ̈ܙܳܢܶܐ
ܪܰܒܺܝ ܘܰܣܓܺܝ ܘܚܰܦܺܝ ܚܰܢܩܶܗ
ܥܽܘܢܺܝܬܳܐ: ܠܳܟ ܬܶܫܒܽܘܚܬܳܐ ܡܰܚܶܐ ܟܽܠ
2.
ܦܓܰܥ ܒܺܝ ܟܬܳܒܶܗ ܕܒܰܪ ܕܰܝܨܳܢ
ܘܶܐܬܐܰܠܨܶܬ ܕܰܡܠܶܐ ܫܳܥܳܐ
ܐܰܣܪܰܚ ܐܶܕ̈ܢܰܝ ܕ̈ܰܟܝܳܬܳܐ
ܘܶܐܥܒܶܕ ܐܶܢܶܝܢ ܡܰܥܒܰܪܬܳܐ
ܠܡܰܡܠ̱ܠܳܐ ܕܰܡܠܶܐ ܓܽܘܕܳܦܳܐ
܀܀܀
ܪܶܗܛܶܬ ܬܽܘܒ ܐܰܣܚܺܝܬ ܐܶܢܶܝܢ
ܒܩܶܪܝܳܢܳܐ ܫܰܦܝܳܐ ܘܕܰܟܝܳܐ
ܕܰܟܬܳܒܶܝ̈ܗ̇ ܕܰܐܠܳܗܽܘܬܳܐ
3.
ܫܶܡܥܶܬ ܡܶܢ ܗܰܘ ܩܶܪܝܳܢܳܐ
ܟܰܕ ܓܰܕܶܦ ܥܰܠ ܟܺܐܢܽܘܬܳܐ
ܘܥܰܠ ܒܰܪ̱ܬ ܙܰܘܓܳܗ̇ ܛܰܝܒܽܘܬܳܐ
ܐܶܢ ܓܶܝܪ ܦܰܓܪܳܐ ܠܳܐ ܩܳܐܶܡ
ܚܶܣܕܰܐ ܗ̱ܘ ܒܺܝܫܳܐ ܠܛܰܝܒܽܘܬܳܐ
ܕܰܒܪܳܬܶܗ ܐܰܝܟ ܕܰܠܣܽܘܪܳܚܰܢ
ܘܓܽܘܕܳܦܰܐ ܗ̱ܘ ܕܥܰܠ ܟܺܐܢܽܘܬܳܐ
ܕܰܫܕܳܬܶܗ ܐܰܝܟ ܕܠܰܐܒܕܳܢ
4.
ܡܥܺܝܩ ܗ̱ܘܐ ܕܶܝܢ ܗܽܘ ܩܶܪܝܳܢܳܐ
ܠܢܰܦܫܳܐ ܘܦܰܓܪܳܐ ܫܰܘܝܳܐܺܝܬ
ܕܰܐܪܡܺܝ ܒܰܝܢܳܬ ܚܰܒܺܝ̈ܒܶܐ
ܦܽܘܪܫܳܢܳܐ ܕܰܦܣܳܩ ܣܰܒܪܳܐ
ܠܦܰܓܪܳܐ ܓܠܰܙ ܡܶܢ ܢܽܘܚܳܡܶܗ
ܘܰܠܢܰܦܫܳܐ ܡܶܢ ܫܰܘܬܳܦܳܗ̇
ܘܰܠܬܽܘܟܳܐ ܕܰܐܪܡܺܝ ܚܶܘܝܳܐ
ܝܽܘܬܪܳܢܳܐ ܩܪܳܝܗ̱ܝ ܒܰܪ ܕܰܝܨܳܢ
5.
ܘܶܐܢ ܐܰܝܢܳܐ ܕܡܰܡܪܰܚ ܩܳܛܶܠ
ܚܰܕ ܦܰܓܪܳܐ ܚܰܝܳܒ ܡܰܘܬܰܐ ܗ̱ܘ
ܐܰܝܢܳܐ ܕܩܳܛܶܠ ܠܶܫܳܢܶܗ
ܟܽܠ ܦܰܓܪ̈ܺܝܢ ܕܰܒܢܰܝ̈ ܐ̱ܢܳܫ̈ܳܐ
ܠܝܰܡܳܐ ܪܰܒܳܐ ܐܶܢ ܢܳܚܶܬ
ܠܳܐ ܡܨܶܐ ܝܰܡܳܐ ܥܳܪܶܒ ܒܶܗ
ܕܰܒܟܰܝܠܳܐ ܕܡܰܝ̈ܳܐ ܢܶܦܪܽܘܥ
ܩܶܛܠܳܐ ܕܰܩܛܰܠ ܠܶܫܳܢܶܗ
6.
ܟܡܳܐ ܩܳܛܽܘܠܺܝ̈ܢ ܡܰܪܺܝܪܺܝܢ
ܗܘܰܘ ܠܶܗ ܠܦܰܓܪܳܐ ܚܰܠܳܫܳܐ
܀܀܀
ܩܰܛܠܶܗ ܩܳܐܺܝܢ ܡܶܢ ܠܽܘܩܕܰܡ
ܘܰܐܫܠܶܡ ܚܰܪܒܶܗ ܩܳܛܽܘܠܳܐ
ܠܰܐ̱ܚܪ̈ܳܢܶܐ ܕܰܢܡܰܪܽܘܢ ܒܶܗ
ܘܗܳܐ ܠܐܶܝܢ ܒܽܐܘܡܳܢܽܘܬܶܗ
ܟܽܠ ܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ ܕܰܢܕܰܡܽܘܢ ܠܶܗ
ܠܪܰܒܳܐ ܕܰܐܠܶܦ ܡܶܢ ܢܰܦܫܶܗ
7.
ܩܰܛܠܽܘܗ̱ܝ ܣܰܝ̈ܦܶܐ ܓܰܠܝܳܐܺܝܬ
ܘܳܐܦ ܠܶܫܳܢ̈ܶܐ ܟܰܣܝܳܐܺܝܬ
ܥܪܺܝܡܳܐ ܩܰܛܠܶܗ ܡܶܢ ܠܽܘܩܕܰܡ
ܘܰܨܢܺܝܥܳܐ ܡܶܢ ܒܳܬܰܪܟܶܢ
ܚܶܘܝܳܐ ܡܰܪܺܝܪܳܐ ܚܰܠܺܝ
ܠܶܫܳܢܶܗ ܟܰܕ ܩܳܛܶܠ ܠܶܗ
ܘܳܐܦ ܬܰܠܡܺܝ̈ܕܰܘܗ̱ܝ ܡܰܪܺܝܪ̈ܶܐ
ܒܠܶܫܳܢܳܐ ܚܰܠܝܳܐ ܩܰܛܠܽܘܗ̱ܝ
8.
ܚܢܳܢܶܗ ܛܳܒܳܐ ܕܓܳܒܽܘܠܳܟ
ܢܩܽܘܡ ܦܰܓܪܳܐ ܠܰܛܠܺܝܡܽܘܬܳܟ
ܫܕܳܟ ܚܶܘܝܳܐ ܡܶܢ ܦܰܪܕܰܝܣܳܐ
ܘܳܐܦ ܝܰܠܕ̈ܰܘܗ̱ܝ ܡܶܢ ܡܰܠܟܽܘܬܳܐ
ܗܰܘ ܓܰܠܙܳܟ ܡܶܢ ܚܰܝܽܘܬܳܐ
ܘܳܐܦ ܗܳܠܶܝܢ ܡܶܢ ܢܽܘܚܳܡܳܐ
ܪܗܶܛ ܚܶܘܝܳܐ ܨܶܝܕ ܫܽܘܪܳܝܳܐ
ܘܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ ܨܶܝܕ ܫܽܘܠܳܡܳܐ
9.
ܢܰܦܫܳܐ ܕܶܝܢ ܕܰܠܒܺܝܫܳܐ ܠܶܗ
ܠܦܰܓܪܳܐ ܣܰܓܺܝ ܙܗܺܝܪܳܐ ܒܶܗ
ܕܰܠܡܳܐ ܦܳܪܫܺܝܢ ܚܰܕ ܡܶܢ ܚܰܕ
ܒܗܳܠܶܝܢ ܚܰܝ̈ܶܐ ܥܳܒܽܘܪ̈ܶܐ
ܘܰܐܝܟܰܢ ܡܰܨܝܳܐ ܕܰܬܣܰܝܒܰܪ
ܒܚܰܪܬܳܐ ܠܡܶܚܳܐ ܒܶܠܥܳܕܰܘܗ̱ܝ
ܠܳܐ ܓܶܝܪ ܫܳܒܶܩ ܠܳܗ̇ ܚܽܘܒܶܗ
ܕܰܬܚܰܡܣܶܢ ܡܶܢ ܢܽܘܚܳܡܶܗ
10.
ܚܽܘܪ ܐܰܝܟܰܢܳܐ ܡܶܠܰܬܗܽܘܢ
ܡܶܬܟܰܣܣܳܐ ܘܳܐܦ ܡܶܫܬܰܪܝܳܐ
ܟܰܕ ܡܶܬܪܰܗܒܺܝܢ ܡܶܢ ܣܰܝܦܳܐ
ܘܳܐܦ ܡܶܢ ܪܰܚܫܳܐ ܢܳܟܽܘܝܳܐ
ܒܢܰܝ̈ ܚܶܘܝܳܐ ܕܚܶܠܘ̱ ܡܶܢ ܚܶܘܝܳܐ
ܡܶܛܽܠ ܦܰܓܪܳܐ ܩܳܛܽܘܠܳܐ
ܕܙܳܕܶܩ ܗ̱ܘܐ ܕܢܶܣܢܽܘܢ ܚܰܝܰܘ̈ܗ̱ܝ
ܐܰܝܟ ܕܰܣܢܰܘ ܐܳܦ ܢܽܘܚܳܡܶܗ
11.
ܪ̈ܓܺܝܓܳܬܳܐ ܓܶܝܪ ܣܰܢܝ̈ܳܬܳܐ
ܣܰܢ̈ܝܳܢ ܐܶܢܶܝܢ ܟܰܕ ܡܶܣܬܰܥܪ̈ܳܢ
ܠܗܶܝܢ ܗ̱ܽܘ ܡܰܟܶܣ ܢܳܡܽܘܣܳܐ
ܠܗܶܝܢ ܗ̱ܽܘ ܪܳܕܶܦ ܕܰܝܳܢܳܐ
ܥܠܰܝܗܶܝܢ ܡܶܬܬܘܶܐ ܬܰܝܳܒܳܐ
ܦܰܓܪܳܐ ܡܝܰܩܰܪ ܒܰܟܬܳܒܳܐ
ܗܽܘܝܽܘ ܪܚܺܝܡ ܐܳܦ ܒܰܟܝܳܢܳܐ
ܒܶܗ ܗ̱ܽܘ ܙܗܺܝܪ ܐܳܦ ܒܰܪܢܳܫܳܐ
12.
ܬܳܒܰܥ ܠܶܗ ܐܳܦ ܒܳܪܽܘܝܳܐ
ܠܩܳܛܽܘܠܳܐ ܕܚܰܒܶܠ ܦܰܓܪܳܐ
ܟܺܐܢܳܐ ܫܳܪܶܐ ܪܽܘܟܳܒܶܗ
ܕܢܺܐܠܰܦ ܡܳܐ ܒܺܝܫ ܚܽܘܒܳܠܶܗ
ܕܨܰܠܡܳܐ ܕܨܳܪܰܬ ܛܰܝܒܽܘܬܳܐ
ܒܓܽܘܫܡܳܐ ܕܰܐܚܶܫ ܡܰܚܶܫ ܠܶܗ
ܒܦܰܓܪܶܗ ܝܺܠܶܦ ܩܳܛܽܘܠܳܐ
ܕܚܰܒܶܠ ܗܰܝܟܰܠ ܥܳܒܽܘܕܳܐ
13.
ܘܶܐܢ ܕܶܝܢ ܡܶܬܬܒܰܥ ܩܳܛܽܘܠܳܐ
ܠܰܘ ܕܰܠܡܰܢ ܩܰܛܶܠ ܢܰܦܫܳܐ
ܡܶܫܪܳܐ ܫܪܳܗ̇ ܐܰܝܟ ܡܶܠܰܬܗܽܘܢ
ܘܶܐܢ ܫܳܪܽܘܝܳܐ ܩܳܛܽܘܠܰܐ ܗ̱ܘ
ܠܰܐܝܟܳܐ ܢܶܥܪܽܘܩ ܒܰܪ ܕܰܝܨܳܢ
ܕܒܰܕܪܳܫܳܐ ܠܳܛܶܫ ܠܶܫܳܢܶܗ
ܘܩܰܛܠܶܗ ܠܦܰܓܪܳܐ ܡܶܢ ܚܰܝ̈ܶܐ
ܕܰܒܢܽܘܚܳܡܳܐ ܡܶܬܝܰܗܒܺܝܢ
܀܀܀
14.
ܒܡܶܠܟܶܗ ܩܰܛܠܶܗ ܩܰܕܡܳܝܳܐ
ܘܳܐܦ ܬܰܢܺܝܢܳܐ ܒܝܽܘܠܦܳܢܶܗ
ܗܰܘ ܩܰܛܠܶܗ ܐܰܝܟ ܝܳܨܽܘܦܳܐ
ܘܳܐܦ ܗܳܠܶܝܢ ܐܰܝܟ ܥܳܕܽܘܪ̈ܶܐ
ܕܳܪ̈ܽܘܫܶܐ ܒܰܥܪܺܝܡܽܘܬܳܐ
ܠܚܶܘܝܳܐ ܥܒܺܝܕܺܝܢ ܫܰܘܬܳܦ̈ܶܐ
ܥܬܺܝܕܺܝܢ ܠܡܶܒܗܰܬ ܒܢܰܝ̈ ܚܶܘܝܳܐ
ܐܰܝܟ ܐܰܒܽܘܗܽܘܢ ܩܰܕܡܳܝܳܐ
15.
ܒܗܰܕ̈ܳܡܶܐ ܘܪ̈ܶܓܫܰܝ ܦܰܓܪܳܐ
ܝܳܠܦܳܐ ܢܰܦܫܳܐ ܟܽܠ ܛܳܒ̈ܳܢ
ܘܶܐܢ ܦܰܓܪܰܐ ܗ̱ܘ ܣܰܢܝܳܐ ܐܰܝܟܰܢ
ܬܶܦܠܽܘܚ ܒܺܐܝܕܶܗ ܛܳܒ̈ܳܬܳܐ
ܘܶܐܢ ܒܰܟܝܳܢܶܗ ܕܰܓܳܠܰܐ ܗ̱ܘ
ܐܰܝܟܰܢ ܩܽܘܫܬܳܐ ܬܺܐܠܰܦ ܒܶܗ
ܕܠܳܐ ܝܳܗܒܺܝܢ ܠܶܗ ܠܽܐܘܡܳܢܳܐ
ܡܳܐܢܳܐ ܕܢܽܘܟܪܳܝ ܠܰܥܒܳܕܶܗ
16.
ܠܳܐ ܓܶܝܪ ܟܳܬܶܒ ܟܳܬܽܘܒܳܐ
ܣܶܦܪܳܐ ܒܣܰܝܦܶܗ ܕܰܐܟܳܪܳܐ
ܘܳܐܦܠܳܐ ܨܳܝܰܪ ܨܰܝܳܪܳܐ
ܒܝܰܕ ܡܰܣܳܪܶܗ ܕܢܰܓܳܪܳܐ
ܘܠܳܐ ܐܳܣܝܳܐ ܡܰܐܣܶܐ ܥܰܝܢܳܐ
ܒܥܽܘܩܣܳܐ ܣܰܢܝܳܐ ܕܥܶܩܰܪܒܳܐ
ܘܠܳܐ ܡܶܡܬܽܘܡ ܓܳܙܰܪ ܫܽܘܚܢܳܐ
ܒܓܰܪܡܳܐ ܕܚܶܘܝܳܐ ܘܚܰܪܡܳܢܳܐ
17.
ܟܽܠ ܡܶܕܶܡ ܓܶܝܪ ܬܰܩܢܳܐܺܝܬ
ܒܡܳܐܢܳܐ ܕܰܡܚܰܝܶܢ ܠܶܗ
ܘܰܒܪܶܓܫܳܐ ܕܰܡܫܰܘܬܶܦ ܠܶܗ
ܡܶܬܬܰܩܰܢ ܦܳܪܽܘܫܳܐܺܝܬ
ܐܳܦ ܦܰܓܪܳܐ ܐܶܢ ܕܰܚܛܺܝܬܰܐ ܗ̱ܘ
ܠܰܝܬ ܕܰܡܨܶܐ ܡܶܙܕܰܕܰܩ ܒܶܗ
ܙܰܕ̈ܺܝܩܶܐ ܕܶܐܬܢܰܨܰܚܘ̱ ܒܶܗ
܀܀܀
ܠܚܺܝܡܺܝܢ ܠܰܐܝܢܳܐ ܕܥܳܫܶܩ ܠܶܗ
Source Colophon
Syriac text from: Edmund Beck, ed. Des Heiligen Ephraem des Syrers Carmina Nisibena (Corpus Scriptorum Christianorum Orientalium, Vol. 218/219; Louvain: Secrétariat du CorpusSCO, 1961). Syriac base text is public domain. TEI XML edition transcribed by Michael Oez; Digital Syriac Corpus, University of Oxford / Brigham Young University / Vanderbilt University. CC-BY 4.0. Access: github.com/srophe/syriac-corpus.
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