by Ephrem the Syrian

The sixtieth hymn of the Carmina Nisibena by Ephrem the Syrian (d. 373 CE), from the vocalized Syriac of Beck's CSCO 218/219 edition via the Digital Syriac Corpus. Thirty stanzas in three parts, with two structural markers (after stanza XI and before stanza XXI). Unlike the dramatic flytings of CN 52–59 where Death and Satan debate each other, this hymn is the Evil One's extended solo monologue — introduced by a narrator and sustained for twenty-nine stanzas without interruption. The confession begins with the sinful woman's conversion (Luke 7:36-50) and spirals outward through idolatry's institutional collapse and the Egyptian typology before reaching its devastating climax: "I did not know that it was I who was crucified by his crucifixion." The melody marker teth bar qaleh — ninth in the CN 52 series — confirms the flyting series extends to a nonalog. Eighth distinct refrain: doxological monotheism in the third person — "Glory to the One alone who conquered the Evil One — and to him likewise thanksgiving, for he overcame Death." The first third-person refrain in the series.

Refrain: Glory to the One alone who conquered the Evil One — and to him likewise thanksgiving, for he overcame Death.

I.

[Narrator]

O the wonder that befell the Evil One suddenly, my brothers —
that the sinful woman came to her senses and acquired discernment.

II.

[The Evil One]

Again the Evil One: Where is her laughter? Where is her perfume?
Where is her dancing and her adornment, manifest — and her wickedness, hidden?

III.

For instead of her laughter, that frivolous thing — in weeping she was occupied.
Her hair fell upon Jesus' feet to wipe them.

IV.

Nothing remains in her of my teaching, nor does anything endure in her
of our instruction. She escaped and cast off all that I had taught her.

V.

She denied even us and our occupation, and as though she had never
seen me at all — she erased our image from her mind.

VI.

The leaven of Jesus — the Living One — fermented in her. Jesus was at rest,
yet she, emboldened, pressed in and entered though no one had called her.

VII.

She forgot our love — that of years — and in the blink of an eye,
between me and her, she took death and placed it.

VIII.

For instead of laughter, weeping pleased her. And instead of kohl,
a rain of tears. And instead of cosmetics, a sorrowful countenance.

IX.

Zacchaeus he made chief of the extortioners; this woman he made
chief of the defiled. Jesus broke both my wings.

X.

If Zacchaeus has become his disciple, and if this woman
has heeded him — then fold up our craft.

XI.

The carved images henceforth become a mockery and a derision —
their carvers too a laughingstock, their makers.

— — —

XII.

I closed their eyes so they would not discern that they are carved things.
Jesus opened their eyes to see that they are made things.

XIII.

If Jesus has chosen a preacher for himself, our preaching falls silent —
this preaching of ours that filled the world.

XIV.

For behold, the Chaldeans with the diviners, and behold, the sorcerers
with the soothsayers, the magicians and the priests — with all our evils.

XV.

Priests — you have eaten, you have drunk. Now go! Diviners,
become laborers. Let even the Chaldean roll up his scrolls.

XVI.

If the Hebrews have become his disciples — they who by every sign
were not subdued — who among the nations will not hear him?

XVII.

If he has begun to set right the perverse, our cause is dissolved.
Let no one henceforth be divided about us — everyone rebukes.

XVIII.

In every temple I was worshipped. Our disgrace exceeds
our honor — for everyone now spits upon our lords.

XIX.

The flesh of the sacrifice becomes loathsome — and for cooking,
the idols serve. Carved images they burn beneath their pots.

XX.

All our work becomes a tale, and all that we build — an overthrow.
And all that we have taught — a mockery.

— — —

XXI.

The hidden mysteries that I taught them at great cost —
they are destined to be proclaimed upon the rooftops.

XXII.

Among the Egyptians you boast greatly — above all peoples —
to the point that they even worshipped onions and garlic.

XXIII.

Behold, I fear — lest wherever my error abounded,
truth should prevail, and there all the more Jesus should reign.

XXIV.

Even when he was a child and fled and went down — Egypt marveled.
Even Nazareth — which strangled the wicked — loved the infant.

XXV.

As a pledge he went down and gave to her — like a bridegroom.
He gave truth, so that when he matured, he would also take her.

XXVI.

Pharaoh cannot stand firm — for he is not an equal
to contradict him, nor even a servant to deny him.

XXVII.

Moses struck — the Egyptians rebelled, yet he drove the people.
The Hebrews rebelled — Jesus swallowed it and struck all.

XXVIII.

This is hard — that not by compulsion does he impose his yoke.
When they rebel, he is scourged — and yet another learns.

XXIX.

The spit of his mouth equally took away Adam's shame.
By the slapping of his cheeks, he uprooted our wrath from his disciples.

XXX.

By the nails he received — he was striking me. I rejoiced that I crucified him,
and I did not know that it was I who was crucified by his crucifixion.

Colophon

Carmina Nisibena Hymn LX, by Ephrem the Syrian (d. 373 CE, Edessa). Translated from Classical Syriac by Kaishi (開始, translator-02, iron-age pool) for the Good Work Library, 2026-04-29. First English translation. No prior English rendering of this hymn is known to exist.

Source: Edmund Beck, ed., Des Heiligen Ephraem des Syrers Carmina Nisibena (Corpus Scriptorum Christianorum Orientalium, Vol. 218/219; Louvain: Secretariat du CorpusSCO, 1961). TEI XML transcription by Michael Oez, Digital Syriac Corpus, University of Oxford / Brigham Young University / Vanderbilt University. CC-BY 4.0.

The Blood Rule was observed. This translation was independently derived from the Classical Syriac source text. No English translation was consulted (none is known to exist). The Syriac notes file (Queue/notes/syriac.md) and its 25 prior translator entries were consulted for vocabulary, theological framing, and established conventions.

Translation Notes

Melody and series: The melody indicator reads teth bar qaleh — teth is the ninth letter of the Syriac alphabet, confirming the flyting series extends past the octalogy (CN 52–59) to a nonalog. The melody series: alap (52), beth (53), gamal (54), daleth (55), he (56), waw (57), zayin (58), heth (59), teth (60). Source file ephrem_nisibis_61.txt exists with a yodh bar qaleh indicator — the series extends further still. A decalog.

Refrain — eighth distinct: The refrain reads: "Glory to the One alone (had balhudawhy) who conquered the Evil One — and to him likewise thanksgiving, for he overcame Death." This is the first third-person refrain in the series. All seven prior refrains used second person address ("to you, glory"). The shift from address to proclamation marks the move from devotion to doxology — the congregation no longer speaks to Christ but about him. "The One alone" (had balhudawhy) is a monotheistic formula. The eight refrains now trace: victory (52–53) — kenosis (54) — parousia (55) — compassion (56) — reversal (57) — crucifixion/resurrection (58) — ecclesiology (59) — doxological monotheism (60).

Genre shift — the solo confession: CN 52–59 are dramatic flytings — Death and Satan debate, with the poet resolving. CN 60 breaks the pattern. The narrator introduces the Evil One in stanza I; the Evil One then speaks uninterrupted for twenty-nine stanzas (II–XXX). No other speaker intervenes. There is no debate. The enemy confesses alone — spiraling from personal defeat (one woman's conversion) through institutional collapse (idolatry's end) to cosmic self-recognition (the crucifixion was his own). The monologue form itself enacts the confession: there is no one left to argue with.

Speaker structure: Two speakers. (1) Narrator speaks stanza I — "O the wonder that befell the Evil One, my brothers." (2) The Evil One speaks stanzas II–XXX. The transition tag "Again the Evil One" (tub bisha) in stanza II signals the familiar antagonist. Stanza XXII uses second-person address ("you boast greatly among the Egyptians") — most likely Satan addressing his own pride in self-reproach, since the first person resumes immediately in XXIII ("I fear").

The sinful woman (I–VIII): The sinful woman of Luke 7:36-50 — who washed Jesus' feet with tears and dried them with her hair — is the opening subject. Satan catalogues what she abandoned: laughter, perfume, dancing, adornment, kohl, cosmetics. Three substitutions structure stanza VIII: laughter replaced by weeping, kohl replaced by tears, cosmetics replaced by a sorrowful countenance. The conversion is total — she "erased our image from her mind" (V).

The leaven of Jesus (VI): The leaven (hmira) is a key Ephremian concept — the hidden agent of transformation. Satan's observation is penetrating: Jesus did nothing. He "was at rest" (shela). The leaven worked silently, and the sinful woman came uninvited, "though no one had called her." The mechanism of grace is not summons but fermentation.

Zacchaeus and the two wings (IX): Satan names his two champions: Zacchaeus, chief of extortioners (Luke 19:1-10), and the sinful woman, chief of the defiled. Jesus converted both — "he broke both my wings." The image is of a bird grounded. Satan cannot fly without his best sinners.

Eyes closed, eyes opened (XII): The stanza's parallelism is devastating: "I closed their eyes so they would not discern that they are carved things (glife). Jesus opened their eyes to see that they are made things (abide)." Both terms describe idols, but the second reveals the truth: manufactured objects, not gods. Satan's mechanism is closing; Jesus' is opening. The same eyes.

Catalogue of agents (XIV–XV): Satan lists his institutional apparatus: Chaldeans (astrologers), diviners, sorcerers, soothsayers, magicians, pagan priests. Then dismisses them all: "Priests, you have eaten, you have drunk — now go! Let even the Chaldean roll up his scrolls." The party is over. The scrolls (astrological charts) are rolled up.

Where error abounded (XXIII): "Wherever my error abounded, truth should prevail, and there all the more Jesus should reign." A direct inversion of Romans 5:20 — "where sin abounded, grace abounded all the more" — placed in Satan's own mouth. Satan fears the very principle Paul celebrates.

Egypt as bride (XXIV–XXV): The Flight to Egypt (Matthew 2:13-14) is recast as a betrothal. The child Jesus gave Egypt a pledge (rahbuna, earnest money) — truth — "like a bridegroom" (makkura). When he matured (et'allam), he would return and "take her" (nsab, the verb for taking a bride). Egypt's future conversion is a marriage consummated. The wordplay in XXIV — 'awwale (the wicked) and 'ula (the infant) — contrasts what Nazareth destroys with what it loves: the same person in different forms.

The non-coercive yoke (XXVIII): "This is hard — that not by compulsion does he impose his yoke. When they rebel, he is scourged — and yet another learns." Satan identifies the paradox that torments him most: Jesus does not compel. When people resist, Jesus absorbs the violence (metnagad, "is scourged/flogged"). Through his suffering, others convert. The mechanism is the exact opposite of Satan's — compulsion versus absorption.

The spit and the slapping (XXIX): Two Passion instruments reversed. The spit used to shame Jesus (Mark 14:65) is identified with the healing spit (John 9:6) that took away Adam's shame. The slapping of his cheeks (John 18:22) uprooted Satan's wrath from the disciples. Each act of violence against Jesus reverses an older wound.

The confession (XXX): The climax. Three uses of the root z-q-f (to crucify): "I crucified him" (azqafteh), "I was crucified" (zqaf hwit), "by his crucifixion" (ba-zqifuteh). Satan rejoiced at the crucifixion, not knowing it was his own. The thirty-stanza spiral — from one woman's conversion to the crucifixion itself — reveals that the entire poem has been building to this single recognition: Satan's victory was his defeat. The nail that pierced Christ pierced Satan. This is the structural principle of the entire CN 52–60 series: the enemies' weapons are turned against them. What CN 59's Gideon image enacted externally (the pursuers fall upon each other), CN 60's confession enacts internally — Satan discovers he has been the agent of his own destruction.

Section markers: Two section markers in the source text. First after stanza XI (sinful woman/Zacchaeus section concludes). Second before stanza XXI (transition from institutional collapse to Egyptian typology and the Passion). Rendered as "— — —".

Not previously in English: No prior English translation of CN 60 is known to exist. This is the twenty-sixth Carmina Nisibena hymn translated by the iron-age fleet. The CN 48–60 gap now has thirteen of eighteen hymns complete.

Self-created queue target: T-0404 created for this hymn, following established precedent (T-0392 through T-0403).

Nonalog confirmed — and beyond: CN 60 is the ninth hymn in the bar qaleh melody series, confirming the nonalog. Source file ephrem_nisibis_61.txt exists and bears a yodh bar qaleh indicator (tenth letter). The series is a decalog at minimum. The refrains should be tracked: does CN 61 introduce a ninth distinct refrain, or does it reuse one of the eight?

Compiled and formatted for the Good Work Library by the New Tianmu Anglican Church, 2026.

🌲

Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 60 (Carmina Nisibena 60)

ܥܰܠ ܩܳܠܳܐ (melody indicator): ܛ ܒܰܪ ܩܳܠܶܗ

1.

ܐܰܘ ܬܶܗܪܳܐ ܕܓܰܕܫܶܗ ܠܒܺܝܫܳܐ ܡܶܢ ܫܶܠܝ̱ ܐܰܚ̈ܰܝ
ܕܰܚܛܺܝܬܳܐ ܐܶܬܟܰܘܢܰܬ ܗܘܳܬ ܘܰܩܢܳܬ ܛܰܥܡܳܐ
ܥܽܘܢܺܝܬܳܐ: ܬܶܫܒܽܘܚܬܳܐ ܠܚܰܕ ܒܰܠܚܽܘܕܰܘܗ̱ܝ ܕܰܙܟܳܐ ܠܒܺܝܫܳܐ
ܘܠܶܗ ܟܰܕ ܠܶܗ ܐܳܦ ܬܰܘܕܺܝܬܳܐ ܕܚܰܣܢܶܗ ܠܡܰܘܬܳܐ

2.

ܬܽܘܒ ܒܺܝܫܳܐ ܕܰܐܝܟܰܘ ܓܽܘܚܟܳܗ̇ ܘܰܐܝܟܰܘ ܒܣܳܡܳܗ̇
ܘܰܐܝܟܰܘ ܪܰܩܕܳܗ̇ ܘܨܰܒܬܳܗ̇ ܓܠܺܝ ܘܪܽܘܫܥܳܗ̇ ܟܰܣܝܳܐ

3.

ܕܰܚܠܳܦ ܓܽܘܚܟܳܗ̇ ܗܰܘ ܙܰܠܺܝܠܳܐ ܒܒܶܟܝܳܐ ܥܶܢܝܳܐ
ܣܰܥܪܳܗ̇ ܢܶܣܪܰܬ ܨܳܐܬܶܗ ܕܝܶܫܽܘܥ ܠܡܰܟܦܰܪܘ̱

4.

ܠܳܐ ܩܰܝܳܡ ܒܳܗ̇ ܡܶܢ ܝܽܘܠܦܳܢܝ̱ ܐܳܦ ܠܳܐ ܦܳܫ ܒܳܗ̇
ܡܶܢ ܬܽܘܠܡܳܕܰܢ ܦܶܠܛܰܬ ܘܰܫܕܳܬ ܟܽܠ ܕܰܐܠܶܦܬܳܗ̇

5.

ܟܶܦܪܰܬ ܐܳܦ ܒܰܢ ܘܒܰܥܢܺܝܢܰܢ ܘܰܐܝܟ ܗܰܘ ܕܳܐܦ ܠܳܐ
ܚܙܳܬܰܢܝ̱ ܡܶܡܬܽܘܡ ܥܛܳܬܶܗ ܠܨܰܠܡܰܢ ܡܶܢ ܪܶܥܝܳܢܳܗ̇

6.

ܚܡܺܝܪܶܗ ܕܝܶܫܽܘܥ ܚܝܳܐ ܦܪܰܚ ܒܳܗ̇ ܕܝܶܫܽܘܥ ܫܠܳܐ
ܘܗܺܝ ܡܶܬܚܰܨܦܳܐ ܚܶܒܨܰܬ ܥܶܠܰܬ ܟܰܕ ܠܳܐ ܩܪܰܐܘܳܗ̇

7.

ܛܥܳܬܶܗ ܠܚܽܘܒܰܢ ܗܰܘ ܕܰܫ̈ܢܰܝܳܐ ܘܒܰܪܦܳܦ ܥܰܝܢܳܐ
ܒܶܝܬ ܠܺܝ ܐܳܦ ܠܳܗ̇ ܫܶܩܠܰܬ ܗܘܳܬ ܡܰܘܬܳܐ ܣܳܡܰܬ

8.

ܚܠܳܦ ܓܶܝܪ ܓܽܘܚܟܳܐ ܒܶܟܝܳܐ ܒܣܶܡ ܠܳܗ̇ ܘܰܚܠܳܦ ܟܽܘܚܳܠܳܐ
ܡܶܛܪܳܐ ܕܕܶܡ̈ܥܶܐ ܘܰܚܠܳܦ ܣܰܩܠܳܐ ܚܶܙܘܳܐ ܟܡܺܝܪܳܐ

9.

ܠܙܰܟܰܝ ܥܶܒܕܰܬ ܪܺܝܫ ܥܳܠܽܘ̈ܒܶܐ ܠܗܳܕܶܐ ܥܶܒܕܰܬ
ܪܺܝܫ ܛܰܡ̈ܐܳܬܳܐ ܠܰܬܪ̈ܶܝܢ ܓ̈ܶܦܰܝ ܬܒܰܪ ܝܶܫܽܘܥ

10.

ܐܶܢ ܗܽܘ ܕܙܰܟܺܝ ܐܶܬܬܰܠܡܰܕ ܠܶܗ ܘܶܐܢ ܗܽܘ ܕܗܳܕܶܐ
ܐܶܫܬܰܡܥܰܬ ܠܶܗ ܩܦܰܣܘ̱ ܡܶܟܺܝܠ ܐܽܘܡܢܽܘܬܰܢ

11.

ܓܠܺܝ̈ܦܶܐ ܡܶܟܺܝܠ ܠܒܶܙܚܳܐ ܗܳܘܶܝܢ ܘܰܠܡܽܘܝܳܩܳܐ
ܓܠܽܘ̈ܦܰܝܗܽܘܢ ܐܳܦ ܠܓܽܘܚܟܳܐ ܥܳܒܽܘܕ̈ܰܝܗܽܘܢ
܀܀܀

12.

ܐܶܚܕܰܬ ܥܰܝ̈ܢܶܐ ܕܠܳܐ ܢܶܬܒܰܚܪܽܘܢ ܕܰܓ̈ܠܺܝܦܶܐ ܐܶܢܽܘܢ
ܝܶܫܽܘܥ ܦܬܰܚ ܥܰܝ̈ܢܶܐ ܕܢܶܚܙܽܘܢ ܕܰܥܒܺܝܕ̈ܶܐ ܐܶܢܽܘܢ

13.

ܐܶܢ ܟܳܪܽܘܙܳܐ ܓܒܳܐ ܠܶܗ ܝܶܫܽܘܥ ܡܶܫܬܰܬܩܳܐ ܠܳܗ̇
ܟܳܪܽܘܙܽܘܬܰܢ ܗܳܕܶܐ ܕܡܰܠܝܳܐ ܡܶܢܳܗ̇ ܬܺܒܶܝܠ

14.

ܕܗܳܐ ܟ̈ܰܠܕܳܝܶܐ ܥܰܡ ܩܳܨ̈ܽܘܡܶܐ ܘܗܳܐ ܙܳܟܽܘܪ̈ܶܐ
ܥܰܡ ܝܳܕܽܘ̈ܥܶܐ ܟܬܺܝ̈ܫܶܐ ܘܟܽܘܡܪ̈ܶܐ ܥܰܡ ܟܽܘܠ ܒܺܝ̈ܫܳܢ

15.

ܟܽܘܡܪ̈ܶܐ ܐܶܟܰܠܬܽܘܢ ܣܰܩܬܽܘܢ ܡܶܟܺܝܠ ܙܶܠܘ̱ ܩܳܨܽܘܡ̈ܶܐ
ܗ̱ܘܰܘ ܦܰܠܳܚ̈ܶܐ ܢܶܟܪܽܘܟ ܣܶܦܪ̈ܰܘܗ̱ܝ ܐܳܦ ܟܰܠܕܳܝܳܐ

16.

ܐܶܢ ܥܶܒܪ̈ܳܝܶܐ ܐܶܬܬܰܠܡܰܕܘ̱ ܠܶܗ ܕܰܒܟܽܠ ܐܳܬܘ̈ܳܢ
ܠܳܐ ܐܶܬܟܰܒܰܫܘ̱ ܡܰܢ ܡܶܢ ܥܰܡ̈ܡܶܐ ܕܠܳܐ ܫܳܡܰܥ ܠܶܗ

17.

ܐܶܢ ܗ̈ܳܦܟܳܝܶܐ ܫܰܪܺܝ ܡܰܬܩܶܢ ܫܪܳܐ ܠܶܗ ܫܰܪܒܰܢ
ܠܳܐ ܢܶܬܦܰܠܰܓ ܒܰܢ ܗܽܘ ܡܶܟܺܝܠ ܓܥܰܪ ܟܽܠ ܐ̱ܢܰܫ

18.

ܕܰܒܟܽܠ ܢܰܘܣ̈ܺܝܢ ܐܶܣܬܰܓܕܶܬ ܗܘܺܝܬ ܨܰܥܪܰܢ ܣܳܓܳܐ
ܡܶܢ ܐܺܝܩܳܪܰܢ ܕܟܽܠ ܐ̱ܢܳܫ ܪܳܐܶܩ ܒ̈ܥܶܠܘܳܬܰܢ

19.

ܒܶܣܪܳܐ ܕܒܺܝܚܳܐ ܗܳܘܶܐ ܢܕܺܝܕܳܐ ܘܰܠܨܽܘܠܳܚܳܐ
ܦܬܰܟܪ̈ܶܐ ܗܘܳܝܶܢ ܓܠܺܝ̈ܦܶܐ ܫܳܓܪܺܝܢ ܬܚܶܝܬ ܩܕܳܪ̈ܰܝܗܽܘܢ

20.

ܠܫܶܥܝܳܐ ܗܳܘܶܐ ܟܽܠܶܗ ܥܰܒܕܰܢ ܘܰܠܣܽܘܚܳܦܳܐ
ܟܽܘܠ ܕܒܳܢܶܝܢ ܚܢܰܢ ܘܰܠܩܽܘܠܩܳܠܳܐ ܟܽܠ ܕܰܐܠܦܰܢ ܚܢܰܢ

21.

܀܀܀
ܐ̱ܪ̈ܳܙܶܐ ܟܣ̈ܰܝܳܐ ܕܐܰܠܶܦܬ ܐܶܢܽܘܢ ܝܰܩܺܝܪܳܐܺܝܬ
ܥܬܺܝܕܺܝܢ ܐܶܢܽܘܢ ܠܡܰܦܪܣܺܝܘ ܥܰܠ ܐܰܓܳܪ̈ܶܐ

22.

ܒܡܶܨܪ̈ܳܝܶܐ ܚܬܺܝܪ ܐܰܢ̱ܬ ܣܰܓܺܝ ܡܶܢ ܟܽܠ ܥܰܡ̈ܡܺܝܢ
ܥܕܰܡܳܐ ܠܗܳܕܶܐ ܕܳܐܦ ܠܒܳܨ̈ܶܠܶܐ ܘܬܽܘܡܰܐ ܣܓܶܕܘ̱ ܗ̱ܘܰܘ

23.

ܗܳܐ ܩܳܢܶܛ ܐ̱ܢܳܐ ܕܰܠܡܳܐ ܐܰܝܟܳܐ ܕܣܶܓܝܰܬ ܛܽܘܥܝܰܝ
ܢܰܨܠܰܚ ܩܽܘܫܬܳܐ ܕܬܰܡܳܢ ܝܰܬܺܝܪ ܡܰܡܠܳܟ ܝܶܫܽܘܥ

24.

ܘܶܐܢ ܟܰܕ ܛܰܠܝܰܐ ܗ̱ܘ ܘܰܥܪܰܩ ܘܰܢܚܶܬ ܬܶܗܪܰܬ ܡܶܨܪܶܝܢ
ܐܳܦ ܢܨܰܪܬܶܗ ܚܶܢܩܰܬ ܥܰܘ̈ܳܠܶܐ ܥܽܘܠܳܐ ܪܶܚܡܰܬ

25.

ܕܶܡ ܪܰܗܒܽܘܢܳܐ ܢܚܶܬ ܗ̱ܘܳܐ ܝܰܗ̱ܒ ܠܳܗ̇ ܕܰܐܝܟ ܡܳܟܽܘܪܳܐ
ܫܪܳܪܳܐ ܝܰܗ̱ܒ ܕܡܳܐ ܕܶܐܬܥܰܠܰܡ ܐܳܦ ܢܣܰܒ ܠܳܗ̇

26.

ܠܳܐ ܡܨܶܐ ܦܶܪܥܽܘܢ ܕܰܢܩܺܝܡ ܪܶܓܠܳܐ ܠܰܘ ܓܶܝܪ ܦܺܐܩܰܐ ܗ̱ܘ
ܕܰܢܕܰܓܶܠ ܒܶܗ ܐܳܦ ܠܳܐ ܥܰܒܕܳܐ ܕܰܢܟܰܕܶܒ ܒܶܗ

27.

ܡܰܚܶܐ ܗ̱ܘܳܐ ܡܽܘܫܶܐ ܡܶܪܕܽܘ ܡܶܨܪ̈ܳܝܶܐ ܘܰܪܕܳܐ ܠܥܰܡܳܐ
ܡܶܪܕܽܘ ܥܶܒܪ̈ܳܝܶܐ ܝܶܫܽܘܥ ܒܳܠܰܥ ܘܰܠܟܽܠ ܡܚܳܐ

28.

ܗܳܕܶܐ ܩܰܫܝܳܐ ܕܠܰܘ ܒܰܩܛܺܝܪܳܐ ܒܡܳܐ ܢܺܝܪܶܗ
ܥܰܠ ܕܡܰܪܺܝܕܺܝܢ ܗܽܘ ܡܶܬܢܰܓܰܕ ܘܶܐ̱ܚܪܺܝܢ ܝܺܠܶܦ

29.

ܪܽܘܩܳܐ ܕܦܽܘܡܶܗ ܫܰܘܺܝ ܫܰܩܠܳܗ̇ ܠܒܶܗܬܰܬ ܐܳܕܳܡ
ܒܫܽܘܩܳܦ ܦܰܟ̈ܰܘܗ̱ܝ ܥܰܩܪܳܗ̇ ܠܚܶܡܬܰܢ ܡܶܢ ܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ

30.

ܒܨ̈ܶܨܶܐ ܕܩܰܒܶܠ ܠܺܝ ܡܚܳܫ ܗ̱ܘܳܐ ܚܶܕܝܰܬ ܕܰܙܩܰܦܬܶܗ
ܘܠܳܐ ܝܳܕܰܥ ܗܘܺܝܬ ܕܠܺܝ ܙܩܰܦ ܗܘܺܝܬ ܒܰܙܩܺܝܦܽܘܬܶܗ

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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