Hymn XLIX (Carmina Nisibena XLIX)
Seventeen stanzas of cosmic eschatology — the longest and most panoramic hymn in the resurrection cycle, drawing proofs of bodily resurrection from every domain of creation and culminating in the last trumpet and the final judgment. Earth's justice: wheat is cast in stripped and bare, yet she returns it clothed with garments and provisions — clusters she never borrowed, capital and interest she repays to the farmer; how much more shall she repay her Lord, whose seeds she did not cultivate (stanza 1). Not one body is sown and many sprout — one fell and raised an ear of our generations; unless he wore our body, how did he taste our death? Unless his body was slain, his breaking of bread was deceit (stanza 2). Earth breeds even worms by command — how much more shall she rejoice in her son, for on his account the hand of the Creator honored her clay, and on his account our Lord stooped and walked upon her (stanza 3). Barrenness is worse than Sheol: the seed of life is choked in her womb; Sheol never buries a living person; if barrenness is the lot of humanity, how much more does earth's womb repay in the resurrection (stanza 4). Fire is harsher: she devoured living and dead alike, but kept the body in her womb by command; the defaulter returned capital and interest — instead of three, she showed four (stanza 5). Fire consumed many in her greed, but three fell in and multiplied; the fire that feared had to repay what she never intended to return — she received much but was ashamed, repaid and was humiliated (stanza 6). Satan is like one who lends and never collects — fire returned to its kindred what was never demanded; how much more shall earth repay her debt in the resurrection to the Just One who demands it (stanza 7). A dead body breeds worms without coupling — if death gave birth to life, how much more shall the Giver of all give life to death; the bones tremble at the voice of the Giver of life (stanza 8). Ezekiel's valley: bones without motion crawled by command; the house built itself at its Architect's word; Death, who was king in Sheol, became suddenly a laborer assembling bones and toiling at the building of the temple he had cast down (stanza 9). Winter, a likeness of death — merciless as a robber, he strips the trees naked, makes them bare, and carries off their garments; Nisan repays, the mystery of the Giver of life who restores the garments of flowers and trees (stanza 10). He raises grasses, herbs, flowers, and blossoms in their beauty and dyes their colors; the Good One who cares about flowers that never lent him anything — far be it from his justice to forget the bodies of his beloved in the glory of his coming (stanza 11). Who hides the sun in his bosom? Who covers the mountain in his wings? Who conceals truth in dispute? Hope for those lying down — who gives the lie to the crowd of evidence? The Good One whose pledges witness to his resurrection (stanza 12). If Sarah rejoices to receive Abraham, and both shall be in purity in the Kingdom — how much more shall the soul rejoice to receive her partner; their tears persuade: when they part they weep, longing to see each other in the resurrection (stanza 13). Call the body as witness of its resurrection: when Adam was formed from common clay, a spring of distinctions was poured into the dust — it spoke, saw, heard, smelled, touched, tasted, launched, sinned, fell, was pitied, lived, and ascended (stanza 14). The rock and the spark: the rock was split by command, swallowed what it did not sin over, was charged for what it did not receive; Death who gorged shall be stripped — at the plain from nowhere and the thunder of that trumpet, the dead meet the Son of the King (stanza 15). As sudden thunder in the night amazes and awakens sleepers and shakes the sunk — so at the last trumpet, whose voice raises the dead; not because it is violent, but because the command of resurrection dwells in it (stanza 16). When they awake, they are amazed and troubled — one remembers iniquity, another uncleanness; blessed in that hour is he who remembered it; labor pains of wrath strike the wicked — "Let the righteous intercede for me in that hour" (stanza 17). The refrain: "Let your truth be in us leaven that draws us."
Melody: Same melody (VII)
I.
Look, my son, at the justice
of the earth where they cast
wheat stripped and bare,
a shoot laid open —
provisions and garments
she loads upon both.
Clusters she never borrowed —
a repayment:
capital and interest
she repays to the farmer.
How much more she repays to her Lord
the seeds he did not cultivate!
Response: Let your truth be in us leaven that draws us.
II.
Not one body
is sown and many,
like wheat, from it
spring forth in the resurrection.
One fell and raised
an ear of our generations —
to convict the deniers:
how they denied!
Unless he wore our body,
how did he taste our death?
And unless his body was slain,
his breaking of bread was deceit.
III.
Earth that breeds even worms
by command,
stings of injury
she teems with in her vitality —
how much more shall she rejoice in her son,
that he should live and be raised!
For on his account she was exalted
when he was formed:
the hand of the Creator
honored her clay.
And on his account our Lord
stooped and walked upon her.
IV.
Barrenness is worse
than Sheol by comparison:
the seed of life
is choked in her womb.
In Sheol, never
is a living person buried —
it is the body that enters her
when it is dead.
And if barrenness
is the lot of humankind,
how much more does her womb repay —
the earth's — in the resurrection!
V.
Fire too is harsher
than Sheol by experience:
living and dead alike
she devours in her hunger.
The body in her womb
she kept by command.
The defaulter returned her deposit
and multiplied it:
capital and interest
she returned to her spectators —
instead of three,
she showed four.
VI.
Fire, she who consumed many
in her greed —
three fell in
and multiplied in her womb.
Fire that feared
for all she had eaten
repaid him who wished
to be defrauded.
He lent to destroy,
yet, without demanding, she repaid.
He received much and was ashamed,
was repaid and was humiliated.
VII.
He resembles Satan
who lends and does not collect.
His silver he buries
with his debtor.
He lends and raises for himself
interest and profit.
Fire to her kindred
returned
what was never demanded of her.
How much more shall earth repay
her debt in the resurrection
to the Just One who demands it!
VIII.
A dead body breeds
worms without coupling.
And if death
gave birth to life,
how much more shall the Giver of all life
give life to death!
A dead body breeds
in Sheol —
and if death
trembled with life,
how much more shall his bones tremble
at the voice of the Giver of all life!
IX.
The prophet in the valley —
let him teach you how
bones without motion
crawled by command.
The house built itself
when its Architect commanded it.
And Death, who was king
in Sheol,
became suddenly a laborer:
he was assembling bones
and toiling at the building
of that temple he had cast down.
X.
Winter, without mercy,
in the likeness of a robber —
he goes out and strips
the garments of the trees.
He makes them bare, naked,
and carries off their garments.
A likeness he was of Death
in everything.
Nisan repays you,
and the mystery of the Giver of life —
to flowers and to trees
he restores their garments.
XI.
To grasses and herbs
and flowers and blossoms
he raises in their beauty
and dyes their colors.
The Good One who, for flowers
that never lent him anything,
is concerned — his grace
in everything —
far be it from his justice
to defraud and forget
the bodies of his beloved
in the glory of his coming!
XII.
Who hides
the sun in his bosom?
Who covers
the mountain in his wings?
Who conceals
truth in his dispute?
Hope he becomes
for those lying down.
Who gives the lie
to the crowd of evidence?
The Good One, whose pledges
witness to his resurrection.
XIII.
If Sarah rejoices
to receive Abraham,
and both shall be in the Kingdom,
both in purity —
how much more shall the soul rejoice
to receive her partner!
Their parting witnesses
to their love.
Tears persuade you:
when they part, they weep —
for again, one another, they long
to see in the resurrection.
XIV.
Call the body as witness
of its resurrection:
for when Adam was formed
from that common clay,
a spring of distinctions
was poured into the dust.
It is dust that was transformed
to every thing:
it spoke, it saw, it heard,
it smelled, it touched, it tasted,
it launched, it sinned, it fell,
it was pitied, it lived, it ascended.
XV.
The rock and the spark —
the rock was split by command.
It swallowed what it did not sin over,
was charged for what it did not receive.
And though it never borrowed from any,
to all it gave drink.
Death, who gorged himself,
is being stripped —
at the plain from nowhere,
at the thunder of that trumpet.
For that trumpet — the dead
shall meet the Son of the King.
XVI.
And as when, suddenly,
in the night there strikes
a thunder, violently strong,
and a crash, mightily fierce —
it amazes and awakens sleepers,
it shakes and rouses the sunk.
So at that last
trumpet:
its voice raises the dead —
not because it is violent,
but because the command
of resurrection dwells in it.
XVII.
And when they awaken suddenly,
they are amazed and troubled:
one remembers his iniquity,
another his uncleanness.
In that hour — blessed
is he who remembered it!
For in it they tremble there,
they shake —
for labor pains of wrath strike in it
against the wicked.
Let the righteous intercede for me —
all of them — in that hour.
Colophon
Ephrem the Syrian (d. 373 CE), Carmina Nisibena, Hymn 49. Translated from the Syriac by the Good Works Project (NTAC + Claude), March 2026. Syriac source: Edmund Beck, ed., Des Heiligen Ephraem des Syrers Carmina Nisibena (CSCO 218/219; Louvain, 1961). Digital Syriac Corpus TEI XML transcription (CC-BY 4.0). No English translation consulted. Gospel register.
Scribed by Balai, Syriac Translator, Life 6. Tulku lineage of the New Tianmu Anglican Church.
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 49 (Carmina Nisibena 49)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܙ ܒܰܪ ܩܳܠܶܗ
1.
ܚܽܘܪ ܒܶܪܝ̱ ܒܟܺܐܢܽܘܬܳܗ̇
ܕܰܐܪܥܳܐ ܕܫܳܕܶܝܢ ܒܳܗ̇
ܚܶܛܬܳܐ ܡܫܰܠܰܚܬܳܐ
ܫܒܶܫܬܳܐ ܡܦܰܪܣܺܝܬܳܐ
ܙܽܘ̈ܳܕܶܐ ܐܳܦ ܢܰܚ̈ܬܶܐ
ܡܰܛܥܢܳܐ ܠܬܰܪ̈ܬܰܝܗܶܝܢ
ܣܓܽܘ̈ܠܶܐ ܕܠܳܐ ܝܶܙܦܰܬ
ܦܶܪܥܳܐ
ܩܰܪܢܳܐ ܘܪܰܒܰܝܬܳܐ
ܦܶܪܥܳܐ ܠܶܐܟܳܪܳܐ
ܟܡܳܐ ܦܶܪܥܳܐ ܠܡܳܪܳܗ̇
ܙܰܪ̈ܥܽܘܗ̱ܝ ܕܠܳܐ ܪܰܒܺܝ
ܥܽܘܢܺܝܬܳܐ: ܫܪܳܪܳܟ ܕܒܰܢ ܢܶܗܘܶܐ
ܚܡܺܝܪܳܐ ܕܢܳܓܶܕ ܠܰܢ
2.
ܠܰܘ ܓܶܝܪ ܚܰܕ ܦܰܓܪܳܐ
ܡܶܙܕܪܰܥ ܘܣܰܓܺܝ̈ܐܶܐ
ܐܰܝܟ ܚܶܛܬܳܐ ܡܶܢܶܗ
ܢܳܒܥܺܝܢ ܒܢܽܘܚܳܡܳܐ
ܚܰܕܽ ܗ̱ܘ ܢܦܰܠ ܘܰܐܩܺܝܡ
ܫܶܒܠܳܐ ܕܫܰܪ̈ܒܳܬܰܢ
ܕܢܰܟܶܣ ܠܟܳܦܽܘܪ̈ܶܐ
ܟܡܳܐ ܟܦܰܪܘ̱
܀܀܀
ܕܶܐܠܳܐ ܠܒܶܫ ܦܰܓܪܰܢ
ܐܰܝܟܰܢ ܛܥܶܡ ܡܰܘܬܰܢ
ܘܶܐܠܳܐ ܩܛܺܝܠ ܦܰܓܪܶܗ
ܒܙܺܐܦܰܐ ܗ̱ܘ ܩܨܳܐ ܠܰܚܡܶܗ
3.
ܐܰܪܥܳܐ ܕܳܐܦ ܪܰܚܫܳܐ
ܡܰܘܠܕܳܐ ܒܦܽܘܩܕܳܢܳܐ
ܥܽܘ̈ܩܣܶܐ ܕܢܶܟܝ̈ܳܢܶܐ
ܡܪܰܚܫܳܐ ܒܚܰܝܽܘܬܳܗ̇
ܟܡܳܐ ܚܳܕܝܳܐ ܒܰܒܪܳܗ̇
ܕܢܺܚܶܐ ܘܢܶܬܢܰܚܰܡ
ܕܰܒܥܶܠܬܶܗ ܝܶܪܒܶܬ
ܕܶܐܬܓܒܶܠ
ܕܺܐܝܕܶܗ ܕܒܳܪܽܘܝܳܐ
ܝܰܩܪܰܬ ܠܕܰܚܺܝܚܳܗ̇
ܘܰܒܥܶܠܬܶܗ ܡܳܪܰܢ
ܐܰܬܪܟܶܢ ܘܗܰܠܶܟ ܒܳܗ̇
4.
ܒܺܝܫܳܐ ܗ̱ܝ ܥܰܩܪܽܘܬܳܐ
ܡܶܢ ܫܝܽܘܠ ܒܦܽܘܚܳܡܳܐ
ܙܰܪܥܳܐ ܕܚܰܝܽܘܬܳܐ
ܡܶܬܚܢܶܩ ܒܓܰܘ ܥܽܘܒܳܗ̇
ܒܰܫܝܽܘܠ ܓܶܝܪ ܡܶܡܬܽܘܡ
ܠܳܐ ܡܶܬܩܒܰܪ ܚܰܝܳܐ
ܦܰܓܪܰܐ ܗ̱ܘ ܥܳܐܶܠ ܠܳܗ̇
ܡܳܐ ܕܡܺܝܬ
ܐܶܢ ܟܺܝܬ ܥܰܩܪܽܘܬܳܐ
ܦܰܢܝܰܬ ܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ
ܟܡܳܐ ܦܶܪܥܳܐ ܟܰܪܣܳܗ̇
ܕܰܐܪܥܳܐ ܒܢܽܘܚܳܡܳܐ
5.
ܩܰܫܝܳܐ ܗ̱ܝ ܐܳܦ ܢܽܘܪܳܐ
ܡܶܢ ܫܝܽܘܠ ܒܢܶܣܝܳܢܳܐ
ܕܚ̈ܰܝܶܐ ܐܳܦ ܡܺܝ̈ܬܶܐ
܀܀܀
ܒܶܠܥܳܐ ܒܟܰܦܢܽܘܬܳܗ̇
ܠܦܰܓܪܳܐ ܒܓܰܘ ܥܽܘܒܳܗ̇
ܢܶܛܪܰܬ ܒܦܽܘܩܕܳܢܳܐ
ܛܠܽܘܡܬܳܐ ܝܶܗܒܰܬ
ܘܰܐܣܓܝܰܬ
ܩܰܪܢܳܐ ܘܪܰܒܰܝܬܳܐ
ܦܶܢܝܰܬ ܠܚ̈ܰܙܳܝܶܐ
ܕܰܚܠܳܦ ܬܠܺܝ̈ܬܳܝܶܐ
ܚܰܘܝܰܬ ܐ̱ܪ̈ܒܺܝܥܳܝܶܐ
6.
ܢܽܘܪܳܐ ܗ̱ܝ ܕܣܰܓ̈ܺܝܐܶܐ
ܓܶܪܣܰܬ ܒܝܰܥܢܽܘܬܳܗ̇
ܬܠܳܬܳܐ ܢܦܰܠܘ̱ ܗ̱ܘܰܘ ܒܳܗ̇
ܘܰܣܓܺܝܘ ܒܓܰܘ ܥܽܘܒܳܗ̇
ܢܽܘܪܳܐ ܕܟܶܡܰܬ ܗ̱ܘܳܬ
ܥܰܠ ܟܽܠ ܕܶܐܟܠܰܬ ܗ̱ܘܳܬ
ܦܪܰܥܬܶܗ ܠܗܰܘ ܕܰܨܒܳܐ
ܕܢܶܬܛܠܶܡ
ܕܰܐܘܙܶܦ ܕܢܰܘܒܶܕ ܗ̱ܘܳܐ
ܘܟܰܕ ܠܳܐ ܬܳܒܰܥ ܦܶܪܥܰܬ
ܐܰܣܓܺܝ ܢܣܰܒ ܘܰܒܗܶܬ
ܘܶܐܬܦܪܰܥ ܘܶܐܬܟܰܐܰܪ
7.
ܕܳܡܶܐ ܗܽܘ ܠܣܳܛܳܢܳܐ
ܕܡܰܘܙܶܦ ܘܠܳܐ ܬܳܒܰܥ
ܟܶܣܦܶܗ ܡܛܰܒܰܥ ܠܶܗ
ܠܘܳܬܶܗ ܕܝܙܦܳܐ
ܡܰܘܙܶܦ ܘܡܰܣܶܩ ܠܶܗ
ܩܨܳܨܳܐ ܘܪܰܒܰܝܬܳܐ
ܢܽܘܪܳܐ ܠܒܰܪ ܛܽܘܗܡܳܗ̇
ܦܰܢܝܰܬ
ܡܶܕܶܡ ܕܠܳܐ ܬܰܒܥܳܗ̇
ܟܡܳܐ ܦܳܪܥܳܐ ܐܰܪܥܳܐ
ܚܰܘܒܬܳܗ̇ ܒܢܽܘܚܳܡܳܐ
ܠܟܺܐܢܳܐ ܕܬܳܒܰܥ ܠܳܗ̇
܀܀܀
8.
ܦܰܓܪܳܐ ܕܡܺܝܬ ܡܰܘܠܶܕ
ܬܽܘ̈ܠܥܶܐ ܕܠܳܐ ܙܽܘܘܳܓ
ܘܶܐܢ ܗܽܘ ܕܡܺܝܬܽܘܬܳܐ
ܐܰܘܠܕܰܬ ܠܚܰܝܽܘܬܳܐ
ܟܡܳܐ ܟܺܝܬ ܡܰܚܶܐ ܟܽܘܠ
ܢܺܚܶܝܗ̇ ܠܡܺܝܬܽܘܬܳܐ
ܦܰܓܪܳܐ ܕܡܺܝܬ ܡܰܘܠܶܕ
ܒܓܰܘ ܫܝܽܘܠ
ܘܶܐܢܗܽܘ ܕܡܺܝܬܽܘܬܳܐ
ܪܶܦܬܰܬ ܒܚܰܝܽܘܬܳܐ
ܟܡܳܐ ܪܳܦܬܺܝܢ ܓܰܪ̈ܡܰܘܗ̱ܝ
ܒܩܳܠܶܗ ܕܡܰܚܶܐ ܟܽܠ
9.
ܢܒܺܝܳܐ ܕܒܰܦܩܰܥܬܳܐ
ܢܰܠܦܳܟ ܕܰܐܝܟܰܢܳܐ
ܓܰܪ̈ܡܶܐ ܕܠܳܐ ܙܰܘܥܳܐ
ܪܦܰܬܘ̱ ܗ̱ܘܰܘ ܒܦܽܘܩܕܳܢܳܐ
ܒܰܝܬܳܐ ܒܢܳܐ ܢܰܦܫܶܗ
ܕܰܐܪܕܺܟܠܶܗ ܦܩܰܕ ܠܶܗ
ܘܡܰܘܬܳܐ ܕܡܰܠܟܳܐ ܗ̱ܘܳܐ
ܒܓܰܘ ܫܝܽܘܠ
ܦܳܥܠܳܐ ܗ̱ܘܳܐ ܡܶܢ ܫܶܠܝ̱
ܕܓܰܪ̈ܡܶܐ ܡܩܰܪܶܒ ܗ̱ܘܳܐ
ܘܰܬܥܶܫ ܒܒܶܢܝܳܢܶܗ
ܕܗܰܘ ܗܰܝܟܠܳܐ ܕܰܐܪܡܺܝ
10.
ܣܰܬܘܳܐ ܕܠܳܐ ܪ̈ܰܚܡܶܐ
ܒܛܽܘܦܣܳܐ ܕܓܰܝܳܣܳܐ
ܢܦܰܩ ܘܢܰܚ̈ܬܰܝܗܽܘܢ
ܡܰܫܠܰܚ ܕܺܐܝ̈ܠܳܢܶܐ
ܡܰܟܡܰܪ ܠܗܽܘܢ ܥܰܪܛܶܠ
ܕܡܰܥܕܳܐ ܠܒܽܘܫ̈ܰܝܗܽܘܢ
ܕܽܘܡܝܳܐ ܗ̱ܘܳܐ ܠܡܰܘܬܳܐ
ܒܟܽܠܗܶܝܢ
ܢܺܝܣܳܢ ܡܰܦܪܰܥ ܠܳܟ
ܘܐ̱ܪܙܶܗ ܕܡܰܚܶܐ ܟܽܠ
ܠܦܰܩ̈ܳܚܶܐ ܘܠܺܐܝ̈ܠܳܢܶܐ
ܡܰܦܢܶܐ ܠܒܽܘܫ̈ܰܝܗܽܘܢ
11.
ܠܥܶܣ̈ܒܶܐ ܘܥܶܩܳܪ̈ܶܐ
ܘܦܰܩܳܚ̈ܶܐ ܘܗܰܒ̈ܳܒܶܐ
ܡܢܰܚܶܡ ܒܫܽܘܦܪ̈ܰܝܗܽܘܢ
ܘܨܳܒܰܥ ܠܓܰܘ̈ܳܢܰܝܗܽܘܢ
ܛܳܒܳܐ ܕܥܰܠ ܦܰܩ̈ܳܚܶܐ
ܕܠܳܐ ܐܰܘܙܦܽܘܗ̱ܝ ܡܶܕܶܡ
ܒܛܺܝܠ ܠܳܗ̇ ܠܛܰܝܒܽܘܬܶܗ
ܒܟܽܠܗܶܝܢ
ܚܳܣ ܠܳܗ̇ ܠܟܺܐܢܽܘܬܶܗ
ܕܰܛܠܶܡ ܘܛܳܥܶܐ ܗ̱ܘܳܐ
ܠܦܰܓܪ̈ܶܐ ܕܚܰܒܺܝ̈ܒܰܘܗ̱ܝ
ܒܫܽܘܒܚܳܐ ܕܡܶܐܬܺܝܬܶܗ
12.
ܡܰܢܽܘ ܡܛܰܫܶܐ ܠܶܗ
ܠܫܶܡܫܳܐ ܒܓܰܘ ܥܽܘܒܶܗ
ܡܰܢܽܘ ܡܟܰܣܶܐ ܠܶܗ
ܠܛܽܘܪܳܐ ܒܟ̈ܶܢܦܳܬܶܗ
ܡܰܢܽܘ ܡܚܰܦܶܐ ܠܶܗ
ܠܩܽܘܫܬܳܐ ܒܚܶܪܝܳܢܶܗ
ܗܳܘܶܐ ܗܽܘ ܓܶܝܪ ܣܰܒܪܳܐ
ܠܰܫܟ̈ܺܝܒܶܐ
ܡܰܢܽܘ ܡܕܰܓܶܠ ܠܶܗ
ܠܟܶܢܫܳܐ ܕܢܶܣܝܳܢܳܐ
ܛܳܒܳܐ ܕܪ̈ܰܗܒܽܘܢܰܘܗ̱ܝ
ܣܳܗܕܺܝܢ ܠܢܽܘܚܳܡܶܗ
13.
ܐܶܢ ܚܳܕܝܳܐ ܣܰܪܳܐ
ܕܬܰܩܒܶܠ ܠܰܐܒܪܳܗܳܡ
ܘܢܶܗܘܽܘܢ ܒܡܰܠܟܽܘܬܳܐ
ܬܪ̈ܰܝܗܽܘܢ ܒܕܰܟܝܽܘܬܳܐ
ܟܡܳܐ ܚܳܕܝܳܐ ܢܰܦܫܳܐ
܀܀܀
ܕܬܰܩܒܶܠ ܠܫܰܘܬܳܦܳܗ̇
ܦܽܘܪܫܳܢܗܽܘܢ ܣܳܗܶܕ
ܠܚܽܘܒܗܽܘܢ
ܕܡ̈ܶܥܶܐ ܢܦܺܝܣܳܢܳܟ
ܕܡܳܐ ܕܦܳܪܫܺܝܢ ܒܳܟܶܝܢ
ܕܬܽܘܒ ܚܰܕ ܠܚܰܕ ܨܳܒܶܝܢ
ܕܢܶܚܙܽܘܢ ܒܢܽܘܚܳܡܳܐ
14.
ܠܦܰܓܪܳܐ ܩܪܺܝ ܕܢܶܗܘܶܐ
ܣܳܗܕܳܐ ܕܢܽܘܚܳܡܶܗ
ܕܟܰܕ ܐܶܬܓܒܰܠ ܐܳܕܳܡ
ܡܰܢ ܗܳܝ ܫܚܺܝܡܽܘܬܳܐ
ܡܥܺܝܢܳܐ ܕܦܽܘܪ̈ܫܳܢܶܐ
ܢܣܰܟ ܒܶܗ ܒܕܰܚܺܝܚܳܐ
ܥܰܦܪܰܐ ܗ̱ܘ ܕܶܐܫܬܰܚܠܰܦ
ܠܟܽܠ ܨܒܽܘ
ܕܡܰܠܶܠ ܚܙܳܐ ܘܰܫܡܰܥ
ܘܰܐܪܺܝܚ ܘܓܰܫ ܘܰܛܥܶܡ
ܘܰܐܪܡܰܚ ܚܛܳܐ ܘܰܢܦܰܠ
ܘܶܐܬܚܢܶܢ ܚܝܳܐ ܘܰܣܠܶܩ
15.
ܫܽܘܥܳܐ ܘܛܰܪܢܳܐ
ܕܶܐܣܬܕܶܩ ܒܦܽܘܩܕܳܢܳܐ
ܕܰܒܠܰܥ ܕܠܳܐ ܐܰܣܟܶܠ
ܘܶܐܬܬܒܰܥ ܕܠܳܐ ܩܰܒܶܠ
ܘܟܰܕ ܠܳܐ ܝܺܙܶܦ ܡܶܢ ܐ̱ܢܳܫ
ܠܟܽܠ ܐ̱ܢܳܫ ܦܪܰܥ ܫܰܩܝܳܐ
ܡܰܘܬܳܐ ܕܶܐܬܝܰܥܶܢ
ܡܶܣܬܪܶܩ
ܒܦܰܩܥܳܐ ܕܡܶܢ ܫܶܠܝܳܐ
ܘܪܰܥܡܳܗ̇ ܕܗܳܝ ܩܰܪܢܳܐ
ܕܗܺܝ ܩܰܪܢܳܐ ܡܺܝ̈ܬܶܐ
ܠܽܐܘܪܥܶܗ ܕܒܰܪ ܡܰܠܟܳܐ
16.
ܘܰܐܝܟܰܢ ܕܶܐܢ ܡܶܢ ܫܶܠܝ̱
܀܀܀
ܒܓܰܘ ܠܺܠܝܳܐ ܢܶܓܕܰܫ
ܪܰܥܡܳܐ ܕܛܳܒ ܥܰܙܺܝܙ
ܘܦܰܩܥܳܐ ܕܛܳܒ ܚܰܣܺܝܢ
ܡܰܬܘܰܗ ܡܥܺܝܪ ܕܰܡ̈ܟܶܐ
ܘܰܡܢܳܕ ܠܰܛܒܺܝ̈ܥܶܐ
ܗܳܟܰܢ ܒܗܳܝ ܩܰܪܢܳܐ
ܐ̱ܚܪܳܝܬܳܐ
ܩܳܠܳܗ̇ ܡܩܺܝܡ ܡܺܝ̈ܬܶܐ
ܠܳܐ ܗ̱ܘܳܐ ܕܥܰܙܺܝܙܰܐ ܗ̱ܘ
ܐܶܠܳܐ ܕܦܽܘܩܕܳܢܳܐ
ܫܪܳܐ ܒܳܗ̇ ܒܢܽܘܚܳܡܳܐ
17.
ܘܡܳܐ ܕܶܐܬܬܥܺܝܪܘ̱ ܡܶܢ ܫܶܠܝ̱
ܬܽܘܗܶܝܢ ܘܡܶܬܪܰܗܒܺܝܢ
ܕܚܰܕ ܡܶܬܕܟܰܪ ܥܰܘܠܶܗ
ܐ̱ܚܪܺܢܳܐ ܠܛܰܡܐܽܘܬܶܗ
ܗܳܝ ܫܳܥܬܳܐ ܛܽܘܒܰܘܗ̱ܝ
ܠܰܐܝܢܳܐ ܕܶܥܗܰܕ ܠܳܗ̇
ܕܒܳܗ̇ ܙܳܝܥܺܝܢ ܬܰܡܳܢ
ܘܢܳܝܕܺܝܢ
ܕܰܚܒ̈ܳܠܰܐ ܗ̱ܘ ܡܚܶܝܢ ܒܳܗ̇
ܕܪܽܘܓܙܳܐ ܠܥܰܘ̈ܳܠܶܐ
ܢܶܒܥܽܘܢ ܥܰܠܝ̱ ܟܺܐܢ̈ܶܐ
ܟܽܠܗܽܘܢ ܒܗܰܘ ܥܶܕܳܢ
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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