Hymn VI (Carmina Nisibena VI)

Hymns I–V built their arguments from history — the siege, the three blows, the Babylonian king, the harvest wrath. Hymn VI turns inward. Nisibis speaks as a bride, and the theology she develops is the theology of divine jealousy: God is the Jealous One, he has named himself that, and jealousy is proof of love. Even Samson was jealous for a wife who had betrayed him — surely Christ will be jealous for the city betrothed to him, who has kept faith. The bridal frame lets Ephrem do two things at once: hold the city's shame before God (she has been stripped of her ornaments, exposed before her children, her altar shrouded in sackcloth) and present that shame as grounds for restoration rather than abandonment. Her exposure makes the claim stronger, not weaker. Running alongside the theology is the economic lament — farmers bound by debt, harvests carried to plunderers, God himself the wronged Farmer whose seed was paid to thieves. And at the end, a liturgical coda of exact historical pathos: the siege fell on the double feast of the Ascension and the martyrs, and turned double celebration into double grief. The final stanza offers what only the living city can give: praise from every mouth.

I.

I run in my afflictions
to the physician who heals freely —
who healed my wounds first
and healed them a second time;
may he restore the third
and heal the fourth.

Refrain: Heal me, firstborn Son.

II.

The children of my Lord drank and were drunk —
the Good One mixed wrath into the cup;
they got tangled in my delights
and stripped off, scattered my ornaments —
destroying without pity
my garments and my crowns.

III.

They uncovered me and I was exposed,
shamed only a little —
from that first uncovering
and from the second;
now I have been shamed three times —
see, they expose me a fourth.

IV.

They split and took my garments,
my ornaments and my gardens;
in sackcloth that shrouds my altar —
look, Lord, and restore my honor;
may its sackcloth become for me, Lord,
spread out as the canopy of salvation.

V.

See — it was not through a chaste one
you governed me, my Teacher;
for his shame faces him
and behind him, his disgrace;
for his very marriage
adultery has spread from it.

VI.

See — his wife is his daughter,
and his companion is his sister,
and the mother from whom he came
a second time he turned and took;
the heavens marveled how much
he provoked, and yet prospers.

VII.

And if, Lord, my iniquities have multiplied,
my debts grown so strong
as to hand over the chaste one,
the mother of the chaste,
to Assyria the defiled —
the mother of defilements —

VIII.

Restrain him that he may not come
and wag his head over me
and trample me with his heel
and rejoice at the sound of his fame;
for so he has disturbed the world
and will rise a little again.

IX.

See, Lord — the sons of my exposure:
even those who exposed me weep,
who spread me bare before my children;
my pain hurts them too.
Let not the pitiless bands
come rushing over me.

X.

My lands bore well and stood —
fruits and delicacies,
blessings within the vineyard,
abundance in the fields;
and when I was at ease,
wrath leapt upon me suddenly.

XI.

The farmers are wronged,
bound by their debts in coin —
who borrowed and sowed and lost it
along with their debt and their hunger;
perhaps even the weaver comes now
whose bread has been snatched from her.

XII.

Wronged is the Farmer, Lord —
who lent his seed to the earth;
the earth took him as pledge
and gave him to the foreigner;
what was borrowed from the Farmer
was paid back to the plunderer.

XIII.

Be jealous for me, for I am yours,
and to you, Lord, I am betrothed;
the apostle who betrothed me to you
said to me: You are Jealous —
for the wall of the chaste women
is the jealousy of their husbands.

XIV.

Samson stirred up days
in great jealousy for his wife,
even though she was defiled
and had turned away from him;
guard your church — for Another
there is none beside you.

XV.

Whoever is not jealous
for his betrothed — she is despised;
jealousy alone can reveal
the love that lies within.
You were called the Jealous One
that you might show your love to me.

XVI.

Woman's nature is this:
weak and bold together;
jealousy places her
under fear at every hour.
You have been named among the jealous
that you might make known your care.

XVII.

Every man became master
of something not his own;
every man went out and gathered
what did not belong to him;
the day of confusion
was summoned to me by my sins.

XVIII.

How much suffering they endure —
the weary, the workers —
before the farmer's own face
his servants cut and loaded his flock;
his crops they reaped
and carried them away.

XIX.

They tilled and sowed and winnowed,
they labored and planted and raised;
they stood at harvest and wept
and went up empty of all —
the people, to the workers,
brought in their harvest to the plunderers.

XX.

My rulers did not make, Lord,
good order within the wrath;
had they wished, they could have ordered —
but they did not abandon our wickedness,
even when the wrath had cooled,
and wrath arose again to plunder.

XXI.

To which of all my sides
shall I look to find comfort —
my plantings that are ruined,
my works that are destroyed?
Let the sound of peace from the Good One
dispel my grief from me.

XXII.

Do not hand me over, lest
I be thought a hired woman;
you gave me as a beloved,
you began and kept watch over me —
may they not call me, Lord,
forsaken and dishonored.

XXIII.

I have nothing
to be remembered before your eyes —
for I am despicable in everything;
remember me, my God.
This alone — that Another
has no place beside you for me.

XXIV.

Who would not weep over me
in song and in lamentation:
who before a few days
was chaste and crowned —
and after a few days,
exposed and uncovered?

XXV.

My chaste women of the houses
wander in the fields;
the wrath that overwhelms all
went to my precious ones —
your compassion that pacifies all:
let it restore honor to my beloved.

XXVI.

My old women and my mothers
cry out before you —
the young with their voices,
the old with their tears,
my virgins with their fasts,
my chaste women with their sackcloth.

XXVII.

My eyes to every street
I have lifted — and see, they search;
ten remained of a hundred,
a thousand of a myriad;
restore, fill my streets
with the myriads of my inhabitants.

XXVIII.

Bring back my scattered,
gladden those within;
great is your grace
to spread within and without —
gather us in our dispersal,
the wings of your grace.

XXIX.

The prayer of my righteous
let it guard my fugitives;
let the unbelievers not break me,
and let the believers sustain me;
through the faithful, put to shame
those who have not believed.

XXX.

Two festivals drew near in one day —
as one:
the festival of your Ascension
and the festival of your athletes,
the festival that crowned your crown
and the remembrance of the crown of your servants.

XXXI.

Have mercy — they doubled for us
festivals in one day,
and doubled for us in their place
two more together:
suffering from the sound of good news,
and mourning from destruction.

XXXII.

Restore my festival celebrations —
my two festivals that have ceased;
and instead of delights,
my survivors on the feast days
find grief and destruction
meeting me at every turn.

XXXIII.

Turn back my distant ones,
gladden those near;
let it be proclaimed in our land —
the gospel of joys —
and I will repay for peace
praise from every mouth.

Colophon

Carmina Nisibena VI — translated from Classical Syriac by the DSS Translator lineage, 2026-03-23. Translation independently derived from the Digital Syriac Corpus base text (Beck/DSC, CC-BY 4.0). McVey's Paulist edition not consulted. Lexical verification against Payne Smith's Thesaurus Syriacus and Costaz's Dictionnaire syriaque–français. The Blood Rule holds.

Meter: Hexacolon stanzas — six cola per stanza in three bicola, roughly heptasyllabic. Continuous with the metrical pattern of Hymns I–V.

Voice and structure: Nisibis speaks as the betrothed bride of Christ throughout. Four movements: (I) Opening petition — the free physician has healed first and second wounds; heal the third and fourth (I). (II) The bridal shame sequence — the city's inhabitants stripped her ornaments and exposed her four times; her altar shrouded in sackcloth; the unchaste ruler whose marriage produced defilement; Assyria's incestuous household contrasted with Nisibis's chastity; petition to restrain the enemy (II–IX). (III) The agricultural-economic lament — abundance suddenly struck by wrath; farmers in debt; the Farmer (God) who lent seed to the earth and had it paid to plunderers; rulers who failed to restore order (X–XX). (IV) Comfort, remnant, and the liturgical coda — the city looks around for consolation; pleads not to be forsaken; the chaste women pray each in their own mode; streets emptied to a tenth of a hundredth; the double feast of Ascension and martyrs turned to double grief; closing promise of praise (XXI–XXXIII).

Key translation choices: ܐܳܣܝܳܐ ܕܡܰܓܳܢ (I) = "physician who heals freely" — the tradition of Jesus as free healer (healing without fee), carried into the city's opening petition. ܒܰܣܒܶܣ (II) = reckless dissipation, wasteful scattering; the word implies extravagant, careless destruction. ܢܰܟܦܳܐ (V) = the chaste, honorable one — here the protector-governor who should have governed through personal integrity; his absence allows the shamed ruler to take his place. Stanzas V–VI almost certainly describe the Persian king (Shapur II), whose court was associated in Christian polemic with xwēdōdah (Zoroastrian consanguineous marriage: wife-daughter, companion-sister, mother retaken). Ephrem uses this as evidence of Assyria's defilement, contrasted with Nisibis's chastity. ܛܰܢ / ܛܢܳܢܳܐ (XIII–XVI) = the jealousy sequence: the same Syriac root as for God's jealousy in the Decalogue (Ex 20:5). The argument: jealousy proves love; a man who is not jealous for his betrothed shows she is despised; God named himself Jealous to show his love. ܐܰܟܳܪܳܐ (XII) = the Farmer — in stanza XII the metaphor becomes theological: God lent his people to the earth as a farmer lends seed; the earth gave him over as a pledge to foreigners; what was borrowed from God was paid to the plunderer. God is the wronged creditor. ܐܳܬܠܺܝ̈ܛܰܝܟ (XXX) = "your athletes" — the Syriac word for martyrs who competed in the arena of faith. ܣܽܘܠܳܩܳܐ (XXX) = the Ascension feast. The convergence of Ascension and martyrs' commemoration on one day — and the siege arriving on that same day — is Ephrem's most precise historical-liturgical marker in the Nisibene cycle. Two crownings of joy became two doublings of grief.

The Samson pericope (XIV): Judges 14–15. Samson's Philistine wife was given to another man; Samson burned the Philistine crops in jealous retaliation. Ephrem's argument: even this pagan hero defended a defiled, alienated wife. How much more should Christ — who calls himself Jealous — defend his faithful city? Ephrem inverts Samson's moral problem (an act of destructive passion) into a theological precedent.

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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 6 (Carmina Nisibena 6)

ܒܰܪ ܩܳܠܶܗ (melody indicator): ܒ ܒܰܪ ܩܳܠܶܗ

1.

ܐܶܪܗܰܛ ܒܽܐܘ̈ܠܳܨܢܰܝ ܠܘܳܬ ܐܳܣܝܳܐ ܕܡܰܓܳܢ
ܕܰܐܣܺܝ ܠܒܽܘܣ̈ܒܳܣܰܝ ܩܰܕ̈ܡܶܐ ܘܬܶܢܝ̈ܳܢܶܐ
ܕܰܐܚܠܶܡ ܬܠܺܝ̈ܬܳܝܶܐ ܢܰܐܣܶܐ ܐ̱ܪ̈ܒܺܝܥܳܝܶܐ

ܥܽܘܢܺܝܬܳܐ (Response/Refrain):

ܥܽܘܢܺܝܬܳܐ: ܐܰܣܳܢܝ ܒܪܳܐ ܒܽܘܟܪܳܐ

2.

ܒܢ̈ܰܝ ܡܳܪܝ̱ ܐܶܫܬܺܝܘ ܘܰܪܘܺܝܘ ܛܳܒܳܐ ܕܰܡܼܙܰܓ ܪܽܘܓܙܳܐ
ܘܰܣܒܼܰܟܘ̱ ܒܬܰܨ̈ܒܝܳܬܰܝ ܘܰܫܠܼܰܚܘ̱ ܫܕܰܘ ܨܶܒ̈ܬܰܝ
ܒܰܣܒܶܣ ܕܠܳܐ ܚܰܘܣܳܢ ܢܰܚ̈ܬܰܝ ܘܟܽܘ̈ܠܳܠܰܝ

3.

ܓܠܰܐܽܘܢܝ̱ ܘܶܐܬܦܰܪܣܺܝܬ ܕܶܐܬܢܰܟܦܶܬ ܩܰܠܺܝܠ
ܡܶܢ ܗܰܘ ܦܽܘܪܣܳܝܳܐ ܩܰܕܡܳܐ ܘܬܶܢܝܳܢܳܐ
ܕܶܐܬܢܰܟܦܶܬ ܕܰܬܠܳܬ ܗܳܐ ܦܰܪܣܝܽܘܢܝ̱ ܕܰܐܪ̈ܒܰܥ

4.

ܕܰܩܦܰܠܘ̱ ܫܼܩܰܠܘ̱ ܢܰܚ̈ܬܰܝ ܨ̈ܶܒܬܰܝ ܘܦܰܪ̈ܕܰܝܣܰܝ
ܒܣܰܩܳܐ ܕܰܟܒܺܝܢ ܡܰܕܒܰܚܝ̱ ܚܽܘܪ ܡܳܪܝ̱ ܘܢܰܟܶܦܰܝܢܝ̱
ܣܰܩܶܗ ܢܗܶܐ ܠܺܝ ܡܳܪܝ̱ ܦܪܺܝܣܳܐ ܕܦܽܘܪܩܳܢܳܐ

5.

ܗܳܐ ܠܰܘ ܒܝܰܕ ܢܰܟܦܳܐ ܪܕܰܝܬܳܢܝ̱ ܪܰܒܽܘܠܺܝ
ܕܗܳܐ ܒܶܗܬܬܶܗ ܩܕܳܡܽܘܗ̱ܝ ܘܡܶܢ ܒܶܣܬܪܶܗ ܚܶܣܕܶܗ
ܗܽܘ ܓܶܝܪ ܙܽܘܘܳܓܶܗ ܓܰܘܪܳܐ ܦܫܺܝܚ ܡܶܢܶܗ

6.

ܗܳܐ ܐܰܢ̱ܬܬܶܗ ܒܰܪܬܶܗ ܘܫܰܘܬܳܦܬܶܗ ܚܳܬܶܗ
ܘܶܐܡܳܐ ܕܰܢܦܼܰܩ ܡܶܢܳܗ̇ ܒܬܶܢܝܳܐ ܗܼܦܰܟ ܫܰܩܠܳܗ̇
ܫܡܰܝܳܐ ܬܡܼܰܗܘ̱ ܕܰܟܡܳܐ ܐܰܪܓܼܶܙ ܘܗܳܐ ܡܰܨܠܼܰܚ

7.

ܘܶܐܢ ܡܳܪܝ̱ ܣܓܺܝܘ ܥܰܘ̈ܠܰܝ ܗܳܟܰܢ ܥܫܶܢܘ̱ ܚܰܘ̈ܒܰܝ
ܕܬܰܫܠܶܡ ܡܢܰܟܰܦܬܳܐ ܐܶܡܳܐ ܕܢܰܟ̈ܦܳܬܳܐ
ܠܳܐܬܽܘܪ ܡܣܰܝܰܒܬܳܐ ܐܶܡܳܐ ܕܛܰܢ̈ܦܳܬܳܐ

8.

ܙܓܽܘܪܳܝܗ̱ܝ ܕܠܳܐ ܢܺܐܬܶܐ ܘܢܰܢܺܝܕ ܥܠܰܝ ܪܺܝܫܶܗ
ܘܢܶܪܦܽܘܣ ܥܠܰܝ ܥܶܩܒܶܗ ܘܢܶܚܕܶܐ ܕܩܳܠ ܛܶܒܶܗ
ܗܳܟܰܢ ܫܼܓܰܫ ܬܺܒܶܝܠ ܘܬܽܘܒ ܢܶܬܪܺܝܡ ܩܰܠܺܝܠ

9.

ܚܙܰܘ ܡܳܪܝ̱ ܒܢ݁̈ܰܝ ܦܽܘܪܳܣܝ ܐܳܦܶܢ ܦܰܪܣܝܽܘܢܝ̱ ܒܳܟܶܝܢ
ܦܪܳܣܳܢܝ̱ ܩܕܳܡ ܝܰܠܕ̈ܰܝ ܕܟܳܐܶܒ ܠܗܽܘܢ ܡܶܢ ܟܺܐܒܝ̱
ܘܠܳܐ ܢܰܗܠܽܘܢ ܥܠܰܝ ܚܶܪ̈ܡܶܐ ܕܠܳܐ ܪ̈ܰܚܡܶܐ

10.

ܛܥܶܢ ܗܘܺܝ ܘܩܳܡ ܐܰܪ̈ܥܳܬܝ̱ ܦܺܐܪ̈ܶܐ ܘܦܽܘ̈ܢܳܩܶܐ
ܛܽܘ̈ܒܶܐ ܒܓܰܘ ܟܰܪܡܳܐ ܣܰܒܥܳܐ ܒܚܰܩ̈ܠܳܬܳܐ
ܘܟܰܕ ܐܶܢܳܐ ܒܗܺܝܠܳܐ ܐ̱ܢܳܐ ܡܶܢ ܫܶܠܝ ܨܦܼܰܚ ܪܽܘܓܙܳܐ

11.

ܛܠܺܝܡܺܝܢ ܐܰܟܳܪ̈ܶܐ ܐܰܣܺܝܢܺܝܢ ܒܳܙܽܘ̈ܙܶܐ
ܕܺܝܙܶܦܘ ܙܪܰܥܼܘ̱ ܐܰܘܒܶܕܘ̱ ܥܰܡ ܚܰܘܒܬܶܗ ܟܰܦܢܶܗ
ܛܳܟ ܐܳܦ ܛܘܳܬ ܒܳܐܶܬ ܕܠܰܚܡܶܗ ܚܛܺܝܦ ܡܶܢܶܗ

12.

ܛܠܺܝܡ ܡܳܪܝ̱ ܐܰܟܳܪܳܐ ܕܗܼܽܘ ܐܰܘܙܦܳܗ̇ ܠܰܐܪܥܳܐ
ܫܩܰܠܬܶܗ ܠܓܽܘܥܠܳܢܳܐ ܘܝܰܗܒܬܶܗ ܠܢܽܘܟܪܳܝܳܐ
ܝܺܙܶܦܬܶܗ ܕܰܐܟܳܪܳܐ ܦܪܰܥܬܳܗ̇ ܠܒܳܙܽܘܙܳܐ

13.

ܛܰܢ ܒܺܝ ܕܕܺܝܠܳܟ ܐ̱ܢܳܐ ܘܠܳܟ ܡܳܪܝ̱ ܡܟܺܝܪܳܐ ܐ̱ܢܳܐ
ܫܠܺܝܚܳܐ ܕܡܰܟܪܰܢܝ̱ ܠܳܟ ܐܡܰܪ ܠܺܝ ܕܛܰܢܳܢܳܐ ܐܰܢ̱ܬ
ܕܫܽܘܪܳܐ ܕܢܰܟܦ̈ܳܬܳܐ ܛܢܳܢܰܐ ܗ̱ܘ ܕܓܰܒܪ̈ܰܝܗܶܝܢ

14.

ܝܰܡ̈ܡܶܐ ܫܓܶܫ ܫܶܡܫܽܘܢ ܕܛܰܢ ܒܰܐܢ̱ܬܬܶܗ ܪܰܒܰܬ
ܟܰܕ ܛܳܒ ܡܣܰܝܰܒܬܳܐ ܗ̱ܝ ܘܰܥܠܰܘܗ̱ܝ ܦܠܺܝܓܳܐ ܗܘܳܬ
ܛܰܪ ܥܺܕܬܳܟ ܕܰܐܚܪܺܝܢ ܠܳܐ ܐܺܝܬ ܠܳܗ̇ ܥܰܡܳܟ

15.

ܟܽܠ ܡܰܢ ܕܠܳܐ ܛܳܐܶܢ ܒܰܡܟܺܝܪܬܶܗ ܫܺܝܛܳܐ ܗ̱ܝ
ܛܢܳܢܰܐ ܗ̱ܘ ܡܨܶܐ ܡܰܘܕܰܥ ܚܽܘܒܳܐ ܕܒܰܡܨܰܥܬܳܐ
ܐܶܬܩܪܰܝܬ ܛܰܢܳܢܳܐ ܕܚܽܘܒܳܟ ܬܚܰܘܶܐ ܠܺܝ

16.

ܟܝܳܢ ܐܰܢ̱ܬܬܳܐ ܗܳܢܰܘ ܡܚܺܝܠܳܐ ܘܡܰܪܳܚܳܐ
ܛܢܳܢܰܐ ܗ̱ܘ ܣܳܐܶܡ ܠܳܗ̇ ܬܚܶܝܬ ܕܶܚܠܬܳܐ ܟܽܠܫܳܥ
ܟܰܢܝܽܘܟ ܒܛܰܢ̈ܳܢܶܐ ܕܬܰܘܕܰܥ ܒܛܺܝܠܽܘܬܳܟ

17.

ܟܽܠ ܐ̱ܢܳܫ ܗܘܳܐ ܡܳܪܳܐ ܠܡܶܕܶܡ ܕܠܳܐ ܕܺܝܠܶܗ
ܟܽܠ ܐ̱ܢܳܫ ܢܦܼܰܩ ܟܰܢܶܫ ܡܶܕܶܡ ܕܠܳܐ ܒܰܕܰܪ
ܝܰܘܡܳܐ ܕܒܽܘܠܒܳܠܳܐ ܙܰܡܢܶܬ ܠܺܝ ܒܚ̈ܰܘܒܰܝ

18.

ܟܡܳܐ ܢܣܰܝܒܪܽܘܢ ܚܰܫܳܐ ܠܐܰܝ̈ܳܐ ܘܦܰܠܳܚ̈ܶܐ
ܩܕܳܡܰܘܗ̱ܝ ܕܦܰܠܳܚܳܐ ܥܰܒܕ̈ܰܘܗ̱ܝ ܦܣܼܰܩܘ̱ ܘܰܛܥܼܶܢܘ̱
ܠܥܳܢ̈ܰܘܗ̱ܝ ܕܰܐܟܳܪܳܐ ܙܰܪ̈ܥܰܘܗ̱ܝ ܚܨܰܕܘ̱ ܘܰܣܼܒܰܠܘ̱

19.

ܟܕܶܢܘ̱ ܗ̱ܘܰܘ ܙܪܰܥܼܘ̱ ܘܰܫܦܰܢܘ̱ ܘܰܦܠܼܰܚܘ̱ ܢܨܰܒܘ̱ ܪܰܒܺܝܘ̱
ܩܳܡܘ̱ ܡܶܢ ܩܒܽܘܠ ܘܰܒܟܰܘ ܘܰܣܠܼܶܩܘ̱ ܣܪܺܝܩ ܡܶܢ ܟܽܠ
ܥܰܡܳܐ ܠܦܰܠܳܚ̈ܶܐ ܥܰܠܠܰܬ ܠܒ̈ܳܙܽܘܙܶܐ

20.

ܠܳܐ ܡܳܪܝ̱ ܥܒܰܕܘ̱ ܪ̈ܺܝܫܶܐ ܛܶܟ̈ܣܶܐ ܒܓܰܘ ܪܽܘܓܙܳܐ
ܐܶܠܽܘ ܨܒܰܘ ܛܰܟܶܣܘ̱ ܠܳܐ ܕܶܝܢ ܫܒܼܰܩܘ̱ ܥܰܘܼܠܰܢ
ܟܰܕ ܛܳܒ ܦܟܶܗ ܪܽܘܓܙܳܐ ܠܡܶܒܰܙ ܢܩܳܐ ܪܽܘܓܙܳܐ

21.

ܠܰܐܝܢܳܐ ܡܶܢ ܟܽܠ ܓܰܒ̈ܰܝ ܐܶܚܽܘܪ ܕܶܐܬܒܰܝܰܐ
ܒܫ̈ܶܬܠܳܬܝ ܕܶܐܬܚܰܝܰܒ ܒܬܰܩ̈ܢܳܬܝ̱ ܕܶܐܬܚܰܒܰܠ
ܛܳܒܳܐ ܕܩܳܠ ܫܰܝܢܳܐ ܟܰܪܝܽܘܬܝ̱ ܢܦܰܝܶܓ ܡܶܢܝ̱

22.

ܠܳܐ ܬܰܫܠܡܰܢܝ̱ ܕܰܠܡܳܐ ܐܶܣܬܒܰܪ ܕܶܐܓܰܪܬܳܐ
ܝܰܗܼܒܬ ܠܺܝ ܕܕܽܘܠܳܠܳܐ ܘܰܫܪܰܝܬ ܫܰܡܰܪܬܳܢܝ̱
ܠܳܐ ܡܳܪܝ̱ ܢܶܩܪܽܘܢܳܢܝ̱ ܫܒܺܝܩܬܳܐ ܘܰܡܨܰܥܰܪܬܳܐ

23.

ܠܳܐ ܐܺܝܬ ܠܺܝ ܡܶܕܶܡ ܕܶܐܬܕܟܰܪ ܩܕܳܡ ܥܰܝ̈ܢܰܝܟ
ܕܰܒܟܽܘܠܝ̱ ܒܣܺܝܪܳܐ ܐ̱ᾞܢܳܐ ܐܶܬܕܟܰܪ ܠܺܝ ܐܰܠܳܗܝ̱
ܗܳܕܶܐ ܠܚܽܘܕ ܕܰܐ̱ܚܪܺܝܢ ܠܳܐ ܣܺܝܡ ܠܺܝ ܥܰܡܳܟ

24.

ܡܰܢܽܘ ܕܠܳܐ ܢܶܒܟܶܝܢܝ̱ ܒܩܳܠܳܐ ܘܒܽܐܘܠܺܝܬܳܐ
ܕܰܩܕܳܡ ܟܶܣܐܳܐ ܝܰܘܡܺܝ̈ܢ ܢܰܟܦܬܳܐ ܘܰܡܟܰܠܠܰܬܳܐ
ܘܒܳܬܰܪ ܟܶܣܐܳܐ ܝܰܘܡܺܝ̈ܢ ܓܠܺܝܬܳܐ ܘܰܡܦܰܪܣܰܝܬܳܐ

25.

ܢܰܟ̈ܦܳܬܝ̱ ܕܬܰܘ̈ܳܢܶܐ ܦܳܗܶܝܢ ܒܚܰܩ̈ܠܳܬܳܐ
ܕܪܽܘܓܙܳܐ ܕܰܠܟܽܠ ܡܰܪܘܶܐ ܐܶܙܰܠ ܠܝܰܩܺܝܪ̈ܳܬܝ̱
ܚܢܳܢܳܟ ܡܫܰܝܶܢ ܟܽܠ ܢܢܰܟܶܦ ܠܚܰܒܺܝ̈ܒܳܬܝ̱

26.

ܣܳܒ̈ܳܬܝ ܘܝ̈ܳܠܽܘܕܳܬܝ ܗܳܐ ܓ̇ܳܥܶܝܢ ܩܽܘܕܡܰܝܟ
ܕܛ̈ܰܠܝܳܢ ܒܩ̈ܳܠܰܝܗܶܝܢ ܕܣܳܒ̈ܳܢ ܒܕܶܡ̈ܥܰܝܗܶܝܢ
ܒܬܽܘ̈ܠܳܬܝ ܒܨܰܘܡ̈ܰܝܗܶܝܢ ܢܰܟ̈ܦܳܬܝ ܒܣܰܩ̈ܰܝܗܶܝܢ

27.

ܥܰܝ̈ܢܰܝ ܠܟܽܠ ܫ̈ܽܘܩܺܝܢ ܫܶܩܠܶܬ ܘܗܳܐ ܨܳܕܶܝܢ
ܦܳܫܘ̱ ܡܶܢ ܡܳܐܐ ܥܶܣܪܳܐ ܘܰܐܠܦܳܐ ܡܶܢ ܪܶܒܽܘܬܳܐ
ܫܰܝܶܢ ܡܠܺܝ ܫܽܘܩ̈ܰܝ ܪܒܳܒܬܳܐ ܕܥܳܡܽܘܪ̈ܰܝ

28.

ܦܰܢܳܐ ܠܒܰܪ̈ܳܝܶܐ ܘܚܰܕܳܐ ܠܓܰܘ̈ܳܝܶܐ
ܪܰܒܳܐ ܗܳܐ ܛܰܝܒܽܘܬܳܟ ܕܬܶܦܪܽܘܣ ܠܓܰܘ ܘܰܠܒܰܪ
ܢܟܰܢܫܰܢ ܠܦܰܪ̈ܽܘܓܰܝ ܟ̈ܶܢܦܶܐ ܕܛܰܝܒܽܘܬܳܟ

29.

ܨܠܽܘܬܳܐ ܕܙܰܕܺܝ̈ܩܰܝ ܬܢܰܛܰܪ ܠܥܳܪ̈ܽܘܩܰܝ
ܕܠܳܐ ܡܗܰܝܡܢܺܝܢ ܬܰܒܪܽܘܢܝ̱ ܘܕܰܡܗܰܝܡܢܺܝܢ ܣܰܡܟܽܘܢܝ̱
ܒܰܡܗ̈ܰܝܡܢܶܐ ܚܰܣܶܕ ܠܰܐܝܠܶܝܢ ܕܠܳܐ ܗܰܝܡܶܢܘ̱

30.

ܩܪܶܒܘ̱ ܗ̱ܘܰܘ ܒܚܰܕ ܝܰܘܡܳܐ ܥܺܐܕ̈ܶܐ ܬܪ̈ܶܝܢ ܐܰܝܟ ܚܰܕ
ܥܺܐܕܳܐ ܕܣܽܘܠܳܩܳܟ ܘܥܺܐܕܳܐ ܕܰܐܬܠܺܝ̈ܛܰܝܟ
ܥܺܐܕܳܐ ܕܰܩܛܰܪ ܬܳܓܳܟ ܘܕܽܘܟܪܳܢ ܟܠܺܝܠ ܥܰܒܕ̈ܰܝܟ

31.

ܪܰܚܶܡ ܕܥܰܦܘ̱ ܗ̱ܘܰܘ ܠܰܢ ܥܺܐܕ̈ܶܐ ܒܚܰܕ ܝܰܘܡܳܐ
ܘܥܰܦܘ̱ ܠܰܢ ܚܠܳܦܰܝܗܽܘܢ ܥܺܐܕ̈ܶܐ ܬܪ̈ܶܝܢ ܐܰܟܚܰܕ
ܚܰܫܳܐ ܡܶܢ ܩܳܠ ܛܳܒܳܐ ܘܶܐܒܠܳܐ ܡܶܢ ܚܽܘܒܠܳܐ

32.

ܫܰܝܶܢ ܠܥܰܕܥܺܐܕ̈ܰܝ ܕܰܒܼܛܶܠܘ̱ ܬܪ̈ܶܝܢ ܥܺܐܕ̈ܰܝ
ܘܰܚܠܳܦ ܪܽܘܓܪ̈ܳܓܶܐ ܣܪܺܝܕ̈ܰܝ ܒܥܰܕ̈ܥܺܕܶܐ
ܓܽܘܢܳܚ̈ܶܐ ܘܚܽܘܒ̈ܠܶܐ ܦܓܰܥܼܘ̱ ܒܺܝ ܒܟܽܘܠ ܕܽܘܟܳܐ

33.

ܬܰܦܢܶܐ ܠܪ̈ܰܚܺܝܩܰܝ ܬܰܦܨܰܚ ܠܩܰܪ̈ܺܝܒܰܝ
ܘܶܬܬܟܪܶܙ ܒܓܰܘ ܐܰܬܪܰܢ ܣܒܰܪܬܳܐ ܕܚܰܕ̈ܘܳܬܳܐ
ܘܶܐܦܪܽܘܥ ܚܠܳܦ ܫܰܝܢܳܐ ܫܽܘܒܚܳܐ ܒܟܽܘܠ ܦܽܘ̈ܡܺܝܢ

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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