Hymn XIV (Carmina Nisibena XIV)
Hymn XIV is the hymn of the three shepherds — Jacob, Vologeses, and Abraham — and the most theologically elaborate of the cycle so far. The ostensible subject is the three bishops, but the hymn pivots almost immediately into a typological excursus on the golden calf and the Cross, presented as two rival "sons" born of two rival mothers: the calf born of Fire, multiplying fire in the people; the Cross born of Grace, distributing blessing to all creation. The pivot is the ear-ring typology: Aaron stripped earrings from the people to forge a dead idol; the third priest (Abraham) pierced the ears of the heart and set in them holy ornaments forged from the nails of the Cross. The typological excursus culminates in the "firstborn" paradox: the Cross stories, though born in the last times, are the firstborn of creation — for the one who is without beginning is himself the firstborn of all created things (Colossians 1:15). The speaker then asks the grand cosmic stories to give place so he can speak of the three bishops. The developmental sequence follows: Jacob gave milk, Vologeses gave seasoning, Abraham gave solid food — each bishop matched to a stage of growth (infancy, youth, maturity) and a pedagogical mode (caressing-and-frightening, rebuking-and-gladdening, peaceful-and-pleasant). The same three-fold pattern is applied to God's own pedagogy of Israel. The eschatological close is a triple presentation: before the Rich One, the treasury of Jacob's labor; before the Redeemer, the ransom-captives of Vologeses; before the Bridegroom, the oil-filled lamps of Abraham. The sinner — nursling of all three — asks only to glean the crumbs beneath the three tables, crumbs that are full of life.
I.
To three shepherds many occasions came;
to one mother-city, daughters came from every quarter.
Let peace build her churches, for wrath has destroyed her monasteries.
Refrain: Blessed who chose all three.
II.
The good labor of the first bound her to the earth in her tribulations;
the bread and wine of the middle one wrapped the city in its breaking.
The sweet speech of the last sweetened our bitterness in affliction.
III.
The first plowed the earth with labor, uprooting thicket and thorns from her;
the middle one enclosed her flock with the redeemed and made a fence for her.
The last opened the treasury of his Lord and sowed in her the words of her Lord.
IV.
The first priest through fasting closed the doors of mouths;
the second priest in captivities opened the mouths of the purse.
The last pierced ears and cast into them the ornament of life.
V.
Aaron stripped ears from the holy ones and made the calf —
the dead calf secretly gored its slaughter against the camp.
Those who forged its horns — it gored them with its horns.
VI.
Our third priest pierced the ears of the heart
and cast into them holy ornaments he had forged
from the nails driven into the cross on which his Lord was crucified — and he revived his companions.
VII.
The son that Death bore — Fire was his mother — Death feeds all bodies.
The Son of Death who conquered Death tended the souls of humanity.
The calf abandoned its flock; thoughts became its shepherd.
VIII.
For the tree — first and murderous — Grace bore it a son:
the upright one, son of the cross, who fought against the one who bore him.
The tree became the spring of death; the cross became the spring of life.
IX.
The son who belonged to Death — all mouths are open to curse him;
he swallowed bodies and souls and multiplied shame for his father.
But the Cross removed the disgrace of his father, the first tree.
X.
Both sons resembled their mothers who bore them —
the calf that Fire bore spread fire among the people;
the Cross, child of Grace, distributed blessings to all creation.
XI.
O my tongue, be still and silent before the overwhelming stories of the Cross,
which Thought conceived in stillness — and lo, her birth-pangs strike her.
She conceived them in the last times, and they desire to be firstborn.
XII.
The fetuses wrestled in the womb — the elder ran to come out first
and seized his heel; the younger, desiring firstborn status,
though he did not take it by birth, took it through cooking.
XIII.
So too the latter-day stories press hard upon the first ones
to go forth and claim firstborn status — let the lineage of our fathers bear fruit.
For lo, the stories of the Cross are the firstborn of creation.
XIV.
For if the one who is without beginning is himself the firstborn of all creation,
his stories too are firstborn, older than created things.
Let your stories, my Lord, give place that I may speak of your servants.
XV.
The first in the rank of instruction — his speech matched his rank;
the middle one in the second rank — his exposition surpassed his rank.
The last in the third generation — his speech grew to equal it.
XVI.
The first in plain matters gave milk to the city's infancy;
the middle one in tender things gave seasoning to its youth;
the third in perfect things gave solid food to its maturity.
XVII.
Even she, the daughter of nurture, went up grade by grade
with her teachers and her fathers —
she was a child with the first, simple with the middle, perfected in the third.
XVIII.
The first, as to a young child, used to caress her and frighten her;
the middle one, as to a young woman, used to rebuke her and gladden her;
the last, as to a scholar, was peaceful and pleasant to her.
XIX.
Even the High One — to the daughter of Jacob, he gave rod and staff in her youth,
and for her insolence and young womanhood joined sword and Law,
and as to a ripe woman, he came to her peacefully and pleasantly.
XX.
The first who fathered the flock carried her infancy in his bosom;
the middle one of joyful face nurtured and gladdened her youth;
the last of grave face — lo, he rebukes her adulthood.
XXI.
The first priest who begot her gave milk to her infancy;
the middle priest interpreted and gave seasoning to her childhood;
the third priest nourished and gives solid food to her health.
XXII.
The diligent first father laid up treasures for her childhood;
the middle one for her maturity multiplied provisions for her journey;
the third, a splendid olive tree, multiplied oil in her vessels.
XXIII.
When she arrives before the Rich One, she displays the treasury of the first;
when she arrives before the Redeemer, she displays the redeemed of the middle one;
when she goes out to meet the Bridegroom, she displays the oil in her lamps.
XXIV.
Before the one who rewards the weary, she offers the labor of the first;
before the one who loves givers, she offers the almsgiving of the middle one;
before the one who judges teachings, she offers the exposition of the last.
XXV.
And the sinner who labored — who is the nursling of all three —
when they see the third in the door of his bridal chamber,
let all three plead for me that his door may open just a little.
XXVI.
Let the sinner press in and enter, joyful and fearful in the morning —
let our three teachers call to one student in grace;
let me glean beneath the tables the crumbs full of life.
Colophon
Carmina Nisibena XIV — 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: tricolon stanzas — three long cola per stanza, roughly 12-syllable lines. Melody: ܒ ܒܰܪ ܩܳܠܶܗ (melody 2 "Bar Qaleh"). Refrain (ʿunīthā): ܒܪܺܝܟ ܕܰܓܒܳܐ ܠܰܬܠܳܬܰܝܗܽܘܢ — Blessed who chose all three — sung after stanza I; the doxology refers to the three bishops. No consistent alphabetical acrostic detected (stanza-initial letters do not follow standard alphabetical sequence).
Voice and structure: Five movements: (I) The triadic address (I–III) — three bishops mapped to their characteristic ministries: Jacob bound the city to the earth through pastoral labor, Vologeses enclosed the flock with the redeemed through the Eucharist's breaking, Abraham sowed the word. (II) The typological excursus: Aaron's calf versus the Cross (IV–X) — the ear-ring typology organizes the excursus: Aaron stripped earrings to forge the dead calf; the third bishop pierced the ears of the heart and set in them ornaments forged from the Cross's nails. The two "sons" — calf born of Fire, Cross born of Grace — are contrasted in their origins, actions, and ends: the calf multiplied fire; the Cross distributed blessing. (III) The firstborn paradox (XI–XIV) — the Cross stories, born in the last times, wrestle like Jacob for firstborn status; the speaker invokes Colossians 1:15 (Christ as firstborn of creation) to argue that his stories are the oldest of all; then asks permission to speak the smaller stories of the three bishops. (IV) The developmental sequence (XV–XXII) — three stages of growth mapped to the three bishops; the same pattern applied to God's own pedagogy of Israel and Nisibis (rod/staff for youth, sword/Law for insolence, peace for maturity). (V) The eschatological close (XXIII–XXVI) — Nisibis presents her inheritance before three divine judges (Rich One / Redeemer / Bridegroom); the sinner, nursling of all three, gleans the crumbs beneath the tables.
Key translation choices: ܥ̈ܶܠܳܢܶܐ (I) = occasions — the many pastoral challenges and demands that came to each of the three bishops; ܚܶܫܠܰܬ ܚ̈ܰܝܶܐ (IV) = the ornament of life — the ring/earring of life forged by the third bishop; contrast with Aaron's ear-stripping to forge the idol; the ornament is explicitly smelted from the Cross's nails; ܬܰܪܥܺܝܬܳܐ ܡܶܢ ܫܶܠܝ (XI) = Thought in stillness — the divine Mind that conceived the Cross's stories quietly; the birth-pangs following a quiet conception; ܒܽܘܟܪܽܘܬܳܐ (XII–XIV) = firstborn status — the birthright Jacob stole through lentil stew serves as an analogy for how the Cross's stories claim priority in the last times; ܒܽܘܫܳܠܳܐ (XII) = cooking — Jacob took the birthright not from birth but through the cooking of his stew; the Cross takes firstborn status not from primordial priority but through its work in the last age; ܛܥܽܘܡܳܐ (XVI/XXI) = seasoning/flavor — the middle bishop's characteristic gift to the city's youth; taste and savor as the developmental category between milk and solid food (Hebrews 5:12–14 resonance); ܥܰܡܠܶܗ / ܙܶܕܩܶܗ / ܕܪܺܝܫܶܗ (XXIV) = his labor / his almsgiving / his exposition — the three gifts Nisibis presents in the eschatological court, one from each bishop; ܓܢܽܘܢܶܗ (XXV) = his bridal chamber — the eschatological bridal chamber of the third bishop identified with the door of the Kingdom; ܦܰܪ̈ܬܽܘܬܳܐ ܕܰܡܠܶܝܢ ܚܰܝ̈ܶܐ (XXVI) = crumbs full of life — the Syrophoenician woman's word (Matthew 15:27 / Mark 7:28); the crumbs beneath the bishops' tables are themselves alive.
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 14 (Carmina Nisibena 14)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܒ ܒܰܪ ܩܳܠܶܗ
1.
ܠܰܬܠܳܬܳܐ ܪ̈ܳܥܰܘܳܬܳܐ ܥ̈ܶܠܳܢܶܐ ܗ̱ܘܰܘ ܣܰܓ̈ܺܝܐܶܐ
ܠܰܚܕܳܐ ܐܶܡܳܐ ܕܰܒܟܳܪܟܳܐ ܒ̈ܢܳܬܳܐ ܗ̈ܘܰܝ ܠܳܗ̇ ܒܟܽܠ ܦܶܢ̈ܝܳܢ
ܕܰܐܚܪܶܒ ܪܽܘܓܙܳܐ ܕܰܝܪ̈ܳܬܳܗ̇ ܢܶܒܢܼܶܐ ܫܰܝܢܳܐ ܥܺܕ̱̈ܳܬܳܗ̇
2.
ܥܰܡܠܶܗ ܛܳܒܳܐ ܕܩܰܕܡܳܝܳܐ ܨܶܡܕܳܗ̇ ܠܰܐܪܥܳܐ ܒܽܐܘܠܨܳܢܳܗ̇
ܠܰܚܡܶܗ ܘܚܰܡܪܶܗ ܕܡܶܨܥܳܝܳܐ ܠܟܳܪܟܳܐ ܥܰܨܒܶܗ ܒܰܬܒܳܪܶܗ
ܚܰܠܺܝ ܡܶܪܬܰܢ ܒܽܐܘܠܨܳܢܳܐ ܡܡܰܠܠܶܗ ܚܰܠܝܳܐ ܕܰܐ̱ܚܪܳܝܳܐ
3.
ܩܰܕܡܳܐ ܦܠܼܰܚ ܐܰܪܥܳܐ ܒܥܰܡܠܳܐ ܥܩܰܪ ܡܶܢܳܗ̇ ܝܰܥܪܳܐ ܘܟܽܘܒ̈ܶܐ
ܡܶܨܥܳܝܳܐ ܐܰܟܪܶܟ ܣܓܳܗ̇ ܒܰܦܪ̈ܺܝܩܶܐ ܣܝܳܓܳܐ ܥܒܼܰܕ ܠܳܗ̇
ܐ̱ܚܪܳܝܳܐ ܦܬܼܰܚ ܐܰܘܨܰܪ ܡܳܪܶܗ ܘܰܙܪܰܥܼ ܒܳܗ̇ ܡ̈ܶܠܰܝ ܡܳܪܳܗ̇
4.
ܟܳܗܢܳܐ ܩܰܕܡܳܐ ܒܝܰܕ ܨܰܘܡܳܐ ܬܰܪ̈ܥܶܐ ܕܦܽܘܡ̈ܶܐ ܐܶܚܰܕ ܗ̱ܘܳܐ
ܟܳܗܢܳܐ ܕܰܬܪ̈ܶܝܢ ܒܰܫܒܰܝ̈ܳܐ ܦܽܘܡ̈ܶܐ ܕܟܺܝܣܳܐ ܦܳܬܰܚ ܗ̱ܘܳܐ
ܐ̱ܚܪܳܝܳܐ ܕܶܝܢ ܢܳܩܶܒ ܐܶܕ̈ܢܶܐ ܘܰܐܪܡܺܝ ܒܗܶܝܢ ܚܶܫܠܰܬ ܚ̈ܰܝܶܐ
5.
ܐܰܗܪܽܘܢ ܫܰܠܰܚ ܗ̱ܘܳܐ ܐܶܕ̈ܢܶܐ ܡܶܢ ܩܰܕܫ̈ܶܐ ܘܥܰܒܼܰܕ ܥܶܓܠܳܐ
ܥܶܓܠܳܐ ܡܺܝܬܳܐ ܟܰܣܝܳܐܺܝܬ ܕܰܩܰܪ ܩܶܛܠܳܗ̇ ܠܡܰܫܪܺܝܬܳܐ
ܠܗܳܢܽܘܢ ܕܰܚܫܰܠܘ̱ ܩܰܪ̈ܢܳܬܶܗ ܦܰܪܶܬ ܐܶܢܽܘܢ ܒܩܰܪ̈ܢܳܬܶܗ
6.
ܟܳܗܢܰܢ ܕܶܝܢ ܬܠܺܝܬܳܝܳܐ ܐܶܕ̈ܢܰܝ ܠܶܒܳܐ ܢܳܩܶܒ ܗ̱ܘܳܐ
ܘܰܐܪܡܺܝ ܗ̱ܘܳܐ ܩܕ̈ܳܫܶܐ ܕܰܚܼܫܰܠ ܡܶܢ ܨ̈ܶܨܶܐ ܕܶܐܬܩܒܰܥܘ̱ ܗ̱ܘܰܘ
ܒܰܙܩܺܝܦܳܐ ܕܰܙܩܼܰܦ ܡܳܪܶܗ ܘܰܐܚܺܝ ܗ̱ܘܳܐ ܠܰܟܢܰܘ̈ܳܬܶܗ
7.
ܒܼܪܳܐ ܠܡܰܘܬܳܐ ܝܳܠܕܳܐ ܢܽܘܪܳܐ ܡܰܘܬܳܐ ܪܳܥܶܐ ܟܽܠ ܦܰܓܪ̈ܺܝܢ
ܒܰܪ ܡܰܘܬܳܐ ܕܰܙܟܼܳܐ ܠܡܰܘܬܳܐ ܢܰܦܫ̈ܳܬܳܐ ܕܐ̱ܢܳܫܳܐ ܪܥܼܳܐ ܗ̱ܘܳܐ
ܥܶܓܠܳܐ ܓ̈ܶܠܶܐ ܐܰܪܦܺܝ ܗ̱ܘܳܐ ܕܪ̈ܶܥܝܳܢܶܐ ܪܳܥܝܳܐ ܗܘܰܘ ܠܶܗ
8.
ܠܩܰܝܣܳܐ ܩܰܕܡܳܐ ܘܩܳܛܽܘܠܳܐ ܒܼܪܳܐ ܝܶܠܕܰܬ ܠܶܗ ܛܰܝܒܽܘܬܳܐ
ܐܰܘ ܨܰܠܝܳܐ ܝܰܠܕܳܐ ܕܩܰܝܣܳܐ ܕܰܐܩܪܶܒ ܠܽܘܩܒܰܠ ܝܳܠܽܘܕܶܗ
ܩܰܝܣܳܐ ܗܘܳܐ ܢܶܒܥܳܐ ܕܡܰܘܬܳܐ ܙܩܺܝܦܳܐ ܗܘܳܐ ܢܶܒܥܳܐ ܕܚ̈ܰܝܶܐ
9.
ܒܼܪܳܐ ܕܰܗܘܳܐ ܗ̱ܘܳܐ ܠܶܗ ܠܡܰܘܬܳܐ ܟܽܠ ܦܽܘܡܺܝ̈ܢ ܦܬܺܝܚܺܝܢ ܠܳܛܽܘܗ̱ܝ
ܒܠܼܰܥ ܗ̱ܘܳܐ ܦܰܓܪ̈ܶܐ ܘܢܰܦܫ̈ܳܬܳܐ ܘܰܐܣܓܺܝ ܠܰܐܒܽܘܗ̱ܝ ܟܽܘܐܳܪܳܐ
ܙܩܺܝܦܳܐ ܕܶܝܢ ܐܰܥܒܰܪ ܚܶܣܕܶܗ ܕܰܐܒܽܘܗ̱ܝ ܩܰܝܣܳܐ ܩܰܕܡܳܝܳܐ
10.
ܒ̈ܢܰܝܳܐ ܬܪ̈ܰܝܗܽܘܢ ܐܶܬܕܰܡܺܝܘ ܠܶܐܡ̈ܗܳܬܳܐ ܕܺܝܠܶܕ ܐܶܢܽܘܢ
ܥܶܓܠܳܐ ܕܺܝܠܶܕܬܶܗ ܢܽܘܪܳܐ ܢܽܘܪܳܐ ܒܥܰܡܳܐ ܐܰܣܶܦ ܗ̱ܘܳܐ
ܙܩܺܝܦܳܐ ܝܰܠܕܳܐ ܕܛܰܝܒܽܘܬܳܐ ܛܽܘ̈ܒܶܐ ܦܰܠܶܓ ܠܰܒܪܺܝܬܳܐ
11.
ܐܳܘ ܠܶܫܳܢܝ̱ ܫܳܠܶܐ ܘܫܰܬܶܩ ܫܰܪ̈ܒܶܐ ܬܟܺܝ̈ܒܶܐ ܕܰܙܩܺܝܦܳܐ
ܕܒܶܛܢܰܬ ܡܶܢ ܫܶܠܝ ܬܰܪܥܺܝܬܳܐ ܘܗܳܐ ܡܳܚܶܝܢ ܠܳܗ̇ ܚܒܳܠܰܝ̈ܗܽܘܢ
ܒܶܛܢܰܬ ܐܶܢܽܘܢ ܒܰܐ̱ܚܪ̈ܳܝܶܐ ܘܰܕܢܶܗܘܽܘܢ ܒܽܘܟܪ̈ܶܐ ܨܳܒܶܝܢ
12.
ܐܰܩܪܶܒܘ̱ ܥܽܘ̈ܠܶܐ ܒܓܰܘ ܟܰܪܣܳܐ ܪܗܰܛ ܗ̱ܘܳܐ ܕܢܶܦܽܘܩ ܩܰܫܺܝܫܳܐ
ܘܰܐܪܡܺܝ ܐܺܝܕܶܗ ܥܰܠ ܥܶܩܒܶܗ ܙܥܽܘܪܳܐ ܪܳܚܶܡ ܒܽܘܟܪܽܘܬܳܐ
ܕܠܳܐ ܫܰܩܠܳܗ̇ ܡܶܢ ܡܰܘܠܳܕܳܐ ܫܰܩܠܳܗ̇ ܗ̱ܘܳܐ ܡܶܢ ܒܽܘܫܳܠܳܐ
13.
ܒܶܗ ܒܰܙܢܳܐ ܫܰܪ̈ܒܶܐ ܐ̱ܚܪ̈ܳܝܶܐ ܗܳܐ ܡܰܩܠܶܝܢ ܥܰܠ ܩܰܕܡ̈ܳܝܶܐ
ܕܢܶܦܩܽܘܢ ܢܶܣܒܽܘܢ ܒܽܘܟܪܽܘܬܳܐ ܢܰܘܠܶܕ ܫܰܪܒܳܐ ܕܰܐܒܳܗ̈ܰܝܢ
ܗܳܐ ܓܶܝܪ ܫܰܪ̈ܒܰܘܗ̱ܝ ܕܰܙܩܺܝܦܳܐ ܒܽܘܟܪ̈ܶܝܗ̇ ܐܶܢܽܘܢ ܕܰܒܪܺܝܬܳܐ
14.
ܐܶܢ ܓܶܝܪ ܗܰܘ ܕܰܕܠܳܐ ܫܽܘܪܳܝ ܗܽܘܝܽܘ ܒܽܘܟܪܳܐ ܕܟܽܠ ܒܶܪ̈ܝܳܢ
ܒܽܘܟܪ̈ܶܐ ܐܶܢܽܘܢ ܐܳܦ ܫܰܪ̈ܒܰܘܗ̱ܝ ܕܩܰܫܺܝܫܺܝܢ ܡܶܢ ܒܶܪ̈ܝܳܬܳܐ
ܢܶܬܠܽܘܢ ܡܳܪܝ̱ ܐܰܬܪܳܐ ܫܰܪ̈ܒܰܝܟ ܕܢܶܫܬܰܥܶܐ ܥܰܠ ܫܰܡ̈ܳܫܰܝܟ
15.
ܩܰܕܡܳܐ ܒܰܕܪܰܓ ܬܽܘܠܡܳܕܳܐ ܡܰܡܠܠܶܗ ܠܕܰܪܓܶܗ ܐܶܬܕܰܡܺܝ
ܡܶܨܥܳܝܳܐ ܒܕܰܪܓܳܐ ܕܰܬܪ̈ܶܝܢ ܣܠܼܶܩ ܬܽܘܪܓܳܡܶܗ ܥܰܠ ܕܰܪܓܶܗ
ܐ̱ܚܪܳܝܳܐ ܒܕܳܪܳܐ ܕܰܬܠܳܬܳܐ ܐܺܝܪܶܒ ܡܰܡܠܠܶܗ ܐܰܟܘܳܬܶܗ
16.
ܩܰܕܡܳܝܳܐ ܒܰܦܫ̈ܺܝܛܳܬܳܐ ܝܰܗ̱ܒ ܚܰܠܒܳܐ ܠܺܝܠܽܘܕܽܘܬܶܗ
ܡܶܨܥܳܝܳܐ ܒܕ̈ܰܠܺܝܠܳܬܳܐ ܝܰܗ̱ܒ ܗ̱ܘܳܐ ܛܥܽܘܡܳܐ ܠܫܰܒܪܽܘܬܶܗ
ܬܠܺܝܬܳܝܳܐ ܒܰܓܡܺܝܪ̈ܳܬܳܐ ܝܰܗ̱ܒ ܐܽܘܟܠܳܐ ܠܰܓܡܺܝܪܽܘܬܶܗ
17.
ܐܳܦ ܗܺܝ ܒܰܪܬܳܐ ܕܬܰܪܒܺܝܬܳܐ ܒܕܰܪ̈ܓܺܝܢ ܕܰܪ̈ܓܺܝܢ ܣܶܠܩܰܬ ܗܘܳܬ
ܥܰܡ ܪ̈ܰܒܳܢܝܶܗ̇ ܘܰܐܒܳܗ̈ܶܝܗ̇ ܫܰܒܪܳܐ ܗܘܳܬ ܥܰܡ ܩܰܕܡܳܝܳܐ
ܦܫܺܝܛܳܐ ܗܘܳܬ ܥܰܡ ܡܶܨܥܳܝܳܐ ܐܶܬܓܰܡܪܰܬ ܒܰܬܠܺܝܬܳܝܳܐ
18.
ܩܰܕܡܳܝܳܐ ܐܰܝܟ ܠܰܫܒܰܪܬܳܐ ܡܚܰܒܶܒ ܗ̱ܘܳܐ ܘܰܡܕܰܚܶܠ ܗ̱ܘܳܐ
ܡܶܨܥܳܝܳܐ ܐܰܝܟ ܠܰܛܠܺܝܬܳܐ ܟܳܐܶܐ ܗ̱ܘܳܐ ܘܰܡܚܰܕܶܐ ܗ̱ܘܳܐ
ܐ̱ܚܪܳܝܳܐ ܐܰܝܟ ܕܰܠܡܰܠܳܦܬܳܐ ܗ̱ܘܳܐ ܠܳܗ̇ ܢܺܝܚܳܐ ܘܒܰܣܺܝܡܳܐ
19.
ܐܳܦ ܪܳܡܳܐ ܨܶܝܕ ܒܰܪ̱ܬ ܝܰܥܩܽܘܒ ܫܕܳܠܳܐ ܘܫܰܒܛܳܐ ܠܛܰܠܝܽܘܬܳܗ̇
ܘܰܠܚܽܘܨܦܳܗ̇ ܘܰܥܠܰܝܡܽܘܬܳܗ̇ ܫܰܘܬܶܦ ܣܰܝܦܳܐ ܘܢܳܡܽܘܣܳܐ
ܘܰܐܝܟ ܠܪܳܕܺܝܬܳܐ ܘܰܠܦܶܬܳܐ ܐܶܬܳܐ ܠܳܗ̇ ܢܺܝܚܳܐ ܘܒܰܣܺܝܡܳܐ
20.
ܩܰܕܡܳܐ ܕܺܝܠܶܕ ܡܰܪܥܺܝܬܳܐ ܛܥܶܢ ܥܽܘܒܶܗ ܝܺܠܽܘܕܽܘܬܳܗ̇
ܡܶܨܥܳܝܳܐ ܦܨܺܝܚ ܦܰܪܨܽܘܦܳܐ ܢܰܨܰܪ ܘܰܐܦܨܰܚ ܛܰܠܝܽܘܬܳܗ̇
ܐ̱ܚܪܳܝܳܐ ܝܰܩܺܝܪ ܦܰܪܨܽܘܦܳܐ ܗܳܐ ܡܢܰܟܶܦ ܠܰܥܠܰܝܡܽܘܬܳܗ̇
21.
ܟܳܗܢܳܐ ܩܰܕܡܳܝܳܐ ܕܺܝܠܶܕ ܝܰܗ̱ܒ ܚܰܠܒܳܐ ܠܺܝܠܽܘܕܽܘܬܳܗ̇
ܟܳܗܢܳܐ ܡܶܨܥܳܝܳܐ ܬܰܪܓܶܡ ܘܝܳܗܶܒ ܛܥܽܘܡܳܐ ܠܫܰܒܪܽܘܬܳܗ̇
ܟܳܗܢܳܐ ܕܰܬܠܳܬܳܐ ܬܰܪܣܺܝ ܘܝܳܗܶܒ ܐܽܘܟܠܳܐ ܠܰܚܠܺܝܡܽܘܬܳܗ̇
22.
ܐܰܒܳܐ ܟܰܫܺܝܪܳܐ ܘܩܰܕܡܳܝܳܐ ܣܳܡ ܣܺܝܡ̈ܳܬܳܐ ܠܫܰܒܪܽܘܬܳܗ̇
ܡܶܨܥܳܝܳܐ ܠܰܓܡܺܝܪܽܘܬܳܗ̇ ܐܰܣܓܺܝ ܙܘ̈ܳܕܶܐ ܠܡܰܪܕܺܝܬܳܗ̇
ܬܠܺܝܬܳܝܳܐ ܙܰܝܬܳܐ ܗܕܺܝܪܳܐ ܐܰܣܓܺܝ ܡܶܫܚܳܐ ܒܡܺܐܢܶܝ̈ܗ̇
23.
ܡܳܐ ܕܰܡܛܳܬ ܨܶܝܕ ܥܰܬܺܝܪܳܐ ܡܚܰܘܝܳܐ ܓܰܙܶܗ ܕܩܰܕܡܳܝܳܐ
ܡܳܐܕܰܡܛܳܬ ܨܶܝܕ ܦܳܪܽܘܩܳܐ ܡܚܰܘܝܳܐ ܦܪ̈ܺܝܩܶܐ ܕܡܶܨܥܳܝܳܐ
ܡܳܐ ܕܢܶܦܩܰܬ ܠܽܐܘܪܰܥ ܚܰܬܢܳܐ ܡܚܰܘܝܳܐ ܡܶܫܚܳܐ ܕܢܰܗܺܝܪ̈ܶܝܗ̇
24.
ܩܕܳܡ ܗܰܘ ܦܳܪܰܥ ܠܰܠܐܰܝ̈ܳܐ ܡܩܰܪܒܳܐ ܥܰܡܠܶܗ ܕܩܰܕܡܳܝܳܐ
ܩܕܳܡ ܗܰܘ ܪܳܚܶܡ ܝܳܗ̈ܽܘܒܶܐ ܡܩܰܪܒܳܐ ܙܶܕܩܶܗ ܕܡܶܨܥܳܝܳܐ
ܩܕܳܡ ܗܰܘ ܕܳܐܶܢ ܝܽܘ̈ܠܦܳܢܶܐ ܡܩܰܪܒܳܐ ܕܪܺܝܫܶܗ ܕܰܐ̱ܚܪܳܝܳܐ
25.
ܘܚܰܛܳܝܳܐ ܕܰܥܡܰܠ ܕܺܐܝܬܰܘܗ̱ܝ ܬܰܪܒܺܝܬܳܐ ܕܰܬܠܳܬܰܝܗܽܘܢ
ܟܰܕ ܢܶܚܙܽܘܢ ܠܰܬܠܺܝܬܳܝܳܐ ܕܰܐܚܕܶܗ ܬܰܪܥܳܐ ܕܰܓܢܽܘܢܶܗ
ܬܠܳܬܰܝܗܽܘܢ ܢܶܒܥܽܘܢ ܥܠܰܝ ܕܬܰܪܥܶܗ ܩܰܠܺܝܠ ܢܨܰܠܶܦ ܠܺܝ
26.
ܢܶܚܒܽܘܨ ܢܶܥܽܘܠ ܚܰܛܳܝܳܐ ܟܰܕ ܚܰܕܺܝ ܘܕܳܚܶܠ ܠܰܡܚܳܪ
ܢܶܩܪܽܘܢ ܬܠܳܬܳܐ ܪ̈ܰܒܳܢܰܝܢ ܠܚܰܕ ܬܰܠܡܺܝܕܳܐ ܒܛܰܝܒܽܘܬܳܐ
ܢܶܠܩܰܛ ܬܚܶܬܝ̱ ܦܳܬܽܘܪ̈ܶܐ ܦܰܪ̈ܬܽܘܬܳܐ ܕܰܡܠܶܝܢ ܚܰܝ̈ܶܐ
ܥܽܘܢܺܝܬܳܐ (Refrain): ܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܰܓܒܳܐ ܠܰܬܠܳܬܰܝܗܽܘܢ
Source Colophon
Syriac text from the Digital Syriac Corpus (DSC), file 271.xml. TEI edition CC BY 4.0 (syriaccorpus.org/271). Based on the critical edition of Edmund Beck, Carmina Nisibena (CSCO 218/219, Louvain, 1961). Transcription by Michael Oez.
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