Hymn XLIII (Carmina Nisibena XLIII)
Twenty-seven stanzas on bones, resurrection, and the body's destiny — Ephrem's most sustained meditation on bodily resurrection and the longest hymn in the relics-and-resurrection cycle (Hymns XLII–XLIII). The hymn opens with Joseph's bones as a wall in the wilderness: Moses carried them as incense of atonement and an advocate of reconciliation (stanzas 1–3). Elisha's bones sowed hope in Sheol — a dead man snatched a corpse from Death's mouth and gave it life (stanza 4). Ezekiel's vision of dry bones assembling overturned Sheol herself (stanza 5). Death, terrified, issued a testament confessing himself transient and poor — destined to return his deposit to the Giver (stanza 6). David's bones guarded Hezekiah's city from the grave; bones protected Josiah; a slain man in the tomb guarded his very slayer (stanzas 7–8). Elisha's sick hands guided a king's healthy hands to shoot the arrow of salvation (stanza 9). The righteous dead are silent advocates whose weapon is silence; tears poured upon their tombs hire them as intercessors (stanzas 10–11). The hymn then distinguishes two deaths: natural death, which is sleep — beloved to the weary, with Sheol as its morning — and the death of freedom through sin, which has no remedy (stanzas 13–16). The soul killed the body in Paradise by breaking the hedge of the law; the Just One would not compel her, for she is free (stanza 14). The body, devoured by beasts and dissolved into earth, shall be separated at the resurrection as gold is separated in a furnace — for the Creator has every human's dust "distinguished and marked" in his mind (stanzas 17–20). The Firstborn is clothed in the body as a garment of glory; the Bridegroom who does not die delights in this robe (stanza 21). In a virtuosic catalogue, the body has burst through many wombs — the womb at birth, the grave at resurrection, the pit of beasts, the furnace, the fish — walked through the sea, flew through the air, and sits at the right hand crowned in glory (stanzas 22–23). Elijah's ascent taught that body and soul rose together; his falling mantle taught that dust drops away but the body flies (stanzas 24–25). The Jordan reversed its flow to teach that bodies ascend by command (stanza 26). Enoch, Moses, and Elijah prove the dead live: "They fly, those who are delayed. Make me worthy of your coming" (stanza 27). The refrain throughout is: "Let not the body of the righteous who believed in you be wronged."
Melody: "They were comforted by the promise"
I.
Joseph was a wall
to himself in time of peace.
Moses carried his bones
that they might be for his camp
a wall in the wilderness.
For he saw that people
had died through their idols —
for their Creator,
he carried dead bones
that they might be, instead of the living,
incense of atonement,
an advocate of reconciliation.
Response: Let not the body of the righteous who believed in you be wronged.
II.
Joseph in the bedchamber
saw the One who sees all —
in the place where a man thought
no one could see him.
He set upon his youth
the bridle of chastity.
Moses carried his bones
to put to shame
the people whom openly
the daughters of Midian had praised.
He accused the fornicators
by the bones of the illustrious one.
III.
Moses left the living
and ran to the dead —
helpers they were with him,
and many were the breaches of the people.
A vineyard it was whose hedge was broken
open to the tramplers.
But that blessed mulberry tree
grew strong among its vines —
she stole and brought forth
from the house of thorns
a blessing to the house of the nations.
IV.
The bones of Elisha
sowed hope in Sheol.
The power hidden in the bones
comforted the dead.
Death saw the dead man
crawl, and was horrified.
Who has seen such a vision
of wonder? —
that a dead man, from the mouth of Death,
snatched a corpse and gave it life!
The buried one
was an escort to his fellow buried, back to their homes.
V.
Sheol feasted on her treasure —
the storehouses of all our bodies.
Her gates and also her bolts
she strengthened and felt secure.
For never had she seen a bone that crawled.
The voice of Ezekiel astonished her —
bones crawled and sought
one another and were assembled.
At their assembling,
Sheol herself was overturned and dissolved.
[...text damaged...]
VI.
Death, at the sound of bones,
fled and hid in his crevices.
He grew sick on account of the dead;
he thought his supply had run out.
He called and commanded Sheol
and bequeathed to her the cutting off of hope.
He issued a testament
in his terror —
he confessed that he is passing,
and he wrote that he is poor,
and that he is destined
to return his deposit to the Giver.
VII.
The dead rose to life,
the buried to their graves,
the prostrate to walking,
the silent to speaking.
David, for Hezekiah,
guarded his city from the tomb.
And bones, for Josiah,
entreated —
and they did not touch that old man.
By bones they guarded his bones.
He who deceived, killed, and buried —
and he who believed, sealed, and escaped.
VIII.
For if that old man
deceived the innocent one,
and he believed that when he turned aside
he would be killed — yet escaped through it —
it is a wonder that when he killed him,
he believed he would be sealed by him.
Who has seen a wonder
within Sheol? —
a slain man guarding his slayer.
[...text damaged...]
In the grave he was guarded.
How much more shall the brothers guard —
the slain who are in Christ!
IX.
Again Elisha placed
his sick hands
upon the healthy hands
of the king who came to visit him.
They gained power and shot
the arrow of salvation.
To marvel at the sickness
of the valiant! —
who seeks his own healing
through the body of his visitors.
To their deeds make me worthy —
he visits those who visit him.
X.
Their sickness, then,
gave kings power.
Three — their very names —
helped six hundred thousand.
My adversary Satan —
by them his mouth is shut.
For my advocates are good
and bold,
eloquent and many,
and they are able, in the court,
to put the adversary to shame
and to vindicate the guilty.
XI.
Let us marvel at them, brothers,
for their weapon is silence.
In silence they persuade
the One who hears the silent.
The silence of discernment
is prayer to the Knower of all.
With little they are hired,
my advocates,
yet greatly do they labor.
Through weeping they are bound to me,
through tears they are hired for me —
that I pour upon their tombs.
XII.
Let us run to their tombs,
that we may live by their deaths.
The bones of Elisha
bear witness to their bones —
that he gave life. In them
Death was afraid and learned,
and began to honor
within Sheol
the bones of the righteous.
Let it confound the unbelievers
who do not trust in the resurrection —
for even Sheol is aware of it.
XIII.
For there is nothing
that is dead to the Giver of all life,
except that death
concerning which the Sea spoke and said:
"He never desired
the death of the sinner."
And while all things are easy
for the Lord of all,
difficult it is to give life
to the death of freedom —
one who dies by his own will,
the death that is through sins.
XIV.
For indeed the body
is the vessel of the soul.
She killed it
in the beginning, in Paradise —
when she broke by her authority
the hedge of the law.
For the Just One did not wish
to enslave her,
to compel by force
this free woman
who broke his will
and died by her own will.
XV.
Greatly beloved
is sleep to one who is weary,
and to one who fasts and keeps vigil,
death is his friend.
Sleep does not kill the sleepers —
sleep that is by nature.
Neither has Sheol killed —
yet she does kill —
sleep that is of delight.
Sheol too is of resurrection.
But that second death —
it has no remedy.
XVI.
Never has sleep on beds
been jealous
of one who sleeps and will soon awake.
Neither is Sheol jealous
or bearing a grudge, brothers.
Behold, sleep covers Sheol —
for morning wakes the sleepers
and the Voice raises the dead.
It is the death of freedom
that by its own hands cut off its hope.
[...text damaged...]
XVII.
This death — behold, it is almost
difficult for his justice.
He gave it by his grace,
since it is easy for our will
that in spirit we might live
and the body he will raise.
For when the creeping thing devours it
and the beast —
to the earth they return,
the eaten and the eaters.
And it shall be separated as in a furnace —
their dust at the resurrection.
XVIII.
For if it pleases
the craftsman
to grind and cast again
gold into the earth —
he separates and takes it
from her in the furnace.
How much more the Creator
shall purify
the body at the resurrection!
In his furnace he separates all,
rolling aside and casting out
the dust of the beasts.
XIX.
For behold, in the mind
of our Maker himself,
distinguished and marked
is the dust of the human being.
He separated and took the dust
of Adam and formed him.
Thus distinguished and marked
in his mind
is the dust of humanity.
And it alone he raises.
Look to the beginning,
for it bears witness to the end.
XX.
Ore that is transitory
is distinguished within its earth.
And before it is extracted,
it is visible to its craftsman.
And if it returns and falls into its earth,
it rests within her again.
How much more to the Knower of all
is all dust distinguished —
all dust by its kinds.
And from them all, greater to him
is the dust of the human being,
for it is the robe of his Beloved.
XXI.
The Firstborn is clothed in the body —
it is the garment of his glory.
The Bridegroom who does not die
in that robe delights.
The guests, in their robes,
should resemble his robe.
Bodies — your garments
shall delight!
They bound that man
whose body was stained.
Look at your banquet —
wash my stains in your radiance.
XXII.
See how many wombs
the body has burst through and come forth:
the womb at its birth,
the grave at its resurrection,
the pit of beasts —
he conquered — and the furnace!
The fish that swallowed him
returned him.
He walked through the sea
and flew and soared in the air.
He sits at the right hand,
crowned in glory.
XXIII.
Who has imprisoned him?
Who has bound him?
What womb
can endure him?
If upon the womb
of his own mother he did not spare —
in his pangs he burst forth and came out
and left her —
and behold, she is barren from him
because he never returned to her —
how much more shall he devastate Sheol
at his departure and resurrection!
XXIV.
Elijah's ascent
teaches the believers
that both ascended together in the chariot —
body and soul alike —
to that dwelling above.
And because he did not strip off his body
and cast it somewhere —
the men who went out and searched
and did not find him taught
that he ascended entirely in the body,
for he was holy in the body.
XXV.
And also the dust
of Elijah teaches:
it was separated and fell from him —
the borrowed and the transitory.
It was reproved — it separated and fell,
for it is a garment of time —
to persuade concerning the body
that was snatched up:
that its nature is a garment of truth.
Though its garments fall,
the dust falls away,
but the body flies and ascends.
XXVI.
Also the Jordan cast
a bridle on its flow.
The waters covered themselves,
each bearing the other's overflow.
It left its ordinary course
that is by nature
and flowed against its nature
backward —
to persuade, as it climbs
and ascends by command,
that the body in the illustrious ones
shall fly and ascend to the heights.
XXVII.
If it is difficult that there should rise
the body of Noah that decayed,
much harder is it that Enoch's
body was not dissolved.
By the dead, in the mystery of Enoch,
he taught us that they live.
By Moses and by Elijah,
who appeared,
he rebuked the unbelievers.
They live, those who are buried,
and they fly, those who are delayed.
Make me worthy of your coming.
Colophon
Translated from Classical Syriac by Bardaisan, a Good Works tulku, 2026. Source text: Digital Syriac Corpus (DSC), file 301.xml, CC BY 4.0 (syriaccorpus.org/301), 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 is the longest hymn in the relics-and-resurrection cycle (Hymns XLII–XLIII) and Ephrem's most sustained meditation on bodily resurrection. The melody shifts from the "same melody" series of the Death-Satan cycle to a new named melody ("They were comforted by the promise"), signaling a new thematic unit. The theology anticipates later patristic debates about the resurrection body: the Creator distinguishes human dust from animal dust as a craftsman distinguishes gold from ore (stanzas 17–20). The "two deaths" distinction (stanzas 13–16) — natural death as reversible sleep versus the death of freedom through sin — is Ephrem's most precise statement on spiritual death: God can raise the body, but cannot compel the will without destroying freedom. The "many wombs" catalogue (stanza 22) is virtuosic typology: birth, grave, lion's den, furnace, fish, sea, air, right hand — each emergence a type of resurrection. The Elijah section (stanzas 24–25) distinguishes the body (the "garment of truth") from its coverings (the "garment of time"): the mantle that falls is temporal, the body that rises is eternal. Death's "testament" (stanza 6) is a remarkable juridical metaphor: Death himself confesses that all the dead are a deposit (guelana) he must return to the Depositor. The hymn ends with the only first-person prayer in the cycle — "Make me worthy of your coming" — a shift from theological argument to personal petition. Textual damage is present in stanzas 5, 8, and 16 (indicated by ܀܀܀ in Beck's edition).
Biblical parallels: Exodus 13:19 (Joseph's bones, stanzas 1–3); Genesis 39 (Joseph and Potiphar's wife, stanza 2); Numbers 25 (daughters of Midian, stanza 2); 2 Kings 13:21 (Elisha's bones, stanza 4); Ezekiel 37:1–14 (valley of dry bones, stanza 5); Isaiah 38 (Hezekiah, stanza 7); 2 Kings 23:16–18 (Josiah and the tombs, stanzas 7–8); 1 Kings 13 (old prophet of Bethel, stanza 8); 2 Kings 13:14–19 (Elisha and Joash, stanza 9); Ezekiel 18:32 (death of the sinner, stanza 13); Genesis 3 (Paradise, stanza 14); Revelation 20:14 (second death, stanza 15); Daniel 6 (lion's den, stanza 22); Daniel 3 (furnace, stanza 22); Jonah 2 (the fish, stanza 22); Matthew 14:25 (walking on the sea, stanza 22); Acts 1:9 (ascension, stanza 22); 2 Kings 2:11–16 (Elijah's ascent, stanzas 24–25); Joshua 3:16 (Jordan reversed, stanza 26); Genesis 5:24 (Enoch, stanza 27); Matthew 17:3 (Transfiguration, stanza 27).
Compiled and formatted for the Good Work Library by the New Tianmu Anglican Church, 2026.
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Source Text: ܡܰܕܪ̈ܳܫܶܐ ܕܰܢܨܺܝܒܺܝܢ — ܡܓ
Syriac text from Edmund Beck, ed. Des Heiligen Ephraem des Syrers Carmina Nisibena (CSCO 218/219, Louvain, 1961). 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. Presented here for reference, study, and verification alongside the English translation above.
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܕܒܰܝܰܐܘ ܒܡܽܘܠܟܳܢܳܐ
1.
ܫܽܘܪܳܐ ܗ̱ܘܳܐ ܝܰܘܣܶܦ
ܠܢܰܦܫܶܗ ܒܓܰܘ ܫܰܝܢܳܐ
ܡܽܘܫܶܐ ܛܥܶܢ ܓܰܪ̈ܡܰܘܗ̱ܝ
ܕܢܶܗܘܽܘܢ ܠܡܰܫܪܺܝܬܶܗ
ܫܽܘܪܳܐ ܒܓܰܘ ܕܰܒܪܳܐ
ܕܰܚܙܳܝܗ̱ܝ ܠܗܰܘ ܥܰܡܳܐ
ܕܡܺܝܬ ܗܽܘ ܒܰܦܬܰܟܪ̈ܰܘܗ̱ܝ
ܠܰܒܪܶܝܗ
ܓܰܪ̈ܡܶܐ ܛܥܶܢ ܡܺܝ̈ܬܶܐ
ܕܢܶܗܘܽܘܢ ܚܠܳܦ ܚܰܝ̈ܶܐ
ܦܺܝܪܡܳܐ ܕܚܽܘܣܳܝܳܐ
ܣܢܺܐܓܪܳܐ ܕܬܰܪܥܽܘܬܳܐ
ܥܽܘܢܺܝܬܳܐ: ܠܳܐ ܢܶܬܛܰܠܰܡ ܦܰܓܪܳܐ ܕܟܺܐܢ̈ܶܐ ܕܗܰܝܡܶܢܘ̱ ܒܳܟ
2.
ܝܰܘܣܶܦ ܒܬܰܘܢܳܐ
ܚܙܳܝܗ̱ܝ ܗ̱ܘܳܐ ܠܚܳܙܶܐ ܟܽܠ
ܐܰܝܟܳܐ ܕܣܰܒܰܪ ܐ̱ܢܳܫ
ܕܠܳܐ ܐܺܝܬ ܕܚܳܙܶܐ ܠܶܗ
ܐܰܪܡܺܝ ܒܛܰܠܝܽܘܬܶܗ
ܦܓܽܘ̈ܕܶܐ ܕܢܰܟܦܽܘܬܳܐ
ܡܽܘܫܶܐ ܛܥܶܢ ܓܰܪ̈ܡܰܘܗ̱ܝ
ܕܰܢܒܰܣܪܽܘܢ
ܠܥܰܡܳܐ ܕܓܰܠܝܳܐܺܝܬ
ܫܰܒܚܳܝܗ̱ܝ ܒܢ̈ܳܬ ܡܳܕܶܝܢ
ܩܰܛܪܰܓ ܠܙܰܢܳܝ̈ܶܐ
ܒܓܰܪ̈ܡܰܘܗ̱ܝ ܕܢܰܨܺܝܚܳܐ
3.
ܡܽܘܫܶܐ ܫܒܰܩ ܚܰܝ̈ܶܐ
ܪܗܶܛ ܠܶܗ ܠܘܳܬ ܡܺܝ̈ܬܶܐ
ܦܳܥ̈ܠܶܐ ܗ̱ܘܰܘ ܥܰܡܶܗ
ܘܰܣܓܰܘ ܬܽܘܪ̈ܥܳܬܶܗ ܕܥܰܡܳܐ
ܟܰܪܡܰܐ ܗ̱ܘ ܕܰܬܪܰܥ ܗ̱ܘܳܐ
ܣܝܳܓܶܗ ܠܕܺܝܽܘ̈ܫܶܐ
ܗܳܝ ܕܶܝܢ ܛܽܘܛܺܝܬܳܐ
ܒܪܺܝܟܬܳܐ
ܥܶܙܝܰܬ ܒܓܰܘ ܓܽܘܦܢ̈ܰܘܗ̱ܝ
ܓܶܢܒܰܬ ܘܰܐܦܰܩܬܳܗ̇
ܡܶܢ ܒܶܝܬ ܚܪ̈ܽܘܒܶܐ
ܒܽܘܪܟܬܳܐ ܠܒܶܝܬ ܥܰܡ̈ܡܶܐ
4.
ܓܰܪ̈ܡܰܘܗ̱ܝ ܕܶܐܠܺܝܫܰܥ
ܣܰܒܪܳܐ ܙܪܰܥܘ̱ ܒܰܫܝܽܘܠ
ܚܰܝܠܳܐ ܕܰܟܣܶܐ ܒܓܰܪ̈ܡܶܐ
ܠܡܺܝ̈ܬܶܐ ܡܒܰܝܰܐ ܗ̱ܘܳܐ
ܡܰܘܬܳܐ ܚܙܳܐ ܠܡܺܝܬܶܐ
ܕܰܪܚܶܫ ܘܶܐܣܬܰܪܰܕ
ܡܰܢܽܘ ܚܼܙܳܐ ܚܶܙܘܳܐ
ܕܦܶܠܳܐܬܳܐ
ܕܡܺܝܬܳܐ ܡܶܢ ܦܽܘܡ ܡܰܘܬܳܐ ܫܠܰܕܶܐ ܚܛܰܦ ܘܰܐܚܺܝ
ܩܒܺܝܪܳܐ ܠܩܳܒܽܘܪ̈ܰܘܗ̱ܝ
ܠܒܰܝܬܳܐ ܡܰܠܘܳܐ ܗ̱ܘܳܐ
5.
ܡܶܫܰܬ ܫܝܽܘܠ ܓܰܙܳܗ̇
ܐܰܘܨܪ̈ܶܐ ܕܟܽܠ ܦܰܓܪ̈ܰܝܢ
ܬܰܪ̈ܥܶܝܗ̇ ܘܳܐܦ ܡܽܘܟܠܶܝ̈ܗ̇
ܫܪܪܬ ܘܶܐܬܬܰܟܠܰܬ
ܠܳܐ ܓܶܝܪ ܚܙܳܬ ܡܶܢ ܡܬܽܘܡ ܓܰܪܡܳܐ ܕܰܪܚܶܫ ܗ̱ܘܳܐ
ܩܳܠܶܗ ܕܚܰܙܩܺܝܐܶܝܠ ܐܬܘܗܗ̇
ܓܰܪ̈ܡܶܐ ܪܚܰܫܘ̱ ܘܰܒܥܰܘ̱
ܚܰܕ ܠܚܰܕ ܘܶܐܬܪܰܟܰܒܘ̱
ܒܪܽܘܟܒܗܽܘܢ ܥܶܦܰܬ
ܗܺܝ ܫܝܽܘܠ ܘܶܐܫܬܰܪܝܰܬ
܀܀܀
6.
ܡܰܘܬܳܐ ܡܶܢ ܩܳܠ ܓܰܪ̈ܡܶܐ
ܒܢܶܩ̈ܥܰܘܗ̱ܝ ܥܪܰܩ ܘܰܛܫܳܐ
ܐܶܬܟܪܶܗ ܡܶܛܽܠ ܡܺܝ̈ܬܶܐ
ܣܒܰܪ ܗ̱ܘܳܐ ܕܰܐܘܦܺܝ ܠܶܗ
ܩܼܪܳܐ ܦܰܩܕܳܗ̇ ܠܰܫܝܽܘܠ
ܘܰܐܘܪܬܳܗ̇ ܦܣܰܩ ܣܰܒܪܳܐ
ܐܰܨܰܚ ܕܺܝܬܩܳܐ
ܒܙܰܘܰܥܬܶܗ
ܐܰܘܕܺܝ ܕܥܳܒܽܘܪܰܐ ܗ̱ܘ
ܘܰܐܟܬܶܒ ܕܡܶܣܟܺܢܰܐ ܗ̱ܘ
ܕܰܥܬܺܝܕ ܕܓܽܘܥܠܳܢܳܐ
ܢܶܦܢܶܐ ܠܝܳܗܽܘܒܶܗ
7.
ܡܺܝ̈ܬܶܐ ܠܚܰܝ̈ܶܐ ܩܳܡܘ̱
ܩܒܺܝܪ̈ܶܐ ܠܰܩܒܽܘܪ̈ܶܐ
ܪ̈ܡܰܝܳܐ ܠܗ̈ܶܠܟܶܐ
ܫܠܰܝ̈ܳܐ ܠܡ̈ܰܠܳܠܶܐ
ܕܰܘܺܝܕ ܠܚܶܙܰܩܝܳܐ
ܒܩܰܒܪܶܗ ܢܼܛܰܪ ܟܰܪܟܶܗ
ܘܓܰܪ̈ܡܶܐ ܠܝܽܘܫܺܝܳܐ
ܐܰܦܺܝܣܘ̱ ܗ̱ܘܰܘ
ܘܠܳܐ ܩܰܪܶܒܘ̱ ܠܗܰܘ ܣܳܒܳܐ
ܒܓܰܪ̈ܡܶܐ ܢܛܰܪܘ̱ ܓܰܪ̈ܡܰܘܗ̱ܝ
ܕܰܢܟܼܰܠ ܩܼܛܰܠ ܘܰܩܒܼܰܪ
ܘܗܰܝܡܶܢ ܛܦܰܣ ܘܰܦܠܰܛ
8.
ܐܶܢ ܓܶܝܪ ܗܰܘ ܣܳܒܳܐ
ܐܰܛܥܺܝܗ ܠܬܰܡܺܝܡܳܐ
ܘܗܰܝܡܶܢ ܕܡܳܐ ܕܰܣܼܛܳܐ
ܡܶܬܩܛܰܠ ܘܦܳܠܶܛ ܒܶܗ
ܬܶܡܗܰܐ ܗ̱ܘ ܕܟܰܕ ܩܰܛܠܶܗ
ܗܰܝܡܶܢ ܕܢܶܛܦܽܘܣ ܒܶܗ
ܡܰܢܽܘ ܚܼܙܳܐ ܬܶܗܪܳܐ
ܒܓܰܘ ܫܝܽܘܠ
ܩܛܺܝܠܳܐ ܠܩܳܛܽܘܠܶܗ
܀܀܀
ܒܩܰܒܪܳܐ ܡܢܰܛܰܪ ܗ̱ܘܳܐ
ܟܡܳܐ ܢܶܛܪܽܘܢ ܐܰܚ̈ܰܝ
ܩܛܺܝ̈ܠܶܐ ܕܒܰܡܫܺܝܚܳܐ
9.
ܬܽܘܒ ܣܳܡ ܐܶܠܺܝܫܰܥ
ܐܺܝܕ̈ܰܘܗ̱ܝ ܟܪ̈ܺܝܗܳܬܳܐ
ܥܰܠ ܐܺܝܕ̈ܶܐ ܚܠܺܝ̈ܡܳܬܳܐ
ܕܡܰܠܟܳܐ ܕܰܢܚܶܬ ܣܰܥܪܶܗ
ܚܰܝܠܳܐ ܩܢ̈ܰܝ ܘܰܫܕ̈ܰܝ
ܓܶܐܪܳܐ ܕܦܽܘܪܩܳܢܳܐ
ܠܡܶܬܗܰܪ ܒܟܽܘܪܗܳܢܳܐ
ܕܟܶܫܪ̈ܶܐ
ܕܢܶܒܥܶܐ ܗܽܘ ܕܚܽܘܠܡܳܢܳܐ
ܠܦܰܓܪܳܐ ܕܣܳܥܽܘܪ̈ܰܘܗ̱ܝ
ܠܣܽܘܥܪܳܢܗܽܘܢ ܐܰܫܘܳܢܝ̱
ܣܳܥܰܪ ܠܣܳܥܽܘܪ̈ܰܘܗ̱ܝ
10.
ܟܽܘܪܗܳܢܗܽܘܢ ܗܳܟܺܝܠ
ܠܡ̈ܰܠܟܶܐ ܝܰܗ̱ܒ ܚܰܝܠܳܐ
ܬܠܳܬܳܐ ܫܡܳܗܰܝ̈ܗܽܘܢ
ܠܫܶܬܡܳܐܐ ܐܰܠܦܺܝ̈ܢ ܥܰܕܰܪܘ̱
ܒܥܶܠܕܰܪܝ̱ ܣܳܛܳܢܳܐ
ܒܗܽܘܢ ܢܶܣܬܟܰܪ ܦܽܘܡܶܗ
ܕܣܢܺܐܓܪ̈ܰܝ ܛܳܒܺܝ̈ܢ
ܘܡܰܚܨܦܺܝܢ
ܡܠܺܝ̈ܠܺܝܢ ܘܣܰܓܺܝ̈ܐܺܝܢ
ܘܰܡܨܶܝܢ ܕܒܶܝܬ ܕܺܝܢܼܳܐ
ܢܫܰܗܽܘܢ ܒܥܶܠ ܕܺܝܢܼܳܐ
ܘܢܺܚܽܘܢ ܠܚܰܝܳܒܳܐ
11.
ܢܶܬܗܰܪ ܒܗܽܘܢ ܐܰܚ̈ܰܝ
ܕܗܽܘ ܙܰܝܢܗܽܘܢ ܫܶܬܩܰܐ ܗ̱ܘ
ܒܫܶܬܩܰܐ ܗ̱ܘ ܡܦܺܝܣܺܝܢ ܠܶܗ
ܠܫܳܡܰܥ ܠܫܰܬܺܝܩ̈ܶܐ
ܫܶܬܩܳܐ ܕܦܽܘܪܫܳܢܳܐ
ܨܠܽܘܬܰܐ ܗ̱ܘ ܠܝܳܕܰܥ ܟܽܘܠ
ܒܩܰܠܺܝܠ ܡܶܬܰܐܓܪܺܝܢ
ܣܢܺܐܓܪ̈ܰܝ
ܘܰܣܓܺܝ ܗܽܘ ܡܶܫܬܰܚܩܺܝܢ
ܒܒܶܟܝܳܐ ܫܚܺܝܕܺܝܢ ܠܺܝ
ܒܕܶܡ̈ܥܶܐ ܐܰܓܺܝܪܺܝܢ ܠܺܝ
ܕܐܫܶܦܥܶܬ ܥܰܠ ܩܰܒܪ̈ܰܝܗܽܘܢ
12.
ܢܶܪܗܰܛ ܠܩܰܒܪ̈ܰܝܗܽܘܢ
ܕܢܺܚܶܐ ܒܡ̈ܰܘܬܰܝܗܽܘܢ
ܓܰܪ̈ܡܰܘܗ̱ܝ ܕܶܐܠܺܝܫܰܥ
ܣܳܗܕܺܝܢ ܠܓܰܪ̈ܡܰܝܗܽܘܢ
ܕܚܰܝ̈ܶܐ ܝܰܗ̱ܒ ܕܰܒܗܽܘܢ
ܡܰܘܬܳܐ ܕܚܶܠ ܘܺܝܠܶܦ
ܘܰܫܪܺܝ ܡܝܰܩܰܪ ܗ̱ܘܳܐ
ܒܓܰܘ ܫܝܽܘܠ
ܠܓܰܪ̈ܡܶܐ ܕܙܰܕܺܝ̈ܩܶܐ
ܕܰܢܟܶܣ ܠܟܳܦܽܘܪ̈ܶܐ
ܕܠܳܐ ܚܰܫܘ̱ ܒܢܽܘܚܳܡܳܐ
ܕܳܐܦ ܫܝܽܘܠ ܪܓܺܝܫܳܐ ܒܶܗ
13.
ܠܳܐ ܓܶܝܪ ܐܺܝܬ ܡܶܕܶܡ
ܕܡܺܝܬܰܐ ܗ̱ܘ ܠܡܰܚܶܐ ܟܽܠ
ܐܶܠܳܐ ܐܶܢ ܗܰܘ ܡܰܘܬܳܐ
ܕܝܰܡܳܐ ܥܠܰܘܗ̱ܝ ܘܶܐܡܰܪ
ܕܠܳܐ ܐܶܨܛܒܺܝ ܡܶܡܬܽܘܡ
ܒܡܰܘܬܶܗ ܕܚܰܛܳܝܳܐ
ܘܟܰܕ ܟܽܠ ܠܡܳܪܳܐ ܟܽܠ
ܦܫܺܝܩ ܗ̱ܽܘ
ܥܛܰܠ ܗ̱ܽܘ ܠܰܡܰܚܳܝܽܘ
ܡܰܘܬܳܐ ܕܚܺܐܪܽܘܬܳܐ
ܕܡܺܝܬܶܐ ܒܨܶܒܝܳܢܶܗ
ܡܰܘܬܳܐ ܕܒܰܚܛܳܗܶܐ
14.
ܐܳܦ ܓܶܝܪ ܗܽܘ ܦܰܓܪܳܐ
ܡܳܐܢܳܐ ܕܚܰܝܘܳܬܳܗ̇
ܗܺܝ ܩܛܰܠܬܶܗ ܗܘܳܬ
ܒܪܺܝܫܺܝܬ ܒܦܰܪܕܰܝܣܳܐ
ܕܰܫܪܳܬ ܒܫܽܘܠܛܳܢܳܗ̇
ܣܝܳܓܶܗ ܕܢܳܡܽܘܣܳܐ
ܠܳܐ ܓܶܝܪ ܨܒܼܳܐ ܟܺܐܢܳܐ
ܕܰܐܡܠܟܳܗ̇
ܕܢܶܥܨܳܝܗ̇ ܒܰܩܛܺܝܪܳܐ
ܠܗܳܕܶܐ ܡܫܰܠܰܛܬܳܐ
ܕܰܫܪܳܬ ܠܨܶܒܝܳܢܶܗ
ܘܡܺܝܬܰܬ ܒܨܶܒܝܳܢܳܗ̇
15.
ܣܰܓܺܝ ܗܽܘ ܚܰܒܺܝܒܳܐ
ܫܶܢܬܳܐ ܠܡܰܢ ܕܠܳܐܶܐ
ܘܰܠܡܰܢ ܕܨܳܐܶܡ ܘܫܳܗܰܪ
ܡܰܘܬܳܐ ܪܚܽܘܡܶܗ ܗܽܘ
ܠܳܐ ܩܳܛܠܳܐ ܠܕܰܡ̈ܟܶܐ
ܫܶܢܬܳܐ ܕܒܰܟܝܳܢܳܐ
ܐܳܦ ܠܳܐ ܫܝܽܘܠ ܩܶܛܠܰܬ
ܘܩܳܛܠܳܐ
ܫܶܢܬܳܐ ܕܒܽܘܣܳܡܳܐ ܗ̱ܝ
ܐܳܦ ܫܝܽܘܠ ܕܢܽܘܚܳܡܳܐ ܗ̱ܝ
ܠܡܰܘܬܳܐ ܗܰܘ ܬܶܢܝܳܢܳܐ
ܕܠܳܐ ܐܺܝܬ ܠܶܗ ܦܽܘܪܣܳܐ
16.
ܠܳܐ ܟܺܝܡܳܐ ܡܶܢ ܡܬܽܘܡ
ܫܶܢܬܳܐ ܕܥܰܪ̈ܣܳܬܳܐ
ܥܰܠ ܡܰܢ ܕܢܳܡ ܘܰܕܡܼܶܟ
ܕܬܽܘܒ ܡܶܬܬܥܺܝܪ ܒܰܥܓܰܠ
ܐܳܦ ܠܳܐ ܫܝܽܘܠ ܟܶܡܰܬ
ܐܰܘ ܟܺܝܡܳܐ ܐܰܚ̈ܰܝ
ܗܳܐ ܫܶܢܬܳܐ ܠܰܫܝܽܘܠ
ܡܟܰܣܶܐ
ܕܨܰܦܪܳܐ ܡܥܺܝܪ ܕܰܡ̈ܟܶܐ
ܘܩܳܠܳܐ ܡܩܺܝܡ ܡܺܝ̈ܬܶܐ
ܡܰܘܬܰܐ ܗ̱ܘ ܕܚܺܐܪܽܘܬܳܐ
ܕܒܺܐܝܕ̈ܰܘܗ̱ܝ ܦܣܼܰܩ ܣܰܒܪܶܗ
܀܀܀
17.
ܗܳܢܳܐ ܕܗܳܐ ܟܶܐܡܰܬ
ܥܛܶܠ ܗ̱ܽܘ ܠܟܺܐܢܽܘܬܶܗ
ܝܰܗܒܶܗ ܒܛܰܝܒܽܘܬܶܗ
ܟܰܕ ܕܰܠܺܝܠ ܠܨܶܒܝܳܢܰܢ
ܕܪܽܘܚܳܐ ܚܢܰܢ ܢܺܚܶܐ
ܘܦܰܓܪܳܐ ܢܢܰܚܶܡ ܗ̱ܽܘ
ܕܟܰܕ ܢܶܐܟܠܺܝܘܗ̱ܝ ܪܰܚܫܳܐ
ܘܚܰܝܽܘܬܳܐ
ܠܰܐܪܥܰܐ ܗ̱ܘ ܡܶܬܦܢܶܝܢ
ܐܰܟܺܝ̈ܠܶܐ ܘܳܐܟܽܘ̈ܠܶܐ
ܘܡܶܬܦܪܶܫ ܐܰܝܟ ܕܰܒܟܽܘܪܳܐ
ܥܰܦܪܗܽܘܢ ܒܢܽܘܚܳܡܳܐ
18.
ܐܶܢ ܓܶܝܪ ܬܶܫܦܰܪ ܠܶܗ
ܗܳܕܶܐ ܠܽܐܘܡܳܢܳܐ
ܕܢܶܫܚܽܘܩ ܘܢܶܫܕܶܐ ܬܽܘܒ
ܕܰܗܒܳܐ ܒܓܰܘ ܐܰܪܥܳܐ
ܦܪܰܫ ܘܰܫܩܰܠ ܠܶܗ
ܡܶܢܳܗ̇ ܒܓܰܘ ܟܽܘܪܳܐ
ܟܡܳܐ ܟܺܝܬ ܒܳܪܽܘܝܳܐ
ܢܨܰܠܠܺܝܘܗ̱ܝ
ܠܦܰܓܪܐ ܒܢܽܘܚܳܡܳܐ
ܒܟܽܘܪܶܗ ܡܰܦܪܶܫ ܟܽܠ
ܟܰܕ ܡܓܶܝܠ ܘܫܳܕܶܐ ܠܶܗ
ܠܥܰܦܪܳܐ ܕܚܰܝ̈ܘܳܬܳܐ
19.
ܗܳܐ ܓܶܝܪ ܒܬܰܪܥܺܝܬܶܗ
ܕܺܝܠܶܗ ܕܰܥܒܽܘܕܳܢ
ܡܰܦܪܰܫ ܪܫܺܝܡ ܗ̱ܘܳܐ ܒܳܗ̇
ܥܰܦܪܶܗ ܕܒܰܪ ܐ̱ܢܳܫܳܐ
ܦܪܰܫ ܫܩܼܰܠ ܥܰܦܪܶܗ
ܕܳܐܕܳܡ ܘܓܰܒܠܶܗ ܗ̱ܘܳܐ
ܗܳܟܰܢ ܦܪܺܝܫ ܘܰܪܫܺܝܡ
ܒܡܰܕܥܶܗ
ܥܰܦܪܳܗ̇ ܕܐ̱ܢܳܫܽܘܬܳܐ
ܘܠܶܗ ܗܼܽܘ ܡܩܺܝܡ ܒܰܠܚܽܘܕ
ܘܰܚܙܰܘ ܠܫܽܘܪܳܝܳܐ
ܕܣܳܗܶܕ ܠܫܽܘܠܳܡܳܐ
20.
ܢܚܳܫܳܐ ܕܥܳܒܽܘܪܰܐ ܗ̱ܘ
ܦܪܺܝܫ ܗ̱ܽܘ ܒܓܰܘ ܥܰܦܪܶܗ
ܘܰܩܕܳܡ ܕܢܶܫܬܰܠܰܚ
ܡܶܬܚܙܶܐ ܠܽܐܘܡܳܢܶܗ
ܘܶܐܢ ܦܼܢܳܐ ܢܦܼܰܠ ܒܰܐܪܥܶܗ
ܕܢܺܝܚ ܗܽܘ ܒܓܰܘܳܗ̇ ܬܽܘܒ
ܟܡܳܐ ܟܺܝܬ ܠܝܳܕܰܥ ܟܽܠ
ܦܪܺܝܫ ܟܽܠ
ܟܽܠ ܥܦܰܪ ܠܓܶܢܣ̈ܳܢܰܘܗ̱ܝ
ܘܡܶܢ ܟܽܠܗܽܘܢ ܪܰܒ ܠܶܗ
ܥܰܦܪܶܗ ܕܒܰܪܢܳܫܳܐ
ܕܶܐܣܛܠܰܐ ܗ̱ܘ ܕܚܰܒܺܝܒܶܗ
21.
ܠܦܰܓܪܳܐ ܥܛܺܝܦ ܒܽܘܟܪܳܐ
ܦܪܺܝܣܰܐ ܗ̱ܘ ܕܬܶܫܒܽܘܚܬܶܗ
ܚܰܬܢܳܐ ܕܠܳܐ ܡܳܐܶܬ
ܒܗܳܝ ܐܶܣܛܠܳܐ ܡܦܰܪܶܓ
ܙܡ̈ܺܝܢܶܐ ܒܶܐܣܛܰܠܗܽܘܢ
ܠܗܳܝ ܐܰܣܛܠܶܗ ܢܶܕܡܽܘܢ
ܦܰܓܪ̈ܶܐ ܠܒܽܘܫܰܝ̈ܟܽܘܢ
ܢܦܰܪܓܽܘܢ
ܕܰܦܟܪܽܘܗ̱ܝ ܠܗܰܘ ܓܰܒܪܳܐ
ܕܦܰܓܪܶܗ ܡܟܰܬܰܡ ܗ̱ܘܳܐ
ܚܽܘܪ ܒܡܶܫܬܽܘܬܳܟ
ܟܽܘܬܡ̈ܳܬܝ̱ ܒܙܰܠܺܝܩ̈ܰܝܟ
22.
ܚܙܰܘ ܕܶܝܢ ܟܡܳܐ ܥܽܘܒܺܝ̈ܢ
ܦܰܓܪܳܐ ܨܪܳܐ ܘܰܢܦܰܩ
ܠܟܰܪܣܳܐ ܒܡܰܘܠܳܕܶܗ
ܠܩܰܒܪܳܐ ܒܢܽܘܚܳܡܶܗ
ܠܓܽܘܒܳܐ ܕܚܰܝ̈ܘܳܬܳܐ
ܙܟܼܳܐ ܗ̱ܘܳܐ ܘܠܰܐܬܽܘܢܳܐ
ܢܽܘܢܳܐ ܕܒܰܠܥܶܗ ܬܽܘܒ
ܦܰܢܝܶܗ
ܗܰܠܶܟ ܒܓܰܘ ܝܰܡܳܐ
ܘܰܦܼܪܰܚ ܘܛܳܣ ܒܳܐܐܰܪ
ܝܺܬܶܒ ܥܰܠ ܝܰܡܺܝܢܳܐ
ܡܟܰܠܰܠ ܒܬܶܫܒܽܘܚܬܳܐ
23.
ܡܰܢܽܘ ܕܰܚܒܰܫ ܠܶܗ
ܡܰܢܽܘ ܕܶܐܣܰܪ ܠܶܗ
ܐܰܝܢܰܘ ܟܰܝ ܥܽܘܒܳܐ
ܕܡܶܫܟܰܚ ܡܣܰܝܒܰܪ ܠܶܗ
ܐܶܢ ܗܽܘ ܕܥܰܠ ܟܰܪܣܳܐ
ܠܳܐ ܚܳܣ ܕܺܝܠܶܕܬܶܗ
ܒܚܶܒܠܰܘ̈ܗ̱ܝ ܬܼܪܰܥ ܘܰܢܦܰܩ
ܘܰܐܪܦܝܳܗ̇
ܘܗܳܐ ܨܶܕܝܳܐ ܡܶܢܶܗ
ܕܠܳܐ ܬܽܘܒ ܦܢܳܐ ܥܰܠ ܠܳܗ̇
ܟܡܳܐ ܢܶܚܪܒܶܝܗ̇ ܠܰܫܝܽܘܠ
ܡܰܦܩܶܗ ܘܢܽܘܚܳܡܶܗ
24.
ܠܰܡܗܰܝ̈ܡܢܶܐ ܡܰܠܶܦ
ܡܰܣܩܶܗ ܕܶܐܠܺܝܳܐ
ܕܰܐܟܚܰܕ ܣܠܶܩܘ̱ ܗ̱ܘܰܘ ܒܳܗ̇
ܬܪ̈ܰܝܗܽܘܢ ܒܡܰܪܟܰܒܬܳܐ
ܦܰܓܪܳܐ ܐܳܦ ܢܰܦܫܳܐ
ܠܗܰܘ ܡܰܥܡܪܳܐ ܕܰܠܥܶܠ
ܘܰܕܠܳܐ ܫܠܰܚ ܦܰܓܪܶܗ
ܫܕܳܐ ܒܕܽܘܟ
ܓܰܒܪ̈ܶܐ ܕܰܢܦܼܰܩܘ̱ ܘܰܒܥܰܘ̱
ܕܠܳܐ ܐܶܫܟܚܽܘܗ̱ܝ ܐܰܠܶܦܘ̱
ܕܟܽܠܶܗ ܣܠܼܶܩ ܒܦܰܓܪ
ܕܩܰܕܺܝܫ ܗ̱ܘܳܐ ܒܦܰܓܪ
25.
ܘܳܐܦ ܗܼܽܘ ܥܰܦܪܶܗ ܬܽܘܒ
ܡܰܠܶܦ ܕܶܐܠܺܝܳܐ
ܕܶܐܬܦܪܶܫ ܘܦܳܫ ܡܶܢܶܗ
ܫܐܺܝܠܳܐ ܘܥܳܒܽܘܪܳܐ
ܘܶܐܬܟܣܶܣ ܦܼܪܰܫ ܘܰܢܦܼܰܠ
ܕܺܐܝܬܰܘܗ̱ܝ ܠܒܽܘܫ ܙܰܒܢܳܐ
ܕܰܢܦܺܝܣ ܥܰܠ ܦܰܓܪܳܐ
ܕܶܐܬܚܛܰܦ
ܕܰܗܘܳܝܶܗ ܠܒܽܘܫ ܩܽܘܫܬܳܐ
ܕܰܠܘܳܐ ܠܰܠܒܽܘ̈ܫܰܘܗ̱ܝ
ܥܰܦܪܳܐ ܦܼܪܰܫ ܘܰܢܦܼܰܠ
ܘܦܰܓܪܳܐ ܦܼܪܰܚ ܘܰܣܼܠܶܩ
26.
ܐܳܦ ܝܽܘܪܕܢܳܢ ܐܰܪܡܺܝ
ܦܓܽܘ̈ܕܶܐ ܒܡܰܪܕܺܝܬܶܗ
ܢܰܦܫܗܽܘܢ ܬܟܰܣܘ̱ ܡܰܝ̈ܳܐ
ܚܰܕ ܠܚܰܕ ܛܥܶܢܘ̱ ܫܶܦܥܰܘ̈ܗ̱ܝ
ܫܰܒܩܳܗ̇ ܠܡܰܪܕܺܝܬܶܗ
ܫܪܺܝܬܳܐ ܕܒܰܟܝܳܢܶܗ
ܘܰܪܕܳܐ ܕܠܳܐ ܟܝܳܢܶܗ
ܠܒܶܣܬܪܶܗ
ܕܰܢܦܺܝܣ ܟܰܕ ܣܳܒܶܟ
ܘܣܳܠܶܩ ܒܦܽܘܩܕܳܢܳܐ
ܕܦܰܓܪܳܐ ܒܢܰܨ̈ܺܝܚܶܐ
ܠܪܰܘܡܳܐ ܦܼܳܪܚܳܐ ܘܰܣܼܠܶܩ
27.
ܐܶܢ ܕܶܝܢ ܥܼܛܰܠ ܕܰܢܩܽܘܡ
ܦܰܓܪܶܗ ܕܢܽܘܚ ܕܰܒܠܺܝ
ܣܰܓܺܝ ܥܣܶܩ ܕܰܚܢܽܘܟ
ܕܠܳܐ ܐܶܫܬܪܺܝ ܦܰܓܪܶܗ
ܕܡܺܝ̈ܬܶܐ ܒܐ̱ܪܳܙ ܚܰܢܽܘܟ
ܐܰܠܦܰܢ ܕܚܰܝܰܝܢ ܠܶܗ
ܒܡܽܘܫܶܐ ܘܒܶܐܠܺܝܳܐ
ܕܶܐܬܚܙܺܝܘ
ܐܰܟܶܣ ܠܟܳܦܽܘܪ̈ܶܐ
ܕܚܰܝܰܝ̈ܢ ܕܡܶܬܩܰܒܪܺܝܢ
ܘܦܳܪܚܺܝܢ ܕܡܶܫܬܰܚܪܺܝܢ
ܐܰܫܘܳܢܝ̱ ܠܡܶܐܬܺܝܬܳܟ
[ܫܠܶܡ]
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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