Hymn XLI (Carmina Nisibena XLI)
Sixteen stanzas completing Satan's confession and containing the dramatic climax of the entire Death-Satan cycle (Hymns XXXV–XLI). The structure moves from Satan's soliloquy (stanzas 1–9) through an internal debate with his own servants (stanzas 10–12) to Death's taunting monologue (stanzas 13–14), and finally to the reversal at Sheol's gate (stanzas 15–16). Satan fears that Jesus will destroy thousands of years of work — he who has never known rest, never seen anything being prepared without seizing it (stanza 1). He used the multitude as his weapon: the Tower of Babel builders fought against heaven itself; how much more can they overcome one whose battle is on earth? (stanza 2). His master strategy is perpetual reversal: when the people heard "God is one," he gave them many gods; when they saw the Son of God, he pushed them back to a monotheism that denies the Son — ensuring they remain "without God" in every age (stanza 3). He plants evil habits in children, that their blemishes may grow with them — and foolish parents do not uproot what he sows (stanza 4). Instead of chains, he binds people with sloth — stripping their eyes from reading, their mouths from praise, their minds from learning; for empty talk they are diligent (stanza 5). Human wrath is a worse demon than any devil Satan sends — demons depart if pressed, but wrath is never uprooted from its place (stanza 6). The snake-charmer subdues serpents daily but cannot subdue the viper of desire within himself (stanza 7). Satan reveals his method of gradualism: he sits beside the patient man and wears him down step by step, little by little, until the one who once recoiled from sin no longer wishes to leave (stanza 8). He confesses learning patience from Adam — counting the sand of the sea to extend his endurance while waiting for humanity to multiply (stanza 9). Satan's servants debate him, citing Elisha's victories over death, but he refutes them with their own words: Elisha's bones raised one dead man in Sheol — how many more shall Jesus' death raise? (stanzas 10–11). "Small are your consolations," Satan tells his host — if Jesus raised Lazarus when dead, death cannot hold him; if he submits to death, fear greatly, for he does not die in vain (stanza 12). Death peers from his cavern and mocks the crucified Christ — "A tree caught Adam for me; blessed is the Cross that catches the Son of David!" (stanza 13). Death opens his mouth to taunt: Moses too became a god, but from hand to hand Death received him — dust returns to dust (stanza 14). Satan arrives with his host to celebrate, but finds Death mourning — the dead, at the voice of the Firstborn, have gone out from Sheol (stanza 15). In the magnificent final stanza, Satan demands that Death open Sheol's gates to mock Jesus; Death complies — and the splendor of our Lord's face streams forth. Like the Sodomites struck blind at Lot's door, they grope and seek Sheol's gate — for it has vanished (stanza 16). The refrain throughout is: "Blessed is he who came and exposed the deceits of the Cunning One."
Melody: Same melody (VII)
I.
The Evil One said:
"I was afraid of him —
of Jesus — lest perhaps
he destroy my courses.
For behold, I am the son of thousands of years,
and never once have I had rest.
I never saw anything being prepared
and neglected it or let it be.
He has come to rebuke the dissolute —
it is mourning henceforth,
for he has demolished all that I built.
Many were my labors and my teachings,
for I moulded the whole creation in every evil."
Response: Blessed is he who came and exposed the deceits of the Cunning One.
II.
"I compared my courses with the swift
and surpassed them all — striving without rest.
The multitude of the many was my weapon;
in the greatness of the crowd I rejoiced,
for it gave me room to work,
and the force of the many is hard to resist.
By the power of the multitude, a great mountain
was erected — a tower stretching to heaven.
If they fought against the heights,
how much more shall they conquer one whose battle is on earth?"
III.
"With time and its aid
I do battle discerningly.
The people heard that God is one —
I made for them a multitude of gods.
And when they saw the Son of God,
they ran back to one God —
so that as one confesses God, he denies him,
and as one zealous for him, he flees from him —
that at every time reversals may be found,
and they may be without God."
IV.
"Behold, I am the son of ages,
and upon an infant I have never looked down.
The burden of children I have often borne —
evil habits I instill in them from the beginning,
that their blemishes may grow with them.
Yet there are foolish parents
who do not uproot the seed I sow in their children;
and there are those who, like good farmers,
uproot faults from the minds of their offspring."
V.
"Instead of chains,
with sloth I have bound the people,
and they ceased and sat idle.
I stripped their senses from good things —
their eyes from reading,
their mouths from praise,
their minds from learning.
For barren and idle tales,
how eager they are — for empty talk, how diligent!
If a word of life falls among them,
they either reject it or rise and leave."
VI.
"How many satans dwell within the human being!
Yet me alone does everyone curse.
For behold, a man's wrath
is a demon that grinds him every day.
Demons resemble travelers —
they depart if pressed.
But against wrath, though all the righteous pray,
it is not uprooted from its place.
Instead of my rank envy,
everyone hates a petty and feeble demon."
VII.
"Ashamed is the enchanter and the diviner,
who subdues serpents every day —
the viper within him has rebelled against him;
the desire within him he does not subdue.
Hidden sin, like an asp —
when it breathes upon him, he is struck.
[...text damaged...]
By his craft I bring error upon him secretly.
He charms creeping things with his whispers,
but I stir up great wrath against him by my whispers."
VIII.
"I have set stings and sat and waited.
[...text damaged...]
Beside the patient man I sat,
and step by step I wore him down
to bring him to despair.
The one who recoils from sins —
by habits I conquered him,
little by little, as I trained him,
until he came under the yoke.
He entered and grew accustomed,
and no longer even wished to leave."
IX.
"I perceived and saw
that patience is what can conquer all.
When I defeated Adam, he was alone —
I left him until he begot.
And I sought other work for myself,
lest idleness taste in me.
I was counting the sand of the sea
to extend my patience,
and to test my memory if it sufficed.
When the sons of men multiplied —
before they grew too many —
among the multitude I tested them."
X.
The servants of the Evil One debated with him
and refuted his words with counterarguments:
"Behold, Elisha raised the dead
and defeated death in the upper room
and raised the widow's son —
yet behold, he is now enslaved in Sheol!"
But great was the thought of the Evil One —
with their own words he refuted their words:
"How was Elisha defeated?
For behold, in Sheol he raised the dead by his very bones!"
XI.
"If Elisha, who was small,
had great power within Sheol —
for if he raised one dead man in her,
how many dead shall he raise? —
then the death of mighty Jesus —
from this, understand
how great Jesus must be!
O my friends — by his arts he has deceived you,
and you could not contain his greatness,
that you compared him to the prophets!"
XII.
"Small are your consolations,"
the Evil One said to the sons of his order.
"For he who raised Lazarus when dead —
how can death suffice for him?
And if death overcomes him,
it is he who chose to submit to it.
And if he chooses to submit —
fear greatly!
For he does not die in vain.
A great outrage he has wrought against us:
by dying, he enters to give Adam life."
XIII.
Death peered out from within his cavern,
and when again he saw our Lord crucified,
he said: "O Raiser of the dead, where are you now?
You shall be food for me
instead of sweet Lazarus,
whose taste is still in my mouth.
Let the daughter of Jairus come and see!
Here is your cross!
The son of the widow gazes at you.
A tree caught Adam for me;
blessed is the Cross that catches the Son of David for me!"
XIV.
Death opened his mouth and said:
"Have you not heard, O Son of Mary,
that Moses, who was exalted and surpassed all —
he became a god and did the deeds of God?
He slew the firstborn and saved the firstborn;
he restrained the pestilence from the living.
I went up to the mountain with Moses,
and from hand to hand he gave him to me.
Blessed be his honor! —
for however great the son of Adam may grow,
he, the dust, to his dust returns,
for he is from the earth."
XV.
Satan came with his servants
to see our Lord cast into Sheol,
and to rejoice with Death, his ally.
But he found him gloomy and mourning —
for the dead, at the voice of the Firstborn,
came alive and went out from Sheol.
The Evil One rose up — become now a prophet! —
to Death, his kinsman:
"You have lost what you found!
As long as Jesus is within you,
to your hand shall come both the raised and the living."
XVI.
"Open for us — let us see him
and mock him!
Let us answer and say:
'Where is your power?'
For behold, three days have passed.
Let us say to him: 'O Third-day one,
who raised Lazarus on the fourth day —
raise yourself and give life to yourself!'"
Death opened the gates of Sheol —
and the splendor of our Lord's face streamed forth.
And like the Sodomites, they were struck blind —
they groped and sought Sheol's gate, for it had vanished.
Colophon
Translated from Classical Syriac by Bardaisan, a Good Works tulku, 2026. Source text: Digital Syriac Corpus (DSC), file 299.xml, CC BY 4.0 (syriaccorpus.org/299), based on the critical edition of Edmund Beck, Carmina Nisibena (CSCO 218/219, Louvain, 1961). Translation prepared directly from the Syriac. Lexical verification against Payne Smith's Thesaurus Syriacus and SEDRA (sedra.bethmardutho.org). No existing English translation of the Carmina Nisibena was consulted during translation.
This hymn completes the Death-Satan dialogue cycle (Hymns XXXV–XLI) and contains one of Ephrem's most theatrically powerful scenes. The structure moves from Satan's soliloquy (stanzas 1–9) through an internal debate with his own servants (stanzas 10–12) to Death's taunting monologue (stanzas 13–14), and finally to the reversal at Sheol's gate (stanzas 15–16). The theological center is stanza 3, where Satan reveals his strategy of perpetual reversal — making polytheists when monotheism is proclaimed, making unitarians who deny the Son when the Son appears — ensuring that "at every time reversals may be found, and they may be without God." This is Ephrem's sharpest statement of the anti-Arian polemic that runs throughout the Carmina Nisibena: the denial of Christ's divinity is not merely theological error but a satanic strategy. The final stanza is the dramatic climax of the entire cycle: Satan demands that Death open Sheol's gates to mock the crucified Christ; the gates open and Christ's glory streams forth, blinding the host of evil. The Sodomites allusion (Genesis 19:11) — blind men groping for a door that has vanished — is Ephrem at his most devastatingly economical: Sheol itself has been unmade. Textual damage is present in stanzas 4, 7, and 8 (indicated by ܀܀܀ and dashes in Beck's edition).
Biblical parallels: Genesis 11:1–9 (Tower of Babel, stanza 2); Exodus 32 and 1 Kings 12 (many gods, stanza 3); 2 Kings 4:32–35 (Elisha and the widow's son, stanza 10); 2 Kings 13:21 (Elisha's bones, stanzas 10–11); John 11:43–44 (Lazarus, stanza 12); Mark 5:41 (Jairus's daughter, stanza 13); Luke 7:14 (widow of Nain's son, stanza 13); Genesis 3:6 (tree of knowledge, stanza 13); Exodus 4:16 and 7:1 (Moses as god, stanza 14); Deuteronomy 34:5–6 (Moses's death, stanza 14); Genesis 3:19 (dust to dust, stanza 14); Matthew 27:52–53 (tombs opened, stanza 15); Genesis 19:11 (Sodomites' blindness, stanza 16); John 11:17 (four days, stanza 16).
Compiled and formatted for the Good Work Library by the New Tianmu Anglican Church, 2026.
🌲
Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 41 (Carmina Nisibena 41)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܙ ܒܰܪ ܩܳܠܶܗ
1.
ܐܶܡܰܪ ܒܺܝܫܳܐ
ܕܩܶܢܛܶܬ ܡܶܢܶܗ
ܕܝܶܫܽܘܥ ܕܰܠܡܳܐ
ܢܰܘܒܶܕ ܪ̈ܶܗܛܰܝ
ܗܳܐ ܓܶܝܪ ܒܰܪ ܐܰܠܦ̈ܶܐ ܐ̱ܢܳܐ ܕܰܫܢܰܝ̈ܳܐ
ܘܠܳܐ ܡܬܽܘܡ ܗ̱ܘܳܐ ܠܺܝ ܒܶܛܠܳܢܳܐ
ܠܳܐ ܚܙܺܝܬ ܡܶܕܶܡ ܟܰܕ ܡܰܬܩܶܢ
ܘܰܐܗܡܺܝܬ ܡܶܢܶܗ ܘܰܐܪܦܺܝܬܶܗ
ܐܶܬܳܐ ܠܶܗ ܡܢܰܟܶܦ ܙܠܺܝ̈ܠܶܐ
ܐܶܒܠܰܐ ܗ̱ܘ ܡܶܟܺܝܠ ܕܣܰܬܰܪ ܠܶܗ ܠܟܽܠ ܡܳܐ ܕܰܒܢܺܝܬ
ܣܓܺܝܘ ܥܰܡ̈ܠܰܝ ܥܰܡ ܬܽܘܠܡ̈ܳܕܰܝ
ܕܥܰܦܺܝܬܳܗ̇ ܠܟܽܠܳܗ̇ ܒܪܺܝܬܳܐ ܒܟܽܠ ܒܺܝܫ̈ܳܢ
ܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܶܐܬܳܐ ܘܦܰܪܣܺܝ ܢܶܟ̈ܠܰܘܗ̱ܝ ܕܰܨܢܺܝܥܳܐ
2.
ܦܶܚܡܶܬ ܪ̈ܶܗܛܰܝ
ܥܰܡ ܩ̈ܰܠܺܝܠܶܐ
ܘܥܶܒܪܶܬ ܐܶܢܽܘܢ
ܡܶܬܟܰܬܰܫ ܗܘܺܝܬ
ܪܰܘܒܳܐ ܕܣ̈ܰܓܺܝܐܶܐ ܙܰܝܢܳܐ ܗ̱ܘܳܐ ܠܺܝ
ܒܪܰܘܒܳܐ ܕܥܰܡܳܐ ܚܳܕܶܐ ܗܘܺܝܬ
ܕܝܰܗ̱ܒ ܗ̱ܘܳܐ ܐܰܬܪܳܐ ܩܰܠܺܝܠ
ܕܰܩܫܰܐ ܗ̱ܘ ܚܺܐܦܳܐ ܕܣ̈ܰܓܺܝܐܶܐ
ܒܚܰܝܠܳܐ ܕܣܰܓܺܝܐܳܐ ܛܽܘܪܳܐ
ܪܰܒܳܐ ܙܶܩܦܰܬ ܡܰܓܕܠܳܐ ܠܰܫܡܰܝܳܐ ܡܶܬܚܰܬ
ܐܶܢ ܥܰܡ ܪܰܘܡܳܐ ܐܶܬܟܰܬܰܫܘ̱
ܟܡܳܐ ܢܶܙܟܽܘܢ ܠܰܐܝܢܳܐ ܕܒܰܐܪܥܰܐ ܗ̱ܘ ܬܰܟܬܽܘܫܶܗ
3.
ܥܰܡܶܗ ܕܙܰܒܢܳܐ
ܘܥܰܡ ܥܽܘܕܪܳܢܶܗ
ܡܶܬܟܰܬܰܫ ܐ̱ܢܳܐ
ܦܳܪܽܘܫܳܐܺܝܬ
ܫܡܼܰܥ ܗ̱ܘܳܐ ܥܰܡܳܐ ܕܰܐܠܳܗܳܐ ܚܰܕ ܗ̱ܽܘ
ܥܒܰܕ ܠܶܗ ܣܽܘܓܐܳܐ ܕܰܐܠܳܗ̈ܶܐ
ܘܕܰܚܼܙܳܐ ܠܰܒܪܶܗ ܕܰܐܠܳܗܳܐ
ܪܗܶܛ ܠܶܗ ܨܶܝܕ ܚܰܕ ܐܰܠܳܗܳܐ
ܕܰܐܝܟ ܡܰܘܕܶܐ ܒܶܗ ܒܰܐܠܳܗܳܐ
ܗܳܘܶܐ ܟܳܦܰܪ ܒܶܗ ܘܰܐܝܟ ܛܐܶܢ ܢܶܥܪܽܘܩ ܡܶܢܶܗ
ܕܰܒܟܽܠ ܙܰܒ̈ܢܺܝܢ ܗ̈ܶܦܟܳܝܶܐ ܢܶܫܬܰܟܚܽܘܢ
ܕܰܕܠܳܐ ܐܰܠܳܗ ܐܺܝܬܰܝܗܽܘܢ
4.
ܗܳܐ ܒܰܪ ܢܽܘܓܪܳܐ
ܐܶܢܳܐ ܕܰܫ̈ܢܰܝܳܐ
ܘܥܰܠ ܝܰܠܽܘܕܳܐ
ܠܳܐ ܒܣܺܝܬ ܡܶܢ ܡܬܽܘܡ
ܛܰܥܢܰܐ ܗ̱ܘ ܕܫܰܒܪ̈ܶܐ ܫܶܩܠܶܬ ܣ̇ܰܓܺܝ
ܕܥܺܝ̈ܕܶܐ ܕܠܳܐ ܫܰܦܺܝܪ̈ܺܝܢ
ܐܶܩܢܶܐ ܐܶܢܽܘܢ ܡܶܢ ܫܽܘܪܳܝܳܐ
ܕܢܰܪܒܽܘܢ ܥܰܡܗܽܘܢ ܡܽܘ̈ܡܰܝܗܽܘܢ
ܐܺܝܬ ܕܶܝܢ ܐܰܒܳܗ̈ܶܐ ܣ̈ܰܟܠܶܐ
ܕܠܳܐ ܡܟܶܝܢ ܠܙܰܪܥܳܐ ܕܙܶܪܥܶܬ ܒܰܒ̈ܢܰܝܗܽܘܢ
ܘܺܐܝܬ ܕܰܐܝܟ ܐܰܟܳܪ̈ܶܐ ܛܳܒ̈ܶܐ
ܥܩܰܪܘ̱ ܡܽܘ̈ܡܶܐ ܡܶܢ ܬܰܪܥܺܝܬܳܐ ܕܝܰܠܕܰܝ̈ܗܽܘܢ
܀܀܀
5.
ܚܠܳܦ ܫܺܫܠܳܬܳܐ
ܒܡܰܐܝܳܢܽܘܬܳܐ
ܦܶܟܪܶܬ ܐ̱ܢܳܫܳܐ
ܘܒܰܛܶܠܘ̱ ܘܺܝܬܶܒܘ̱
ܓܶܠܙܶܬ ܪ̈ܶܓܫܰܝܗܽܘܢ ܡܶܢ ܛܳܒ̈ܳܢ
ܥܰܝ̈ܢܰܝܗܽܘܢ ܡܶܢ ܩܶܪܝܳܢܳܐ
ܦܽܘܡ̈ܰܝܗܽܘܢ ܡܶܢ ܗܽܘܠܳܠܳܐ
ܡܰܕܥܗܽܘܢ ܡܶܢ ܝܽܘܠܦܳܢܳܐ
ܠܡ̈ܰܬܠܶܐ ܚܰܪ̈ܒܶܐ ܘܒܰܛܺܝ̈ܠܶܐ
ܡܳܐ ܟܰܫܺܝܪ̈ܺܝܢ ܠܰܡܡܰܠܳܠܳܐ ܣܦܺܝܩܳܐ ܛܽܘܠܺܝܩܺܝܢ
ܐܶܢ ܢܶܦܠܰܬ ܡܶܠܰܬ ܚ̈ܰܝܶܐ
ܐܰܘ ܕܰܚܩܽܘܗ̇ ܐܰܘ ܩܳܡܘ̱ ܫܰܢܺܝܘ ܡܶܢ ܨܶܐܕܶܝܗ̇
6.
ܟܡܳܐ ܣ̈ܳܛܳܢܺܝܢ
ܒܓܰܘ ܒܰܪܢܳܫܳܐ
ܘܠܺܝ ܕܺܝܠܝ̱ ܒܰܠܚܽܘܕ
ܠܳܐܶܛ ܟܽܠ ܐ̱ܢܳܫ
ܗܳܐ ܓܶܝܪ ܚܶܡܬܶܗ ܕܒܰܪܢܳܫܳܐ ܐܺܝܬܶܝܗ̇
ܫܺܐܕܳܐ ܕܟܽܠܝܽܘܡ ܫܳܚܶܩ ܠܶܗ
ܕܰܝ̈ܘܶܐ ܠܳܐܪ̈ܚܶܐ ܡܶܬܕܰܡܶܝܢ
ܕܰܡܫܰܢܶܝܢ ܐܶܢ ܡܶܬܰܐܠܨܺܝܢ
ܥܰܠ ܚܶܡܬܳܐ ܕܶܝܢ ܐܶܢ ܢܽܘܡܽܘܢ
ܟܽܠ ܙܰܕܺܝ̈ܩܶܐ ܠܳܐ ܡܶܬܥܰܩܪܳܐ ܡܶܢ ܐܰܬܪܳܗ̇
ܚܠܳܦ ܚܣܳܡܳܐ ܣܪܽܘܚܳܐ
ܠܫܺܐܕܳܐ ܫܺܝܛܳܐ ܘܚܰܠܳܫܳܐ ܣܳܢܶܐ ܟܽܠ ܐ̱ܢܳܫ
7.
ܒܗܶܬ ܐܳܫܽܘܦܳܐ
ܥܰܡ ܒܰܪܩܳܐ
ܕܠܰܚܘ̈ܰܘܳܬܳܐ
ܡܟܰܒܶܫ ܟܽܠܝܽܘܡ
ܐܰܟܕܳܢܳܐ ܕܰܒܓܰܘܶܗ ܡܶܢܶܗ ܡܶܪܕܰܬ
ܕܪܶܓܬܶܗ ܒܓܰܘܶܗ ܠܳܐ ܟܳܒܶܫ
ܚܛܺܝܬܳܐ ܟܣܺܝܬܳܐ ܐܰܝܟ ܐܶܣܦܶܣ
ܡܳܐ ܕܢܶܦܚܰܬ ܒܶܗ ܐܶܣܬܺܝܛ
ܡܳܐ ܕܛܳܒ ܨܶܕܳܗ̇ ܠܰܐܟܕܳܢܳܐ
܀܀܀
ܒܽܐܘܡܳܢܽܘܬܶܗ ܡܰܚܬܶܗ ܛܽܘܥܝܰܝ ܟܰܣܝܳܐܺܝܬ
ܡܫܰܗܶܐ ܪܰܚܫܳܐ ܒܠܽܘܚܫ̈ܳܬܶܗ
ܡܥܺܝܪ ܥܠܰܘܗ̱ܝ ܪܽܘܓܙܳܐ ܪܰܒܳܐ ܒܠܽܘ̈ܚܫܳܬܶܗ
8.
ܣܺܝܡܰܬ ܥܽܘܩ̈ܣܶܐ
ܘܝܶܬܒܰܬ ܩܰܘܝܰܬ
ܡܰܢܽܘ ܕܽܐܘܪܳܟ
ܪܶܥܝܳܢܶܗ ܥܰܡ ܟܽܠ
ܨܶܝܕ ܢܰܓܺܝܪ ܪܽܘܚܳܐ ܝܶܬܒܰܬ
ܘܰܕܪܰܓ ܡܶܢ ܕܪܰܓ ܐܰܫܦܳܬܶܗ
ܕܢܺܐܬܶܐ ܠܩܽܘܛܳܥ ܪܶܥܝܳܢܳܐ
ܠܰܐܝܢܳܐ ܕܟܳܘܶܙ ܡܶܢ ܚܰܘ̈ܒܶܐ
ܥܺܝܕ̈ܶܐ ܟܶܒܫܰܘܗ̱ܝ ܒܩܰܠܺܝܠ ܩܰܠܺܝܠ ܕܪܶܫܬܶܗ
ܥܕܰܡܳܐ ܕܰܗܘܳܐ ܬܚܶܝܬ ܢܺܝܪܳܐ
ܕܥܰܠ ܘܰܐܥܺܝܕ ܘܳܐܦ ܠܳܐ ܕܢܶܦܽܘܩ ܨܳܒܶܐ ܗ̱ܘܳܐ
9.
ܪܶܓܫܶܬ ܘܰܚܙܺܝܬ
ܕܢܰܓܺܝܪ ܪܽܘܚܳܐ
ܗܽܘܝܽܘ ܡܶܫܟܰܚ
ܕܢܶܟܒܰܫ ܟܽܠ
ܒܙܰܒܢܳܐ ܕܰܙܟܰܝܬܶܗ ܠܳܐܕܳܡ ܚܰܕ ܗ̱ܘܳܐ
ܐܰܪܦܺܝܬܶܗ ܥܰܕ ܗܳܐ ܡܰܘܠܶܕ
ܘܰܒܥܺܝܬ ܠܺܝ ܥܒܳܕܳܐ ܐ̱ܚܪܺܢܳܐ
ܕܠܳܐ ܢܶܛܥܰܡ ܒܺܝ ܒܶܛܠܳܢܳܐ
ܚܶܠܳܐ ܕܝܰܡܳܐ ܡܳܢܳܐ ܗܘܺܝܬ
ܕܪܽܘܚܝ̱ ܐܰܓܰܪ ܒܶܗ ܘܕܰܐܒܩܶܐ ܥܽܘܗܕܳܢܝ̱ ܐܶܢ ܣܳܦܶܩ
ܠܰܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ ܡܳܐ ܕܰܣܓܺܝܘ
ܥܰܕ ܠܳܐ ܢܶܣܓܽܘܢ ܒܣ̈ܰܓܺܝܐܶܐ ܒܩܺܝܬ ܐܶܢܽܘܢ
10.
ܕܪܰܫܘ̱ ܦܰܠܳܚ̈ܰܘܗ̱ܝ
ܕܒܺܝܫܳܐ ܥܰܡܶܗ
ܘܰܫܪܰܘ ܡ̈ܶܠܰܘܗ̱ܝ
ܒܗ̈ܶܦܟܳܬܳܐ
ܕܗܳܐ ܠܰܡ ܐܶܠܺܝܫܰܥ ܐܰܚܺܝ ܡܺܝܬܶܐ
ܘܕܰܙܟܳܐ ܠܡܰܘܬܳܐ ܒܥܶܠܺܝܬܳܐ
ܘܰܐܚܺܝ ܠܰܒܪܳܗ̇ ܕܰܐܪܡܰܠܬܳܐ
ܗܳܐ ܡܫܰܥܒܶܕ ܗܳܫܳܐ ܒܰܫܝܽܘܠ
ܕܪܰܒܳܐ ܗܘܳܬ ܕܶܝܢ ܡܰܚܫܰܒܬܶܗ
ܕܒܺܝܫܳܐ ܣܰܓܺܝ ܒܡܶܠܰܝ̈ܗܽܘܢ ܫܪܶܐ ܡܶܠܰܝ̈ܗܽܘܢ
ܕܰܐܝܟܰܢܳܐ ܚܳܒ ܐܶܠܺܝܫܰܥ
ܕܗܳܐ ܒܰܫܝܽܘܠ ܐܰܚܺܝ ܡܺܝܬܶܐ ܒܝܰܕ ܓܰܪ̈ܡܰܘܗ̱ܝ
11.
ܐܶܢ ܐܶܠܺܝܫܰܥ
ܕܰܙܥܽܘܪܳܐ ܗ̱ܘܳܐ
ܪܰܒ ܗ̱ܘܳܐ ܚܰܝܠܶܗ
ܒܓܰܘܳܗ̇ ܕܰܫܝܽܘܠ
ܕܶܐܢ ܗܽܘ ܕܚܰܕ ܡܺܝܬܳܐ ܐܰܚܺܝ ܗܘܳܐ ܒܳܗ̇
ܟܡܳܐ ܟܰܝ ܡܳܝ̈ܬܺܝܢ ܡܰܚܶܐ ܒܳܗ̇
ܡܰܘܬܶܗ ܕܝܶܫܽܘܥ ܥܰܙܺܝܙܳܐ
ܡܶܢܳܗ̇ ܕܗܳܕܶܐ ܐܶܬܒܰܝܰܢܘ̱
ܕܰܟܡܰܐ ܗ̱ܘ ܟܰܝ ܪܰܒ ܗ̱ܘܳܐ ܝܶܫܽܘܥ
ܡܶܢ ܚܰܒܪ̈ܰܝ ܕܗܳܐ ܒܨ̈ܶܢܥܳܬܶܗ ܐܰܛܥܺܝܟܽܘܢ
ܘܠܳܐ ܣܦܰܩܬܽܘܢ ܠܰܡܣܰܝܟܽܘ
ܪܰܒܽܘܬܶܗ ܕܦܶܚܡܬܽܘܢܳܝܗ̱ܝ ܠܰܢܒ̈ܺܝܶܐ
12.
ܙܥܽܘܪ̈ܺܝܢ ܐܶܢܽܘܢ
ܒܽܘܝܳܐܝܰܟܽܘ̈ܢ
ܐܳܡܰܪ ܒܺܝܫܳܐ
ܠܰܒ̈ܢܰܝ ܬܶܓܡܶܗ
ܗܰܘ ܓܶܝܪ ܕܰܐܚܺܝ ܠܳܠܥܳܙܳܪ ܟܰܕ ܡܺܝܬ
ܐܰܝܟܰܢ ܣܳܦܶܩ ܠܶܗ ܡܰܘܬܳܐ
ܘܶܐܢ ܕܶܝܢ ܙܳܟܶܐ ܠܶܗ ܡܰܘܬܳܐ
ܗܽܘܝܽܘ ܨܒܼܳܐ ܕܢܶܫܬܰܥܒܰܕ ܠܶܗ
ܘܶܐܢ ܗܽܘ ܨܳܒܶܐ ܕܢܶܫܬܰܥܒܰܕ
ܐܰܣܶܓܘ̱ ܕܚܶܠܘ̱ ܕܠܳܐ ܡܳܐܶܬ ܒܛܶܠܳܐܺܝܬ
ܓܽܘܢܚܰܐ ܗ̱ܘ ܪܰܒܳܐ ܥܒܰܕ ܒܰܢ
ܕܟܰܕ ܡܳܐܶܬ ܠܳܐܕܳܡ ܥܳܐܶܠ ܠܰܡܰܚܳܝܽܘ
13.
ܐܰܕܺܝܩ ܡܰܘܬܳܐ
ܡܶܢ ܓܰܘ ܢܶܩܥܶܗ
ܘܬܽܘܒ ܕܰܚܼܙܳܐ
ܠܡܳܪܰܢ ܕܰܙܩܺܝܦ
ܘܶܐܡܰܪ ܐܰܘ ܡܰܚܶܐ ܡܺܝ̈ܬܶܐ ܐܰܝܟܳܐ ܐܰܢ̱ܬ
ܐܰܢ̱ܬ ܬܶܗܘܶܐ ܠܺܝ ܡܶܐܟܽܘܠܬܳܐ
ܚܠܳܦ ܒܰܣܺܝܡܳܐ ܠܳܥܳܙܳܪ
ܕܗܳܐ ܛܰܥܡܶܗ ܥܕܰܟܺܝܠ ܒܦܽܘܡܝ̱ ܒܰܪ̱ܬ ܝܽܘܐܳܪܳܫ ܬܺܐܬܶܐ ܬܶܚܙܶܐ
ܗܳܢܳܐ ܙܩܺܝܦܳܟ ܒܪܳܗ̇ ܕܰܐܪܡܰܠܬܳܐ ܚܳܐܰܪ ܒܳܟ
ܩܰܝܣܳܐ ܨܶܕܶܗ ܠܺܝ ܠܳܐܕܳܡ
ܒܪܺܝܟ ܗ̱ܽܘ ܨܠܺܝܒܳܐ ܕܨܳܕܶܗ ܠܺܝ ܠܒܰܪ ܕܰܘܺܝܕ
14.
ܦܽܘܡܶܗ ܦܬܰܚ ܗ̱ܘܳܐ
ܡܰܘܬܳܐ ܘܶܐܡܰܪ
ܠܳܐ ܫܡܺܝܥ ܗ̱ܘܳܐ ܠܳܟ
ܐܰܘ ܒܰܪ ܡܰܪܝܰܡ
ܕܡܽܘܫܶܐ ܕܺܝܪܶܒ ܘܶܐܬܝܰܬܰܪ ܡܶܢ ܟܽܠ
ܗ̱ܘܳܐ ܐܰܠܳܗ ܘܰܥܒܰܕ ܕܰܐܠܳܗ
ܐܰܡܺܝܬ ܒܽܘܟܪ̈ܶܐ ܘܦܰܨܺܝ ܒܽܘܟܪ̈ܶܐ
ܟܽܠܳܐ ܡܰܘܬܳܢܳܐ ܡܶܢ ܚܰܝ̈ܶܐ
ܠܛܽܘܪܳܐ ܣܶܠܩܶܬ ܥܰܡ ܡܽܘܫܶܐ
ܘܡܶܢ ܐܺܝܕ ܠܺܐܝܕ ܝܰܗܒܶܗ ܠܺܝ ܒܪܺܝܟ ܐܺܝܩܳܪܶܗ
ܕܰܟܡܳܐ ܕܢܺܐܪܰܒ ܒܰܪ ܐܳܕܳܡ
ܗܽܘ ܥܰܦܪܳܐ ܠܥܰܦܪܶܗ ܗܦܰܟ ܕܡܶܢ ܐܰܪܥܰܐ ܗ̱ܘ
15.
ܐܶܬܳܐ ܣܳܛܳܢܳܐ
ܥܰܡ ܦܰܠܳܚ̈ܰܘܗ̱ܝ
ܕܢܶܚܙܶܐ ܠܡܳܪܰܢ
ܕܰܐܪܡܳܐ ܒܰܫܝܽܘܠ
ܘܢܶܚܕܶܐ ܥܰܡܶܗ ܕܡܰܘܬܳܐ ܒܰܪ ܡܰܠܟܶܗ
ܘܰܚܙܳܝܗ̱ܝ ܗ̱ܘܳܐ ܕܰܟܡܺܝܪ ܘܰܐܒܺܝܠ
ܥܰܠ ܡܺܝ̈ܬܶܐ ܕܰܒܩܳܠ ܒܽܘܟܪܳܐ
ܚܰܝܰܘ ܘܰܢܦܰܩܘ̱ ܡܶܢܳܗ̇ ܕܰܫܝܽܘܠ
ܩܳܡ ܒܺܝܫܳܐ ܕܰܢܒܺܝܳܐ ܗ̱ܘܳܐ
ܠܡܰܘܬܳܐ ܐܳܚܝܳܢܶܗ ܕܠܳܐ ܐܰܘܒܕܶܬ ܐܰܝܟ ܡܳܐ ܕܶܐܫܟܚܰܬ
ܟܡܳܐ ܕܝܶܫܽܘܥ ܠܓܰܘ ܡܶܢܳܟ
ܠܺܐܝܕܳܟ ܐܳܬܝܳܢ ܐܳܦ ܕܚܰܝܰܘ ܘܰܕܚܰܝܰܝܢ
܀܀܀
16.
ܦܬܰܚ ܠܰܢ ܢܶܚܙܶܝܘܗ̱ܝ
ܐܳܦ ܢܰܗܶܠ ܒܶܗ
ܢܶܥܢܶܐ ܘܢܺܐܡܰܪ
ܕܰܐܝܟܰܘ ܚܰܝܠܳܟ
ܗܳܐ ܓܶܝܪ ܝܰܘܡ̈ܳܬܳܐ ܬܠܳܬܳܐ ܗ̱ܘܰܘ ܠܶܗ
ܘܢܺܐܡܰܪ ܠܶܗ ܐܳܘ ܬܠܺܝܬܳܝܳܐ
ܕܰܠܪܒܺܝܥܳܝܳܐ ܠܳܠܥܳܙܳܪ
ܐܰܚܶܝܬ ܐܰܚܳܐ ܠܰܩܢܽܘܡܳܟ
ܦܬܰܚ ܡܰܘܬܳܐ ܬܰܪ̈ܥܶܝܗ̇ ܕܰܫܝܽܘܠ
ܘܰܐܙܠܶܓ ܡܶܢܳܗ̇ ܙܺܝܘܳܐ ܕܦܰܪܨܽܘܦܶܗ ܕܡܳܪܰܢ
ܘܰܐܝܟ ܣܳܕܽܘܡܳܝ̈ܶܐ ܒܠܰܥܘ̱ ܗ̱ܘܰܘ
ܡܳܫܘ̱ ܘܰܒܥܰܘ ܬܰܪܥܳܗ̇ ܕܰܫܝܽܘܠ ܕܶܐܒܰܕ ܠܳܗ̇
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.
🌲