by Ephrem the Syrian
The Carmina Nisibena (CN) are Ephrem's hymns for the city of Nisibis, written around 363 CE. Hymn XLVI continues the anti-Manichaean body-and-resurrection series that began in CN 44. Where CN 44 argued from the body's compelled service and CN 45 from the body's economic claim, CN 46 argues from Christ's own actions: every Gospel miracle of bodily healing, every parable of recovery, testifies that God will not defraud the body of its earned resurrection.
The hymn runs seventeen arguments — the Incarnation in Mary, the foot-washing, the embrace of John, the lost coin, the talents earned through martyrdom, the coin from the fish's mouth, the cup of cold water, the three men in the furnace, the care of our Lord in healing the whole human being, the ear of Malchus, the bread fragments gathered after the feeding, the twelve baskets and the Eucharist, the widow of Nain's son, Jairus's daughter, Jonah, the seed, the locust, and the morning bird — each an argument, building to the final image of human conception and birth as the body's own rehearsal of its resurrection.
The ʿŌnitā (congregational refrain) — "May the body of the buried one who believed in you not be defrauded" — sounds through the liturgy after each stanza: a legal petition, not a lament. The body has earned. It must not be cheated.
Melody (ܥܰܠ ܩܳܠܳܐ): ܕ ܒܰܪ ܩܳܠܶܗ (Dalath bar qāleh — same melody as CN 38)
1.
The children of error argue
that the body defiles the Savior —
who descended and dwelt in Mary
and today dwells in the bodies
of chaste men and chaste women.
If a king has dwelt in a place,
he frees and exalts it.
And the Good One who dwelt in a body —
did this truly convict him
to leave it without resurrection?
Refrain (ʿŌnitā): May the body of the buried one who believed in you not be defrauded.
2.
The Exalted One who humbled himself
as far as the body —
washed its feet
and honored its heels —
O Teacher, how greatly he elevates
the head in the resurrection!
He bore it through children's arms
and raised it high;
took it and laid it on his chest,
embraced it in John.
These suffice for the shame of Bar Daysan.
3.
The coin is like the dead —
it resembles them in its features —
from earth the earthen one is minted,
and in it fell and was lost.
The coin-stamp resembles
the body that is from the earth.
And it is right, by the mystery
of the parable:
in the finding of the body
she rejoices in the grace
of what she labored and found.
— In the figure of the woman for the coin.
4.
She counted and weighed it —
the widow's coin was made great.
She had witness, testifier, and surety —
and showed how the treasury
received her worth.
She learned through the weighing
that it does not defraud.
How can it defraud
the body that traded
talents of profit
with the sword of persecutors?
5.
A statue without senses,
a coin-stamp without motion —
a shekel for his honor —
he raised through the mouth of the fish.
How much more is he glorified
in his image that speaks!
He commanded it to be swallowed — in the end —
and like the shekel,
restores and gives back to the image
the stamp engraved in the likeness of its Maker.
6.
The Good One, through whose oaths
you are convinced he does not defraud —
the cup of cold water
given in his name —
how can he defraud the body
in its chastity?
— — —
Who fell in the contest a hundred years,
and not even in a dream
did the enemy release it —
who would not cry out
if this one is defrauded?
7.
Three men conquered that fire in one day;
this one conquers daily
the fire that burns within him.
While it burned and was not yet quenched,
blessed is he who thirsted and quenched it.
Fire, when it blazes, is put out with water —
but this one, when extinguished,
blazes up again with wine.
8.
If even the care of our Lord persuades us —
that he healed the human being
wholly, in every way:
baptized him in the Holy Spirit
and fed him with the medicine of life —
how hateful then are Mani
and Marcion
and blind Bar Daysan,
who read but do not see
that the whole image of the human being
is nailed fast in the resurrection.
9.
If the ear of Simon
that was cut off and thrown aside —
the Exalted One stooped and picked it up,
fixed it so it would not be lost —
how much more does he search in the resurrection
for all of it,
that nothing from its dust remain!
Not even in the furnace
was a portion of a head forgotten —
to make known the care
he works in the resurrection.
10.
If for the bread he commanded
that its pieces and fragments
be picked up and gathered —
insisting that nothing
from his blessing be lost —
how much more is he commanded
concerning the body:
that its bones be gathered,
its joints rejoined,
its voices speak
the glory of him who raises it.
11.
The unchallenged bread
testifies to our resurrection.
He blessed it for eating — how much more the eaters!
Through twelve baskets
of bread he blessed and multiplied,
he blessed his twelve and multiplied them —
and took another piece of bread,
singular, alone —
the mystery of that body,
the only one from Mary.
12.
He rejoiced the widow
by raising her beloved —
and as the fools say
the body is from the evil one:
was it evil itself he raised
and gave joy to Satan?
And the daughter of Jairus, whom he raised —
did he revive sin in her?
He who said she was sleeping
convicted the unbelievers:
our body too will be awakened.
13.
When Jonah fell
and sank into the sea,
the sailors and seamen
all cut off hope —
who was strong enough to say he would rise?
And who was wise enough to argue?
Impossible and difficult these were —
yet easy for the One
who signaled to the sea and it was still,
commanded the fish, and it swallowed.
14.
The seed within the earth
is witness to its resurrection:
even in its dying
it proclaims its rising,
its uprising hidden
within its falling.
By rain it is raised and awakened —
how much more in the resurrection
— — —
will the buried ones be watered
by the dew by which Adam
was formed and raised.
15.
If even the locust
planted in the earth —
as if all hope were cut off —
buried in the dust,
filling cavities like graves
then leaving them —
the unbelievers are put to shame:
they are not even like the locust
that covered and buried its young,
was buried, and rose in its time by command.
16.
If even the morning bird,
over her dead and motionless chicks,
gathers her love
and spreads her wing over them —
stamps voice and life
in her dying —
and the waters gleam with every form —
and raises the buried from the fissures —
how much more will the graves be split
by the voice of the One who raises all!
17.
From it and by it —
the seed of humanity —
one may receive
the pattern of its death and resurrection:
for it too, in the mystery of the dead,
is kept within the womb,
by birth-pangs raised and awakened,
and goes out into the light,
into another world.
Its conception and its birth
prefigure its resurrection.
Colophon
Good Works Translation. Translated from Classical Syriac by the New Tianmu Anglican Church, April 2026, with AI assistance (Claude, Anthropic). Source text: Edmund Beck, ed., Carmina Nisibena (Corpus Scriptorum Christianorum Orientalium, Vol. 218/219; Louvain: Secrétariat du CorpusSCO, 1961); TEI transcription by Michael Oez, Digital Syriac Corpus, University of Oxford / Brigham Young University / Vanderbilt University (CC-BY 4.0). No prior English translation of CN 46 known to exist. Blood Rule acknowledged: English derived directly from the Classical Syriac throughout; no existing English translation consulted.
Notes on this hymn: CN 46 continues the anti-Manichaean body-and-resurrection argument of CN 44–45. The central legal verb is ܛܠܶܡ (ṭlem) — to defraud, to cheat someone of their rightful due — which differs subtly from CN 43's ܛܰܠܰܡ (to oppress, wrong, hold in contempt). CN 46's argument is economic and evidentiary: God has invested in the body through Christ's own bodily actions, and no creditor cheats a debtor who has already paid. The hymn strings together sixteen witnesses before arriving at the final argument from human birth: the body has already rehearsed its resurrection once, in the womb.
The ʿŌnitā — "May the body of the buried one who believed in you not be defrauded" — is marked once in the source after stanza 1; liturgically it recurred after each. The two structural ܀܀܀ pivots (within stanzas 6 and 14) are rendered as — — — following established lineage practice. The pivot within stanza 3 (ܒܐ̱ܪܳܙ ܐܰܢ̱ܬܬܳܐ ܠܙܽܘܙܳܐ) reads as a thematic label or stage-direction closing the lost coin interpretation, rendered as an italicised gloss. The melody indicator ܕ ܒܰܪ ܩܳܠܶܗ (Dalath bar qāleh) matches CN 38's melody.
Key translation decisions: ܒ̈ܢܰܝ ܛܽܘܥܝܰܝ (bnay ṭūʿyay) = "children of error" — Ephrem's consistent epithet for the Manichaean/Marcionite/Bardesanite dualists. ܛܰܒܥܳܐ (ṭabʿā) used twice: as "coin-stamp" (the impression on a coin, stanza 3) and "stamps" (the bird imprinting life, stanza 16). ܕܰܚܺܝܚܳܢ (stanza 14, post-pivot) = "the buried ones/those pressed into the earth" — subject of ܢܶܬܪܣܶܣ ("will be watered"). ܫܰܪ̈ܩܳܬܳܐ (stanza 16) = "fissures/crevices" — the rock-cut tombs from which the dead will be raised. ܐܶܣܬܪܳܐ (stanza 5) = stater/shekel, the Greek coin from the fish's mouth (Matt 17:27). ܐܺܝܓܽܘܢܳܐ (stanza 6, from Greek ἀγών) = "contest/arena."
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 46 (Carmina Nisibena 46)
Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 46 (Carmina Nisibena 46)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܕ ܒܰܪ ܩܳܠܶܗ
1.
ܢܦܺܝܣܽܘܢ ܒ̈ܢܰܝ ܛܽܘܥܝܰܝ
ܕܰܐܝܟܰܢ ܛܰܡܳܐ ܗ̱ܽܘ ܠܶܗ
ܦܰܓܪܳܐ ܠܦܳܪܽܘܩܰܢ
ܕܰܢܚܶܬ ܫܼܪܳܐ ܒܡܰܪܝܰܡ
ܘܝܰܘܡܳܢ ܫܪܶܐ ܒܦܰܓܪܳܐ
ܕܢܰܟ̈ܦܶܐ ܘܢܰܟ̈ܦܳܬܳܐ
ܡܰܠܟܳܐ ܐܶܢܗܽܘ ܕܰܫܪܳܐ
ܒܕܽܘܟܬܳܐ
ܡܚܰܪܰܪ ܘܡܰܘܪܶܒ ܠܳܗ̇
ܘܛܳܒܳܐ ܕܰܫܪܳܐ ܒܦܰܓܪܳܐ
ܗܳܕܶܐ ܡܠܶܟ ܠܶܗ ܟܰܝ
ܕܢܶܗܘܶܐ ܕܠܳܐ ܢܽܘܚܳܡ
ܥܽܘܢܺܝܬܳܐ: ܠܳܐ ܢܶܬܛܠܰܡ ܦܰܓܪܳܐ
ܩܒܺܝܪܳܐ ܕܗܰܝܡܶܢ ܒܳܟ
2.
ܪܳܡܳܐ ܕܶܐܬܰܬܚܬܺܝ
ܥܕܰܡܳܐ ܠܘܳܬ ܦܰܓܪܳܐ
ܘܰܐܫܺܝܓ ܠܶܗ ܪ̈ܶܓܠܰܘܗ̱ܝ
ܘܥܰܩ̈ܒܶܐ ܕܶܐܬܝܰܩܰܪ
ܡܰܠܦܳܢ ܟܡܳܐ ܡܰܘܪܶܒ
ܠܪܺܝܫܳܐ ܒܢܽܘܚܳܡܳܐ
ܛܰܥܢܶܗ ܒܝܰܕ ܫܰܒܪ̈ܶܐ
ܘܙܰܝܚܶܗ
ܫܰܩܠܶܗ ܘܥܰܠ ܚܰܕܝܶܗ
ܚܒܳܒܶܗ ܒܝܽܘܚܰܢܳܢ
ܗܳܠܶܝܢ ܠܟܽܘܐܳܪܶܗ
ܣܳܦܩ̈ܳܢ ܕܒܰܪ ܕܰܝܨܳܢ
3.
ܙܽܘܙܳܐ ܕܰܐܝܟ ܡܺܝܬܳܐ
ܕܡܳܐ ܒܨܰܘܪ̈ܳܬܶܗ
ܘܡܶܢܳܗ̇ ܚܫܺܝܠ ܕܰܐܪܥܳܐ
ܘܒܳܗ̇ ܬܽܘܒ ܢܦܰܠ ܘܶܐܒܰܕ
ܛܰܒܥܰܐ ܗ̱ܘ ܕܗܳܐ ܕܡܳܐ
ܠܦܰܓܪܳܐ ܕܡܶܢ ܐܰܪܥܳܐ
ܘܙܳܕܶܩ ܕܰܐܝܟ ܐ̱ܪܳܙܳܗ̇
ܕܦܶܠܳܐܬܳܐ
ܕܰܒܫܶܟܚܳܬܶܗ ܕܦܰܓܪܳܐ
ܢܶܚܕܶܐ ܠܛܰܝܒܽܘܬܳܐ
ܕܥܶܡܠܰܬ ܘܶܐܫܟܰܚܬܶܗ
܀܀܀
ܒܐ̱ܪܳܙ ܐܰܢ̱ܬܬܳܐ ܠܙܽܘܙܳܐ
4.
ܠܡܶܢܝܳܗ̇ ܘܫܳܡܽܘܢܳܗ̇
ܐܰܘܪܒܶܗ ܕܰܐܪܡܰܠܬܳܐ
ܗ̱ܘܳܐ ܠܳܗ̇ ܐܳܦ ܚܰܙܳܝܳܐ
ܣܳܗܕܳܐ ܘܥܶܪܒܳܐ
ܘܚܰܘܺܝ ܕܒܶܝܬ ܓܰܙܳܐ
ܩܰܒܠܶܗ ܠܪܽܘܡܝܳܢܳܗ̇
ܝܺܠܰܦ ܒܫܳܡܽܘܢܳܐ
ܕܠܳܐ ܛܠܶܡ
ܕܰܐܝܟܰܢ ܡܨܶܐ ܛܳܠܶܡ
ܠܦܰܓܪܳܐ ܕܶܐܬܬܰܓܰܪ
ܟܰܟܪ̈ܶܐ ܕܝܽܘܬܪܳܢܳܐ
ܒܣܰܝܦܳܐ ܕܪ̈ܳܕܽܘܦܶܐ
5.
ܨܰܠܡܳܐ ܕܠܳܐ ܪ̈ܶܓܫܶܐ
ܘܛܰܒܥܳܐ ܕܠܳܐ ܙܰܘ̈ܥܶܐ
ܐܶܣܬܪܳܐ ܠܬܶܫܒܽܘܚܬܶܗ
ܐܰܣܩܳܗ̇ ܒܦܽܘܡ ܢܽܘܢܳܐ
ܟܡܳܐ ܟܺܝܬ ܡܶܫܬܰܒܰܚ
ܒܨܰܠܡܶܗ ܕܡܰܠܳܠܐܰ ܗ̱ܘ
ܦܩܰܕ ܠܒܳܠܽܘܥܶܗ
ܒܚܰܪܬܳܐ
ܘܒܰܕܡܽܘܬ ܐܶܣܬܪܳܐ
ܡܰܦܢܶܐ ܘܝܳܗܶܒ ܠܶܗ
ܠܨܽܘܪܬܳܐ ܕܶܐܬܛܰܒܥܰܬ
ܒܕܽܘܡܝܶܗ ܕܨܰܝܳܪܳܗ̇
6.
ܛܳܒܳܐ ܕܡܰܘܡܳܬܶܗ
ܐܰܦܺܝܣܬ ܕܠܳܐ ܛܳܠܶܡ
ܟܣܶܐ ܕܩܰܪ̈ܺܝܪܶܐ
ܕܡܶܛܽܠ ܫܡܶܗ ܝܰܗܒܽܘܗ̱ܝ
ܐܰܝܟܰܢ ܡܨܶܐ ܛܳܠܶܡ
ܠܦܰܓܪܳܐ ܒܬܽܘܠܽܘܬܶܗ
܀܀܀
ܕܢܰܦܶܠ ܒܺܐܝܓܽܘܢܳܐ
ܡܳܐܐ ܫ̈ܢܺܝܢ
ܕܳܐܦ ܠܳܐ ܒܓܰܘ ܚܶܠܡܳܐ
ܐܰܪܦܝܶܗ ܒܥܶܠܕܰܪܶܗ
ܡܰܢܽܘ ܕܠܳܐ ܢܰܒܓܰܢ
ܐܶܢ ܡܶܬܛܰܠܰܡ ܗܳܢܳܐ
7.
ܬܠܳܬܳܐ ܠܗܳܝ ܢܽܘܪܳܐ
ܙܟܰܐܽܘܗ̇ ܒܚܰܕ ܝܰܘܡܳܐ
ܘܗܳܢܳܐ ܙܟܼܳܐ ܟܽܠܝܽܘܡ
ܢܽܘܪܳܐ ܕܫܳܪܝܳܐ ܒܶܗ
ܕܥܰܕ ܕܳܥܟܳܐ ܕܶܠܩܰܬ
ܘܥܰܕ ܫܰܗܝܳܐ ܣܶܦܰܬ
ܛܽܘܒܰܘܗ̱ܝ ܠܡܰܢ ܕܰܨܗܺܝ
ܘܕܰܥܟܳܗ̇
ܢܽܘܪܳܐ ܐܶܢ ܗܽܘ ܕܣܶܦܰܬ
ܡܶܬܕܰܥܟܳܐ ܒܡܰܝ̈ܳܐ
ܘܗܳܕܶܐ ܐܶܢ ܗܽܘ ܕܕܶܥܟܰܬ
ܡܶܬܓܰܘܙܠܳܐ ܒܚܰܡܪܳܐ
8.
ܐܶܢ ܕܶܝܢ ܒܛܺܝܠܽܘܬܶܗ
ܕܡܳܪܰܢ ܡܦܺܝܣܳܐ ܠܰܢ
ܕܰܐܣܝܶܗ ܠܒܰܪܢܳܫܳܐ
ܠܟܽܠܶܗ ܒܟܽܠ ܡܶܕܶܡ
ܐܰܥܡܕܶܗ ܒܪܽܘܚ ܩܽܘܕܫܳܐ
ܬܰܪܣܝܶܗ ܒܣܰܡ ܚ̈ܰܝܶܐ
ܟܡܳܐ ܟܰܝ ܣܢܳܐ ܡܰܐܢܺܝ
ܘܡܰܪܩܝܽܘܢ
ܘܰܥܘܺܝܪ ܒܰܪ ܕܰܝܨܳܢ
ܕܩܳܪܶܝܢ ܘܠܳܐ ܚܳܙܶܝܢ
ܕܟܽܠܶܗ ܨܠܰܡ ܐ̱ܢܳܫܳܐ
ܡܶܬܩܰܒܰܥ ܒܢܽܘܚܳܡܳܐ
9.
ܐܶܢ ܓܶܝܪ ܐܳܦ ܐܶܕܢܳܐ
ܕܫܶܡܥܽܘܢ ܦܣܰܩ ܘܰܫܕܳܐ
ܪܳܡܳܐ ܪܟܶܢ ܫܰܩܠܳܗ̇
ܘܩܰܒܥܳܗ̇ ܕܠܳܐ ܬܺܐܒܰܕ
ܟܡܳܐ ܟܺܝܬ ܥܰܠ ܟܽܠܶܗ
ܡܥܰܩܶܒ ܒܢܽܘܚܳܡܳܐ
ܕܡܶܕܶܡ ܡܶܢ ܥܰܦܪܶܗ
ܠܳܐ ܢܦܽܘܫ
ܐܳܦ ܠܳܐ ܒܰܐܬܽܘܢܳܐ
ܛܥܳܬ ܡܢܳܬܳܐ ܕܪܺܝܫܳܐ
ܕܢܰܘܕܰܥ ܒܛܺܝܠܽܘܬܳܐ
ܕܥܳܒܶܕ ܒܢܽܘܚܳܡܳܐ
10.
ܐܶܢ ܕܶܝܢ ܥܰܠ ܠܰܚܡܳܐ
ܦܩܰܕ ܗ̱ܘܳܐ ܘܶܐܬܠܰܩܰܛ
ܩܨܶܝ̈ܘܗ̱ܝ ܘܫܰܪ̈ܟܳܢܰܘܗ̱ܝ
ܚܰܦܶܛ ܘܶܐܬܟܰܢܰܫܘ̱
ܘܙܰܗܰܪ ܕܠܳܐ ܢܺܐܒܰܕ
ܡܶܢ ܒܽܘܪܟܬܶܗ ܡܶܕܶܡ
ܟܡܳܐ ܟܺܝܬ ܥܰܠ
ܦܰܓܪܳܐ ܦܩܺܝܕ ܠܶܗ
ܕܢܶܬܟܰܢܫܽܘܢ ܓܰܪ̈ܡܰܘܗ̱ܝ
ܘܢܶܬܠܰܚܡܽܘܢ ܕܶܒ̈ܩܰܘܗ̱ܝ
ܘܰܢܡܰܠܠܽܘܢ ܩ̈ܳܠܰܘܗ̱ܝ
ܫܽܘܒܚܳܐ ܕܰܡܩܺܝܡܳܢܶܗ
11.
ܠܰܚܡܶܗ ܕܠܳܐ ܚܪܺܝܢ
ܣܳܗܶܕ ܠܢܽܘܚܳܡܰܢ
ܕܒܰܪܳܟ ܠܡܶܐܟܽܘܠܬܳܐ
ܟܡܳܐ ܟܺܝܬ ܠܐܳܟܽܘ̈ܠܶܐ
ܒܰܬܪ̈ܶܥܣܰܪ ܠܰܚܡܺܝ̈ܢ
ܕܰܒܪܺܝܟ ܘܰܐܣܓܺܝ ܗ̱ܘܳܐ
ܒܰܪܶܟ ܬܪ̈ܰܥܣܰܪܬܶܗ
ܘܰܐܣܓܝܳܗ̇
ܘܰܫܩܰܠ ܩܨܳܐ ܠܰܚܡܳܐ
ܐ̱ܚܪܺܢܳܐ ܐܺܝܚܺܝܕܳܝܳܐ
ܐ̱ܪܳܙܳܐ ܕܗܰܘ ܦܰܓܪܳܐ
ܝܺܚܺܝܕܳܐ ܕܡܶܢ ܡܰܪܝܰܡ
܀܀܀
12.
ܚܕܺܝ ܠܰܐܪܡܰܠܬܳܐ
ܕܰܐܚܺܝ ܠܚܰܒܺܝܒܶܗ̇
ܘܰܐܝܟ ܕܳܐܡܪܺܝܢ ܣ̈ܰܟܠܶܐ
ܕܦܰܓܪܰܐ ܗ̱ܘ ܕܡܶܢ ܒܺܝܫܳܐ
ܠܒܺܝܫܰܐ ܗ̱ܘ ܟܺܝܬ ܐܰܚܺܝ
ܘܚܰܕܺܝ ܠܣܳܛܳܢܳܐ
ܠܒܰܪܬܶܗ ܕܝܽܘܳܐܪܳܫ ܬܽܘܒ
ܕܰܐܚܝܶܗ̇
ܚܛܺܝܬܳܐ ܗܽܘ ܢܰܚܶܡ ܒܳܗ̇
ܘܕܶܐܡܰܪ ܕܕܰܡܟܳܐ ܗ̱ܘܳܬ
ܐܰܟܶܣ ܠܟܳܦܽܘܪ̈ܶܐ
ܕܬܽܘܒ ܡܶܬܬܥܺܝܪ ܦܰܓܪܰܢ
13.
ܟܰܕ ܓܶܝܪ ܢܦܰܠ ܝܰܘܢܳܢ
ܘܰܛܒܰܥ ܒܓܰܘ ܝܰܡܳܐ
ܣܦܺܝ̈ܢܶܐ ܘܣ̈ܳܦܢܶܐ
ܟܽܠܗܽܘܢ ܦܣܰܩܘ̱ ܣܰܒܪܳܐ
ܕܰܐܝܢܰܘ ܚܰܣܺܝܢܳܐ
ܕܢܺܐܡܰܪ ܕܰܣܠܶܩ ܗ̱ܘܳܐ
ܘܰܐܝܢܰܘ ܚܰܟܺܝܡܳܐ
ܕܢܶܬܚܪܶܐ
ܥ̈ܳܛܠܳܢ ܘܥܳܣ̈ܩܳܢ ܗܘܰܝ
ܘܰܠܚܰܕ ܕܰܠܝ̈ܠܳܢ ܗܘܰܝ
ܠܝܰܡܳܐ ܪܡܶܙ ܘܰܫܠܺܝ
ܠܢܽܘܢܳܐ ܦܩܰܕ ܘܰܓܣܳܐ
14.
ܙܰܪܥܳܐ ܒܓܰܘ ܥܰܦܪܶܗ
ܣܳܗܕܰܐ ܗ̱ܘ ܕܢܽܘܚܳܡܶܗ
ܕܳܐܦ ܒܳܗ̇ ܒܡܺܝܬܽܘܬܶܗ
ܢܽܘܚܳܡܬܶܗ ܡܰܟܪܶܙ
ܘܰܩܝܳܡܬܶܗ ܟܰܣܝܳܐ
ܒܓܰܘܳܗ̇ ܕܡܰܦܽܘܠܬܶܗ
ܒܡܶܛܪܰܐ ܗ̱ܘ ܡܶܬܢܰܚܰܡ
ܘܡܶܬܥܺܝܪ
ܟܡܳܐ ܟܺܝܬ ܒܢܽܘܚܳܡܳܐ
܀܀܀
ܢܶܬܪܣܶܣ ܒܕܰܚܺܝܚܳܢ
ܛܰܠܳܐ ܕܒܶܗ ܐܳܕܳܡ
ܐܶܬܓܒܰܠ ܘܶܐܬܢܰܚܰܡ
15.
ܐܶܢ ܕܶܝܢ ܐܳܦ ܩܰܡܨܳܐ
ܕܶܐܬܢܰܨܰܒ ܒܓܰܘ ܐܰܪܥܳܐ
ܘܰܐܝܟ ܕܥܰܠ ܦܣܳܩ ܣܰܒܪܳܐ
ܐܶܬܛܡܰܪ ܒܓܰܘ ܥܰܦܪܳܐ
ܥܽܘ̈ܒܶܐ ܒܐ̱ܪܳܙ ܩܰܒܪ̈ܶܐ
ܡܠܳܐ ܗ̱ܘܳܐ ܘܰܐܪܦܺܝ ܗ̱ܘܳܐ
ܒܗܼܶܬܘ̱ ܕܶܝܢ ܟܳܦܽܘܪ̈ܶܐ
ܕܠܳܐ ܕܡܘ
ܐܳܦ ܠܳܐ ܠܗܰܘ ܩܰܡܨܳܐ
ܕܚܰܦܺܝ ܛܡܰܪ ܝܰܠܕܶܗ
ܘܶܐܬܩܒܰܪ ܘܶܐܬܢܰܚܰܡ
ܠܙܰܒܢܶܗ ܒܦܽܘܩܕܳܢܳܐ
16.
ܘܶܐܢ ܨܰܦܪܳܐ ܒ̈ܢܳܬܳܗ̇
ܫ̈ܠܰܕܶܐ ܕܠܳܐ ܙܰܘܥܳܐ
ܡܟܰܢܶܫ ܠܗܶܝܢ ܚܰܘܒܶܗ̇
ܡܚܰܒܶܒ ܠܗܶܝܢ ܓܶܦܳܗ̇
ܘܩܳܠܳܐ ܘܚܰܝܽܘܬܳܐ
ܛܰܒܥܳܐ ܒܡܺܝܬܽܘܬܳܗ̇
ܘܡܶܨܛܰܒܬܶܝܢ ܡܰܝ̈ܳܐ
ܒܟܽܠ ܕܶܡܘ̱
ܘܰܡܢܰܚܡܳܐ ܩܒܺܝܪ̈ܶܐ
ܡܶܢ ܓܰܘ ܫܰܪ̈ܩܳܬܳܐ
ܟܡܳܐ ܢܶܨܛܰܪܽܘܢ ܩܰܒܪ̈ܶܐ
ܒܩܳܠܳܐ ܡܢܰܚܶܡ ܟܽܠ
17.
ܡܶܢܶܗ ܘܒܶܗ ܗܳܟܺܝܠ
ܕܙܰܪܥܳܐ ܕܐ̱ܢܳܫܽܘܬܳܐ
ܡܨܶܐ ܐ̱ܢܳܫ ܕܢܶܣܰܒ ܠܶܗ
ܕܡܰܘܬܳܐ ܕܢܽܘܚܳܡܶܗ
ܕܳܐܦ ܗܽܘ ܒܐ̱ܪܳܙ ܡܺܝ̈ܬܶܐ
ܡܶܬܢܰܛܰܪ ܒܓܰܘ ܟܰܪܣܳܐ
ܒܰܚ̈ܒܳܠܰܐ ܗ̱ܘ ܡܶܬܢܰܚܰܡ
ܘܡܶܬܥܺܝܪ
ܘܰܢܦܰܩ ܠܢܰܗܺܝܪܳܐ
ܠܓܰܘ ܥܳܠܡܳܐ ܐ̱ܚܪܺܢܳܐ
ܒܰܛܢܶܗ ܘܡܰܘܠܳܕܶܗ
ܥܳܪܒܺܝܢ ܒܢܽܘܚܳܡܶܗ
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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