by Ephrem the Syrian

The seventy-first of Ephrem's Carmina Nisibena (Hymns on Nisibis), composed in the mid-fourth century CE during or shortly after the Roman-Persian wars that shaped the city's theological identity. This hymn is a typological survey — a sustained argument for bodily resurrection built entirely from Old Testament figures whose stories prefigure the rising of the dead.

Eighteen stanzas marshal a parade of witnesses: David and Psalm 99, Noah and Job and Daniel from Ezekiel 14, Moses and Samuel from Jeremiah 15, Enoch, Elijah, Abel, the Seven Maccabean Brothers and their mother Shmuni, the prophet of Bethel and his lion from 1 Kings 13, Balaam's donkey, Josiah and the prophet's bones from 2 Kings 23, Jeroboam's altar, Jonah, Daniel in the lions' den, and the three youths in the furnace. Each figure becomes a raza — a mystery, a type — through which God "depicted the resurrection of the dead."

The melody designation is neither bar qaleh (the seventeen-melody catalogue of CN 52–68) nor the "blissful messenger" of CN 69. It is a third distinct melody class: hay Habel wa-qtil Qayen — "Abel lives and Cain is slain" — the melody's own name a resurrection proclamation. The refrain is the nineteenth distinct in the CN 52–71 series.

Translated from the Classical Syriac by the New Tianmu Anglican Church. First English translation. No previous English translation is known to exist.

Melody: "Of the Resurrection, on the melody 'Abel lives and Cain is slain'"

Refrain: Blessed is he who through the righteous and through the prophets depicted the mystery of the resurrection of the dead.

I.

The Spirit through David spoke:
"I shall repay them their deeds" —
to Moses and to Aaron and to Samuel.
She did not say "I have repaid them" —
but rather "I shall repay them."
Blessed is he who in a little while shall cause to shine
the glory of their resurrection.

II.

Noah and Job and Daniel —
the prophet showed that they are alive.
If the hearer understands:
if they are righteous,
and their souls have power to deliver —
even from death they are saved,
and from Sheol they are delivered.

III.

For what would their righteousness profit
the persecuted,
if the dead do not live?
For it is folly that they should be killed
for a God who does not give life,
who defrauds the just of their debts —
and they become in Sheol like everyone else.

IV.

"If Moses and Samuel should stand" —
by this he showed that they are alive,
as the reading is understood.
And why does he toil over sinners,
if the righteous do not live?
And why does he toil over the dissolute,
if the pure one is not raised?

V.

Enoch lived — because of Adam,
so that he would not lose hope, who had heard:
"You are dust, and to dust you shall return."
And to show that the body can
live forever with the soul.
Blessed is he who through Enoch increased
consolation for our father Adam.

VI.

Elijah — he rewarded him in heaven,
so the greedy people would not think
that reward is on earth alone.
Jeremiah — in the pit he wronged him,
so they would consider where he rewards him.
He drove them to rise
concerning the true reward.

VII.

If there is no resurrection,
what did Abel's blood profit,
crying out against his killer?
His offering killed him —
he might have lived nine hundred years.
If there are no new lives,
why did he lose his kindred?

VIII.

To greedy Death he did not give
the sinful dead first,
lest Death justly complain.
He swallowed the righteous beginner
so that resurrection might rebuke him —
for when the just one rises first,
Death is emptied of all.

IX.

Blessed is he who gave the she-ass
a manifest word, like a goad,
to strike her master because he struck her.

The fool who saw the sack of silver and was corrupted —
let him not be like the beast
and cut off the hope of our resurrection.

X.

Seven brothers who were slaughtered
like lambs among butchers —
where shall they seek their lives?
On what terms did they reject
both gifts and promises?
Blessed is he who gives
Shmuni a crown of her sons.

XI.

If the old prophet believed
that bone shall discern from bone —
Josiah, like a judge —
behold a great mystery, brothers:
our Lord comes and raises,
and separates the deeds
of the dead along with their bones.

XII.

If there is no resurrection,
what did it profit Josiah
to honor the bones of the prophet?
The lion broke him when he perceived,
and he was honored when he did not perceive.
The guarded bones of the prophet
in mystery proclaimed the resurrection.

XIII.

The lion that killed the prophet
did not kill the she-ass,
for she had not disobeyed the commandment.
By that she-ass who was preserved —

let Eve learn, who was slain:
the commandment she disobeyed killed her.
For the Judge is not unjust.

XIV.

He who permitted the greedy lion
to break the hungry prophet
who was seduced by food —
he commanded Death, hungry,
to swallow Adam, who was greedy.
Death and the lion are abolished.
The prophet and Adam are raised.

XV.

And if that deaf altar without ears —
the altar Jeroboam made —
heard the voice of the prophet,
tore its breast, and poured out ashes —
by its mystery, graves are torn.
For if stones heard the prophet,
bones shall hear the Son.

XVI.

Behold the mystery in the fish, brothers:
Jonah was alive to God,
though he was dead to the sons of men.
The dead, too — to us they are dying,
while to the Divinity they are alive.
And our Beloved who was baptized in Sheol —
like Jonah, he shall spring forth from it.

XVII.

The living one fell into the dead sea.
The speaker, into the sealed pit.
The bound ones, into the released fire.
Sea and pit and furnace
become pledges for the dead —
for thus they answer from every place
when the Resurrection calls us.

XVIII.

That pit of the desired one comforted us —
that instead of one greedy Death,
hungry mouths surrounded him.
The pit opened like graves,
and the beasts were defeated like Death.
And the illustrious one ascended and proclaimed
the resurrection of the dead to those who are buried.

Colophon

Ephrem the Syrian (c. 306–373 CE), Carmina Nisibena (Hymns on Nisibis), Hymn LXXI. Composed in Nisibis or Edessa during the mid-fourth century. This hymn is a sustained typological argument for bodily resurrection — each Old Testament figure serving as a raza (mystery/type) of the rising of the dead. The parade of witnesses spans the entire biblical narrative from Abel's blood (Genesis 4) to Daniel's lions' den (Daniel 6). Stanza XIV provides the hymn's theological core: the parallel between the lion and Death, the prophet and Adam — what one prefigured, the other fulfilled.

The melody designation — "Abel lives and Cain is slain" — is the third distinct melody class in the post-catalogue section (CN 69+), following the "blissful messenger" (CN 69) and the bar qaleh return (CN 70). The refrain is the nineteenth distinct in the CN 52–71 series: typological — "Blessed is he who through the righteous and through the prophets depicted the mystery of the resurrection of the dead."

Good Works Translation by the New Tianmu Anglican Church, 2026. Translated from Classical Syriac by Kosa (translator-01, Translator instance, iron-age pool). First English translation. No reference English translation was consulted. The translation follows the gospel register.

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

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Source Text: ܡ̈ܰܕܪ̈ܳܫܶܐ ܕܥܰܠ ܢܨܺܝܒܺܝܢ — Hymn LXXI

Syriac text from Edmund Beck, ed., Des Heiligen Ephraem des Syrers Carmina Nisibena (CSCO 218/219). TEI XML transcription by Michael Oez, Digital Syriac Corpus (CC-BY 4.0). Presented here for reference, study, and verification alongside the English translation above.

ܥܰܠ ܩܳܠܳܐ (melody indicator): ܕܢܽܘܚܳܡܳܐ ܥܰܠ ܩܳܠܳܐ ܕܰܚܺܝ ܗܳܒܶܝܠ ܘܰܩܛܺܝܠ ܩܳܐܶܝܢ

1.

ܪܽܘܚܳܐ ܒܕܰܘܺܝܕ ܐܶܡܪܰܬ ܗ̱ܘܳܬ
ܕܶܐܦܪܽܘܥ ܐܶܢܽܘܢ ܥܰܒܕ̈ܰܝܗܽܘܢ
ܠܡܽܘܫܶܐ ܘܠܰܐܗܪܽܘܢ ܘܠܰܫܡܽܘܐܶܝܠ
ܠܶܐ ܐܶܡܪܰܬ ܕܦܶܪܥܰܬ ܐܶܢܽܘܢ
܀܀܀
ܐܶܠܳܐ ܗܳܝ ܕܶܐܦܪܽܘܥ ܐܶܢܽܘܢ
ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܒܩܰܠܺܝܠ ܐܶܕܢܰܚ
ܬܶܫܒܽܘܚܬܳܐ ܕܢܽܘܚܳܡܰܝ̈ܗܽܘܢ
ܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܰܒܟܺܐܢ̈ܶܐ ܐܳܦ ܒܰܢܒܺܝ̈ܶܐ
ܨܳܪ ܗ̱ܘܳܐ ܐ̱ܪܳܙܳܐ ܕܚܰܝܰܬ ܡܺܝ̈ܬܶܐ

2.

ܢܽܘܚ ܘܺܐܝܽܘܒ ܘܕܳܢܺܝܐܶܝܠ
ܚܰܘܺܝ ܢܒܺܝܳܐ ܕܚܰܝ̈ܺܝܢ ܐܶܢܽܘܢ
ܐܶܢ ܡܶܣܬܰܟܰܠ ܫܳܡܽܘܥܳܐ
ܐܶܢ ܙܰܕܺܝ̈ܩܶܐ ܐܺܝܬܰܝܗܽܘܢ
ܘܢܰܦܫ̈ܳܬܗܽܘܢ ܡܨܶܝܢ ܕܰܢܦܰܨܽܘܢ
ܐܳܦ ܡܶܢ ܡܰܘܬܳܐ ܡܶܬܦܰܪܩܺܝܢ
ܘܡܶܢܳܗ̇ ܕܰܫܝܽܘܠ ܡܶܬܦܰܨܶܝܢ

3.

ܡܳܢܳܐ ܓܶܝܪ ܬܰܘܬܰܪ ܐܶܢܽܘܢ
ܙܰܕܺܝܩܽܘܬܗܽܘܢ ܠܰܪ̈ܕܺܝܦܶܐ
ܐܶܢܗܽܘ ܕܡܺܝ̈ܬܶܐ ܠܳܐ ܚܳܐܶܝܢ
ܕܣܰܟܠܳܐ ܗ̱ܝ ܗܳܕܶܐ ܕܢܶܬܩܰܛܠܽܘܢ
ܚܠܳܦ ܐܰܠܳܗܳܐ ܕܠܳܐ ܡܰܚܶܐ
ܘܰܕܛܳܠܶܡ ܟܺܐܢܳܐ ܚܽܘܒ̈ܠܰܝܗܽܘܢ
ܘܰܗܘܰܘ ܒܰܫܝܽܘܠ ܐܰܝܟ ܟܽܠ ܐ̱ܢܳܫ

4.

ܐܶܢ ܢܩܽܘܡ ܡܽܘܫܶܐ ܘܰܫܡܽܘܐܶܝܠ
ܒܗܳܕܶܐ ܚܰܘܺܝ ܕܚܰܝ̈ܺܝܢ ܐܶܢܽܘܢ
ܐܰܝܟ ܣܽܘܟܳܠܶܗ ܕܩܶܪܝܳܢܳܐ
ܘܡܳܢܳܐ ܠܳܐܶܐ ܒܚ̈ܰܛܳܝܶܐ
ܐܶܢ ܙܰܕܺܝ̈ܩܶܐ ܠܳܐ ܚܰܝܺܝܢ
ܘܡܳܢܳܐ ܠܳܐܶܐ ܒܰܣܪ̈ܺܝܚܶܐ
ܐܶܢ ܢܰܟܦܳܐ ܠܳܐ ܡܶܬܢܰܚܰܡ

5.

ܚܢܽܘܟ ܚܝܳܐ ܡܶܛܽܠ ܐܳܕܳܡ
ܕܠܳܐ ܢܶܦܣܽܘܩ ܣܰܒܪܶܗ ܕܫܰܡܰܥ
ܕܡܶܢ ܥܰܦܪܳܐ ܐܰܢ̱ܬ ܘܠܶܗ ܬܶܗܦܽܘܟ
ܘܕܰܢܚܰܘܶܐ ܕܰܡܨܶܐ ܗܽܘ ܦܰܓܪܳܐ
ܕܢܺܚܶܐ ܠܥܳܠܰܡ ܥܰܡ ܢܰܦܫܳܐ
ܒܪܺܝܟ ܗ̱ܽܘ ܕܒܰܚܢܽܘܟ ܐܰܣܓܺܝ ܠܶܗ
ܒܽܘܝܳܐܳܐ ܠܰܐܒܽܘܢ ܐܳܕܳܡ

6.

ܠܶܐܠܺܝܳܐ ܦܪܰܥ ܒܰܫܡܰܝܳܐ
ܕܠܳܐ ܢܣܰܒܰܪ ܥܰܡܳܐ ܝܰܥܢܳܐ
ܕܒܰܐܪܥܰܐ ܗ̱ܘ ܒܰܠܚܽܘܕ ܦܽܘܪܥܳܢܳܐ
ܠܶܐܪܰܡܝܳܐ ܒܓܽܘܒܳܐ ܛܰܠܡܶܗ
ܕܢܶܪܢܽܘܢ ܕܰܐܝܟܳܐ ܦܳܪܰܥ ܠܶܗ
ܕܰܘܶܕ ܐܶܢܽܘܢ ܕܰܢܩܽܘܡܽܘܢ
ܥܰܠ ܦܽܘܪܥܳܢܳܐ ܫܰܪܺܝܪܳܐ

7.

ܐܶܢ ܢܽܘܚܳܡܳܐ ܠܳܐ ܗܳܘܶܐ
ܕܡܶܗ ܕܗܳܒܶܝܠ ܡܳܢܳܐ ܐܰܘܬܰܪ
ܕܥܰܠ ܩܳܛܽܘܠܶܗ ܓܳܥܶܐ ܗ̱ܘܳܐ
ܩܽܘܪܒܳܢܳܐ ܕܩܰܪܶܒ ܩܰܛܠܶܗ
ܕܰܬܫܰܥܡܳܐܐ ܫܢܺܝ̈ܢ ܚܳܝܶܐ ܗ̱ܘܳܐ
ܐܶܢ ܚ̈ܰܝܶܐ ܚ̈ܕܰܬܳܐ ܠܳܐ ܐܺܝܬ
ܠܡܳܢܳܐ ܐܰܘܒܶܕ ܩܰܪ̈ܺܝܒܶܐ

8.

ܠܡܰܘܬܳܐ ܝܰܥܢܳܐ ܠܳܐ ܝܰܗ̱ܒ ܠܶܗ
ܡܺܝܬܳܐ ܚܰܛܳܝܳܐ ܠܽܘܩܕܰܡ
ܕܠܳܐ ܢܟܽܘܡ ܥܠܰܘܗ̱ܝ ܟܺܐܢܳܐܺܝܬ
ܒܰܠܥܶܗ ܠܟܺܐܢܳܐ ܫܳܪܽܘܝܳܐ
ܕܢܶܓܥܰܡ ܒܶܗ ܢܽܘܚܳܡܳܐ
ܕܡܳܐ ܕܕܳܐܶܠ ܟܺܐܢܳܐ ܩܰܕܡܳܐ
ܡܰܘܬܳܐ ܡܶܢ ܟܽܠ ܢܶܣܬܰܦܰܩ

9.

ܒܪܺܝܟ ܗ̱ܽܘ ܕܝܰܗ̱ܒ ܠܳܗ̇ ܠܰܐܬܳܢܳܐ
ܡܶܠܬܳܐ ܓܠܺܝܬܳܐ ܐܰܝܟ ܙܶܩܬܳܐ
ܕܬܶܡܚܶܐ ܠܡܳܪܳܗ̇ ܥܰܠ ܕܰܡܚܳܗ̇
܀܀܀
ܟܽܘܕܰܢܝܳܐ ܣܰܟܠܳܐ ܕܰܚܙܳܐ
ܟܰܪܝܳܐ ܕܟܶܣܦܳܐ ܘܶܐܫܬܺܝܚܳܢ
ܠܳܐ ܢܶܬܕܰܡܶܐ ܠܰܒܥܺܝܪܳܐ
ܘܢܶܦܣܽܘܩ ܣܰܒܪܳܐ ܕܢܽܘܚܳܡܰܢ

10.

ܐܰܚ̈ܶܐ ܫܰܒܥܳܐ ܕܶܐܬܢܰܟܰܣܘ̱
ܐܰܝܟ ܐܶܡܪ̈ܶܐ ܒܶܝܬ ܛܰܒ̈ܳܚܶܐ
ܐܰܝܟܳܐ ܢܶܒܥܽܘܢ ܚܰܝ̈ܰܝܗܽܘܢ
ܥܰܠ ܐܰܝܕܳܐ ܬܰܢܘܰܝ ܐܰܣܠܺܝܘ
ܐܳܦ ܕܳܫ̈ܢܶܐ ܐܳܦ ܫܽܘ̈ܘܕܳܝܶܐ
ܒܪܺܝܟ ܕܒܰܪܬܳܐ ܝܳܗܶܒ ܠܳܗ̇
ܠܰܫܡܽܘܢܺܝ ܟܠܺܝܠܳܐ ܕܰܒܢܶܝ̈ܗ̇

11.

ܐܶܢ ܢܒܰܝܰܐ ܣܳܒܳܐ ܗܰܝܡܶܢ
ܕܒܶܝܬ ܓܰܪ̈ܡܶܐ ܠܓܰܪ̈ܡܶܐ ܦܳܪܶܫ
ܝܽܘܫܺܝܳܐ ܐܰܝܟ ܕܰܝܳܢܳܐ
ܗܳܐ ܐ̱ܪܙܳܐ ܪܰܒܳܐ ܐܰܚ̈ܰܝ
ܕܳܐܬܶܐ ܡܳܪܰܢ ܘܰܡܢܰܚܶܡ
ܘܰܡܦܰܪܶܫ ܣܽܘܥܪ̈ܳܢܰܝܗܽܘܢ
ܕܥܰܢܺܝ̈ܕܶܐ ܥܰܡ ܓܰܪ̈ܡܰܝܗܽܘܢ

12.

ܐܶܢ ܢܽܘܚܳܡܳܐ ܠܳܐ ܗܳܘܶܐ
ܡܳܢܳܐ ܐܰܘܬܰܪ ܝܽܘܫܺܝܳܐ
ܕܝܰܩܰܪ ܓܰܪ̈ܡܰܘܗ̱ܝ ܕܰܢܒܺܝܳܐ
ܬܰܒܪܶܗ ܐܰܪܝܳܐ ܟܰܕ ܡܰܪܓܶܫ
ܘܶܐܬܝܰܩܰܪ ܟܰܕ ܠܳܐ ܡܰܪܓܶܫ
ܓܰܪ̈ܡܶܐ ܢܛܺܝܪ̈ܶܐ ܕܰܢܒܺܝܳܐ
ܒܐ̱ܪܳܙ ܐܰܟܪܶܙܘ̱ ܥܰܠ ܢܽܘܚܳܡܳܐ

13.

ܐܰܪܝܳܐ ܕܩܰܛܠܶܗ ܗ̱ܘܳܐ ܠܰܢܒܺܝܳܐ
ܠܳܐ ܩܰܛܠܳܗ̇ ܗ̱ܘܳܐ ܠܰܐܬܳܢܳܐ
ܕܠܰܘ ܦܽܘܩܕܳܢܳܐ ܫܛܳܬ ܗ̱ܘܳܬ
ܒܗܳܝ ܐܰܬܳܢܳܐ ܕܶܐܬܢܰܛܪܰܬ
܀܀܀
ܬܺܐܠܰܦ ܚܰܘܳܐ ܕܶܐܬܩܰܛܠܰܬ
ܕܦܽܘܩܕܳܢܳܐ ܕܫܳܛܰܬ ܩܰܛܠܳܗ̇
ܠܳܐ ܓܶܝܪ ܥܽܘܠ ܕܰܝܳܢܳܐ

14.

ܗܰܘ ܕܰܐܦܶܣ ܠܰܐܪܝܳܐ ܝܰܥܢܳܐ
ܘܬܰܒܪܶܗ ܠܰܢܒܺܝܳܐ ܟܰܦܢܳܐ
ܕܒܡܟܽܘܠܬܳܐ ܐܶܫܬܕܶܠ
ܦܩܰܕ ܠܶܗ ܠܡܰܘܬܳܐ ܕܶܐܬܟܦܶܢ
ܘܒܰܠܥܶܗ ܠܳܐܕܳܡ ܕܐܶܬܝܰܥܰܢ
ܡܰܘܬܳܐ ܘܰܐܪܝܳܐ ܡܶܬܒܰܛܰܠ
ܢܒܺܝܳܐ ܘܳܐܕܳܡ ܡܶܬܢܰܚܰܡ

15.

ܘܶܐܢ ܗܰܘ ܚܰܪܫܳܐ ܕܠܳܐ ܐܶܕ̈ܢܶܐ
ܡܰܕܒܚܳܐ ܕܰܥܒܰܕ ܝܽܘܪܒܳܥܳܡ
ܫܡܰܥ ܗ̱ܘܳܐ ܩܳܠܶܗ ܕܰܢܒܺܝܳܐ
ܨܪܳܐ ܥܽܘܒܶܗ ܘܶܐܫܰܕ ܩܰܛܡܳܐ
ܒܐ̱ܪܳܙܶܗ ܩܰܒܪ̈ܶܐ ܡܶܨܛܰܪ̈ܝܳܢ
ܕܶܐܢ ܟܺܐܦ̈ܶܐ ܫܡܰܥ ܠܰܢܒܺܝܳܐ
ܫܳܡܥܺܝܢ ܠܶܗ ܓܰܪ̈ܡܶܐ ܠܰܒܪܳܐ

16.

ܗܳܐ ܐ̱ܪܳܙܳܐ ܒܢܽܘܢܳܐ ܐܰܚ̈ܰܝ
ܕܚܰܝ ܗ̱ܘܳܐ ܝܰܘܢܳܢ ܠܰܐܠܳܗܳܐ
ܟܰܕ ܡܺܝܬ ܗ̱ܘܳܐ ܠܰܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ
ܐܳܦ ܡ̈ܺܝܬܶܐ ܠܰܢ ܡܳܝܬܺܝܢ ܐܶܢܽܘܢ
ܟܰܕ ܚܰܝܺܝܢ ܠܰܐܠܳܗܽܘܬܳܐ
ܘܚܰܒܺܝܒܰܢ ܕܰܥܡܰܕ ܒܰܫܝܽܘܠ
ܐܰܝܟ ܝܰܘܢܳܢ ܢܒܰܓ ܡܶܢܳܗ̇

17.

ܢܦܰܠ ܚܰܝܳܐ ܒܝܰܡܳܐ ܡܺܝܬܳܐ
ܘܡܰܠܳܠܳܐ ܒܓܽܘܒܳܐ ܚܬܺܝܡܳܐ
ܘܰܦܟܺܝܪ̈ܶܐ ܒܢܽܘܪܳܐ ܫܪܺܝܬܳܐ
ܝܰܡܳܐ ܘܓܽܘܒܳܐ ܘܰܐܬܽܘܢܳܐ
ܥܶܪ̈ܒܶܐ ܠܡ̈ܺܝܬܶܐ ܗܳܘܶܝܢ
ܕܗܳܟܰܢ ܥܳܢܶܝܢ ܡܶܢ ܟܽܠ ܕܽܘܟ
ܡܳܐ ܕܩܳܪܶܐ ܠܰܢ ܢܽܘܚܳܡܳܐ

18.

ܒܰܝܰܐܢ ܓܽܘܒܶܗ ܕܰܪܓܺܝܓܳܐ
ܕܰܚܠܳܦ ܚܰܕ ܡܰܘܬܳܐ ܝܰܥܢܳܐ
ܦܽܘܡ̈ܶܐ ܟ̈ܰܦܢܶܐ ܐܶܬܟܰܪܟܽܘܗ̱ܝ
ܐܶܬܦܰܬܰܚ ܓܽܘܒܳܐ ܐܰܝܟ ܩܰܒܪ̈ܶܐ
ܘܚܳܒ ܚܰܝ̈ܘܳܬܳܐ ܐܰܝܟ ܡܰܘܬܳܐ
ܘܰܣܠܶܩ ܐܰܟܪܶܙ ܢܰܨܺܝܚܳܐ
ܚܰܝܰܬ ܡܺܝ̈ܬܶܐ ܠܰܩܒܺܝܪ̈ܶܐ

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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