by Ephrem the Syrian
The Carmina Nisibena (CN) are Ephrem's hymns for the city of Nisibis, written around 363 CE after its surrender to Persia. Hymn XLVII is the fourth and final hymn in the anti-Manichaean body-and-resurrection sequence that begins with CN 44. Where CN 44 argued from the body's compelled service, CN 45 from the body's economic claim, and CN 46 from the witness of Gospel miracles, CN XLVII argues from the soul-body partnership itself: the soul is like fire hidden in wood, drawn out by the will of the All-Capable; the body was the instrument through which the soul performed every prayer, almsgiving, and act of love; and both together will claim their wages in Paradise.
The central images accumulate: the fire-in-wood (stanza 1); the soul as the body's resident who devastated her house when she left (stanza 2); the traces of soul that linger in the body's limbs after death (stanza 3); the body as the hands, feet, eyes, ears, and mouth through which the soul worked (stanza 4). Then the resurrection — dust gathered and made a temple (stanza 5), the body-parts restored and exceeding themselves (stanza 6). The argument turns to the dualists' self-refutation: even they confess the Holy Spirit dwells in the body (stanzas 7–8); even a demon loves to inhabit a body — how much more should the soul love hers (stanza 9); even an unclean spirit clings to a corpse — how much more will the Holy Spirit cherish the body of hope (stanza 10). Stanzas 11–13 draw the Lazarus proof: the Sadducees were vanquished; Christ wept not for the dead Lazarus but for the living who envied him; the corpse was alive to God all along, while the spiritually dead buried the dead without hope. The hymn closes with the poet's petition — he spoke as much as he was able; may he not be defrauded.
The ʿŌnitā (congregational refrain): "Body and soul, Lord, shall sing in your Paradise." Melody (ܥܰܠ ܩܳܠܳܐ): ܗ ܒܰܪ ܩܳܠܶܗ (Hē bar qāleh — fifth melody of the post-Death-Drama series).
1.
Fire within wood —
hidden and dry —
one strikes it and draws it out,
bringing it to light by his craft.
And if our will
can revive creatures,
how much more the Will
of the All-Capable:
He commands and draws her out —
the soul within the body
that departed and left it —
to shine again within it.
Refrain (ʿŌnitā): Body and soul, Lord, shall sing in your Paradise.
2.
Claim, Lord, the wrong done
to the house in which you dwelt —
the resident soul,
whose rent to the house
she gave at her departure:
she overturned and ruined it.
Let her enter and dwell in it again.
— — —
She will praise within his cloister
and sing in his dwellings,
and her voice will be heard again
from the tabernacle that went silent.
3.
The portion of her life
that lingered in his limbs,
the movements of her thoughts
that were in his senses,
the treasures of her fragrances
breathing in his veins —
and back will come what was borrowed,
to repay her:
for in him she gains her wealth,
in him her glory resounds,
when there they shall claim
their race and their labors.
4.
Prayer in his mouth
drew near to the Hearer of all;
in his hands, for alms,
she lent to the Repayer of all;
in his eyes she read the scripture,
in his ears the promise,
in his feet she knocked at His door —
she served.
And they saw by trial
that through him she stands entirely.
Blessed is He who made the soul need the body,
that He might magnify her partner.
5.
The will of its Creator
gathers its dust,
renews it and makes it
a temple of glory,
leads it in and in his bridal chamber
comforts the daughter of his union.
And he who was cast down in Sheol
is gladdened;
and he whose hope was cut off
shouts with joy at his promise;
and he upon whom the foolish despaired —
over him mercies grow strong.
6.
His feet, that were bound,
leap in Paradise;
his hands, that were freed,
pluck all blessings;
his eyes, that were pressed shut,
behold the Light of all;
his mouth, that was silenced,
is opened;
his ears, that were stopped,
hear the trumpet;
his body, that was corrupted,
is adorned in glory.
7.
And if, even when anger
and desire and gluttony
and the rest of the vices
flow from it —
because it concealed them
in the world of its will —
the unbelievers confess
it is a temple:
and the Spirit does not fear
to dwell in its vileness,
nor was it like Jeremiah
in the pit, distressed within it —
8.
— — —
it refutes the unbelievers
who are caught in their own words,
for they themselves have condemned themselves
by confessing that the Holy Spirit
dwells within their body —
the wretched and gluttonous body.
While they thought they had won,
they were vanquished,
for if while it is vile
it is a fitting dwelling,
how much more in its purity
will it be shown mercy in its resurrection.
9.
A demon makes its home in the body —
though a loathsome stranger —
it loves to dwell in it,
though a cursed wayfarer.
Fasting uproots it,
the gluttonous one that would not leave.
How much more should the soul love
its own dwelling —
for when together they were worthy,
they cast out the tenant,
and called the Holy Spirit
to dwell between them.
10.
And if also a spirit —
unclean, yet purity-seeking —
dwells and settles even on a corpse,
attaches and clings,
and joins itself to carved wood,
to the idol that does not hear —
how much more will the Holy Spirit
cherish it:
the body that stands in hope.
— — —
He was sacrificed and did not sacrifice;
it is plain that even his death
is a witness of his resurrection.
11.
For He is not
the God of the dead, said our Lord —
the dead who are dead of their dead,
who bury without hope.
They gathered to contend with him
who astonished the sons of men,
and with the case they mounted
they were vanquished,
for the Teacher related to them
and made the dead live for them —
in words and in deeds —
his truth about the resurrection.
12.
He called to Lazarus,
and he came out, shaming them:
for if he had truly died before his Lord,
He could not have answered him.
He was living in his death
to the voice that would raise him.
The living dead — and they
envied and died.
Our Lord wept over them —
the living who were dying,
grieved by the resurrection
that gladdened Lazarus.
13.
The dead one with life
hidden and buried within him
is alive to God
before being raised.
Thus also the sinner —
— — —
is dead before he dies.
The corpse was pleading to the unbelievers
that they themselves are the dead ones —
buried alive in their lives,
puffed up in their garments,
soaked in their debts.
14.
May they not see me, Lord,
with them in Gehenna,
and observe that nothing at all
sets me above them.
I was not defrauded —
my tongue disputed for truth.
May they not see me, Lord,
alongside them.
Let them know it was for this
you showed me grace in the resurrection —
because about the resurrection
I spoke as much as I was able.
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 47 is known to exist. Blood Rule acknowledged: English derived directly from the Classical Syriac throughout; no existing English translation consulted.
Notes on this hymn: CN 47 closes the anti-Manichaean body-and-resurrection sequence that began with CN 44. The opening image of fire hidden in wood (stanza 1) is the hymn's governing metaphor: just as human craft can draw latent fire out of dry wood, the Will of the All-Capable can draw the soul back into the body that was its home. The argument from the lesser to the greater structures stanzas 7–10: even the dualists call the body a temple when they admit the Holy Spirit dwells in it (stanzas 7–8); even a demon loves the body more than the dualists will credit (stanza 9); even an unclean spirit clings to corpses and idols — the Holy Spirit will do far more for the body of hope (stanza 10). Stanzas 11–13 turn to the Lazarus episode: Christ wept not for the dead man but for the living bystanders who envied his resurrection — the spiritual paradox of the living dead and the dead who are alive to God. The closing petition (stanza 14) follows the pattern of CN 43 and 45: the poet steps forward, confessing he is no better than the unbelievers of himself, but claiming grace on the grounds that he spoke for the resurrection as far as he was able.
Structural notes: The ʿŌnitā after stanza 1 is stated explicitly in the source; it recurs liturgically after each stanza. The ܀܀܀ break at the end of stanza 7 / opening of stanza 8 is a thematic pivot (the argument shifts from observation to counter-attack); rendered as — — — between the two stanzas. The ܀܀܀ and ܡܶܕܪܺܝܫ ("further/again") in stanza 2 mark a pivot from petition to promise; rendered as — — —. The ܀܀܀ in stanza 10 marks a pivot from the lesser-to-greater argument to the Christological grounding of the resurrection; rendered as — — —. The ܀܀܀ in stanza 13 marks the pivot from the righteous dead (alive to God) to the paradox of the sinner (dead before dying); rendered as — — —.
Key translation decisions: ܬܰܘܬܳܒܬܳܐ (stanza 2) = "resident" — a technical term for a legal resident-tenant, as in stanza 9's ܬܰܘܬܒܳܐ (the demon as "tenant" expelled by fasting). The word links stanzas 2 and 9 in a chiasm: the soul who abandoned her house is contrasted with the demon who refuses to vacate. ܒܢܽܘܩܝܳܐ (stanza 10) = literally "in purity" — applied to the unclean spirit's relationship to the body; the paradox is that even an impure spirit seeks a pure dwelling, rendered "purity-seeking." ܡܺܝ̈ܬܶܐ ܕܡܺܝ̈ܬܰܝܗܽܘܢ (stanza 11) = "the dead of their dead" — Ephrem's bitter wordplay on Jesus's "let the dead bury their dead" (Matt 8:22): the Sadducees who challenged Jesus are the spiritually dead burying the physically dead, without resurrection hope. ܡܝܰܬܰܪ ܐ̱ܢܳܐ (stanza 14) = "I am better/superior" — from ܝܬܰܪ, "to surpass, to be more." The poet's humility: he has no natural claim to grace above the unbelievers.
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 47 (Carmina Nisibena 47)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܗ ܒܰܪ ܩܳܠܶܗ
1.
ܢܽܘܪܳܐ ܒܓܰܘ ܩܰܝܣܳܐ
ܛܡܺܝܪܳܐ ܘܛܰܪܢܳܐ
ܡܚܶܐ ܘܡܰܕܢܰܚ ܠܳܗ̇
ܡܰܕܥܰܢ ܒܨ̈ܶܢܥܳܬܶܗ
ܘܶܐܢܗܽܘ ܕܨܶܒܝܳܢܰܢ
ܡܢܰܚܶܡ ܠܒܶܪ̈ܝܳܬܳܐ
ܟܡܳܐ ܟܺܝܬ ܨܶܒܝܳܢܳܐ
ܕܟܽܠ ܡܨܶܐ
ܦܩܰܕ ܘܡܰܕܢܰܚ ܠܳܗ̇
ܠܢܰܦܫܳܐ ܒܓܰܘ ܦܰܓܪܳܐ
ܕܢܶܦܩܰܬ ܘܰܫܒܰܩܬܶܗ
ܬܽܘܒ ܡܰܢܗܪܳܐ ܒܓܰܘܶܗ
ܥܽܘܢܺܝܬܳܐ: ܦܰܓܪܳܐ ܘܢܰܦܫܳܐ ܡܳܪܝ̱
ܢܙܰܡܪܽܘܢ ܒܦܰܪܕܰܝܣܳܟ
2.
ܬܳܒܰܥ ܡܳܪܝ̱ ܛܠܺܝܡܽܘܬܶܗ
ܕܒܰܝܬܳܐ ܕܥܶܡܪܶܬ ܒܶܗ
ܬܰܘܬܳܒܬܳܐ ܢܰܦܫܳܐ
ܕܗܳܢܰܘ ܐܰܓܰܪ ܒܰܝܬܳܐ
ܝܶܗܒܰܬ ܒܡܰܦܩܳܬܳܗ̇
ܣܶܚܦܰܬ ܘܰܐܚܪܶܒܬܶܗ
ܬܶܥܽܘܠ ܘܬܶܥܡܰܪ ܒܶܗ
܀܀܀
ܡܶܕܪܺܝܫ
ܬܗܰܝܠܶܠ ܒܓܰܘ ܕܰܝܪܶܗ
ܘܬܶܙܡܰܪ ܒܡܶܕܝܳܪ̈ܰܘܗ̱ܝ
ܘܬܽܘܒ ܢܶܫܬܡܰܥ ܨܰܘܬܳܗ̇
ܡܶܢ ܡܰܫܟܢܳܐ ܕܰܨܕܳܐ
3.
ܡܢܳܬܳܐ ܕܚܰܝܽܘܬܳܐ
ܕܝܳܠܳܐ ܒܗܰܕܳܡ̈ܰܘܗ̱ܝ
ܙܰܘ̈ܥܶܐ ܕܚܽܘܫ̈ܳܒܶܝܗ̇
ܕܰܝܠܶܝܢ ܒܓܰܘ ܪ̈ܶܓܫܰܘܗ̱ܝ
ܓ̈ܰܙܶܐ ܕܒܣܰܡ̈ܳܢܶܝܗ̇
ܦܳܝܚܺܝܢ ܒܫܶܪ̈ܝܳܢܰܘܗ̱ܝ
ܘܰܗܦܰܟ ܡܳܐ
ܕܺܝܙܶܦ ܕܢܶܦܪܥܳܗ̇
ܕܒܶܗ ܩܳܢܝܳܐ ܥܽܘܬܪܳܗ̇
ܒܶܗ ܠܳܥܙܳܐ ܫܽܘܒܚܳܗ̇
ܟܰܕ ܬܳܒܥܺܝܢ ܬܰܡܳܢ
ܪܶܗܛܗܽܘܢ ܘܥܰܡ̈ܠܰܝܗܽܘܢ
4.
ܨܠܽܘܬܳܐ ܒܓܰܘ ܦܽܘܡܶܗ
ܩܶܪܒܰܬ ܠܫܳܡܰܥ ܟܽܠ
ܒܺܐܝ̈ܕܰܘܗ̱ܝ ܠܙܶܕܩ̈ܳܬܳܐ
ܐܰܘܙܦܰܬ ܠܦܳܪܰܥ ܟܽܠ
ܒܥܰܝ̈ܢܰܘܗ̱ܝ ܩܪܳܬ ܣܶܦܪܳܐ
ܒܶܐܕ̈ܢܰܘܗ̱ܝ ܠܡܽܘܠܟܳܢܳܐ
ܒܪ̈ܶܓܠܰܘܗ̱ܝ ܬܪܰܥ ܒܰܝܬܶܗ
ܫܰܡܫܶܬ
ܘܰܚܙܰܘ ܒܢܶܣܝܳܢܳܐ
ܕܒܶܗ ܩܳܝܡܳܐ ܟܽܠܳܗ̇
ܒܪܺܝܟ ܕܰܐܣܢܩܳܗ̇ ܠܢܰܦܫܳܐ
ܕܢܰܘܪܶܒ ܠܫܰܘܬܦܳܗ̇
5.
ܨܶܒܝܳܢ ܒܳܪܽܘܝܶܗ
ܡܟܰܢܶܫ ܠܕܰܚܺܝܚܶܗ
ܡܚܰܕܶܬ ܘܰܥܒܰܕ ܠܶܗ
ܗܰܝܟܠܳܐ ܕܬܶܫܒܽܘܚܬܳܐ
ܡܰܥܶܠ ܘܒܰܓܢܽܘܢܶܗ
ܡܒܰܝܰܐ ܠܒܰܪ̱ܬ ܙܰܘܓܶܗ
ܘܕܶܐܬܟܡܰܪ ܒܰܫܝܽܘܠ
ܡܶܬܦܨܰܚ
ܘܕܶܐܬܦܣܶܩ ܣܰܒܪܶܗ
ܡܝܰܒܶܒ ܒܡܽܘܠܟܳܢܶܗ
ܘܕܰܐܘܚܶܠܘ̱ ܥܠܰܘܗ̱ܝ ܣܰܟ̈ܠܶܐ
ܥܠܰܘܗ̱ܝ ܥܳܫܢܺܝܢ ܪ̈ܰܚܡܶܐ
6.
ܪ̈ܶܓܠܰܘܗ̱ܝ ܐܰܣܺܝܪ̈ܳܬܳܐ
ܕܳܝܨܳܢ ܒܦܰܪܕܰܝܣܳܐ
ܘܺܐܝ̈ܕܰܘܗ̱ܝ ܕܶܐܫܬܪܺܝ
ܩ̈ܳܛܦܳܢ ܠܟܽܠ ܛܽܘ̈ܒܺܝܢ
ܥܰܝ̈ܢܰܘܗ̱ܝ ܕܶܐܬܥܡܶܨ
ܚܳܙܶܝܢ ܠܡܰܢܗܰܪ ܟܽܠ
ܦܽܘܡܶܗ ܕܶܐܫܬܬܰܩ
ܡܶܬܦܬܰܚ
ܘܶܐܕ̈ܢܰܘܗ̱ܝ ܣܟܺܝܪ̈ܳܬܳܐ
ܫܶܡܥܰܢ ܠܫܺܝܦܽܘܪܳܐ
ܘܓܽܘܫܡܶܗ ܕܶܐܬܚܰܒܰܠ
ܡܦܰܪܶܓ ܒܬܶܫܒܽܘܚܬܳܐ
7.
ܘܶܐܢ ܗܽܘ ܕܟܰܕ ܚܶܡܬܳܐ
ܪܶܓܬܳܐ ܘܝܰܥܢܽܘܬܳܐ
ܘܫܰܪܟܳܐ ܕܣܰܢܝ̈ܳܬܳܐ
ܗܳܐ ܢܳܒܗܳܢ ܡܶܢܶܗ
ܡܶܛܽܠ ܕܚܰܦܺܝ ܐܶܢܶܝܢ
ܒܥܳܠܡܳܐ ܕܨܶܒܝܳܢܶܗ
ܡܰܘܕܶܝܢ ܟܳܦܽܘܪ̈ܶܐ
ܕܗܰܝܟܠܰܐ ܗ̱ܘ
ܘܠܳܐ ܟܳܘܙܳܐ ܪܽܘܚܳܐ
ܕܫܳܪܝܳܐ ܒܨܰܐܘܬܶܗ
ܘܠܳܐ ܗ̱ܘܳܐ ܐܰܝܟ ܐܶܪܰܡܝܳܐ
ܒܓܽܘܒܳܐ ܡܥܳܩܳܐ ܒܶܗ
8.
܀܀܀
ܢܟܰܣ ܠܟܳܦܽܘܪ̈ܶܐ
ܕܶܐܬܚܰܒܰܫܘ̱ ܒܡ̈ܶܠܰܝܗܽܘܢ
ܕܗܶܢܽܘܢ ܠܗܽܘܢ ܚܰܝܶܒܘ
ܕܡܰܘܕܶܝܢ ܕܪܽܘܚ ܩܽܘܕܫܳܐ
ܒܓܰܘ ܦܰܓܪܗܽܘܢ ܫܳܪܝܳܐ
ܢܕܺܝܕܳܐ ܘܳܐܟܽܘܠܳܐ
ܘܟܰܕ ܣܳܒܪܺܝܢ ܕܰܙܟܰܘ
ܐܶܙܕܟܺܝܘ
ܕܶܐܢܗܽܘ ܕܟܰܕ ܨܳܐܶܐ ܗܽܘ
ܒܶܝܬ ܡܰܫܪܝܰܐ ܗ̱ܘ ܦܰܐܝܳܐ
ܟܡܳܐ ܟܰܝ ܒܨܽܘܠܳܠܶܗ
ܢܶܬܪܰܚܰܡ ܒܢܽܘܚܳܡܶܗ
9.
ܫܺܐܕܳܐ ܫܪܳܐ ܒܓܽܘܫܡܳܐ
ܘܟܰܕ ܥܰܪܨܰܐ ܗ̱ܘ ܣܰܢܝܳܐ
ܪܳܚܶܡ ܕܢܶܥܡܰܪ ܒܶܗ
ܟܰܕ ܐܳܪܚܰܐ ܗ̱ܘ ܠܺܝܛܳܐ
ܨܰܘܡܰܐ ܗ̱ܘ ܥܳܩܰܪ ܠܶܗ
ܠܝܰܥܢܳܐ ܕܠܳܐ ܢܳܦܶܩ
ܢܰܦܫܳܐ ܟܡܳܐ ܬܶܪܚܰܡ
ܠܡܰܥܡܪܳܗ̇
ܕܶܐܢ ܐܶܫܬܘܺܝܘ ܐܰܟܚܰܕ
ܐܰܦܩܽܘܗ̱ܝ ܠܬܰܘܬܒܳܐ
ܘܰܩܪܰܘ ܠܪܽܘܚ ܩܽܘܕܫܳܐ
ܕܒܰܝܢܳܬܗܽܘܢ ܬܰܫܪܶܐ
10.
ܘܶܐܢܗܽܘ ܕܳܐܦ ܪܽܘܚܳܐ
ܛܡܐܬܐ ܒܢܽܘܩܝܳܐ
ܫܳܪܝܳܐ ܘܥܰܠ ܡܺܝܬܳܐ
ܫܰܟܢܳܐ ܘܡܶܬܰܐܣܳܪܳܐ
ܘܡܶܫܬܰܘܬܳܦܳܐ ܠܩܰܝܣܳܐ
ܓܠܺܝܦܳܐ ܕܠܳܐ ܫܳܡܰܥ
ܟܡܳܐ ܟܺܝܬ ܪܽܘܚ ܩܽܘܕܫܳܐ
ܬܚܰܒܒܺܝܘܗ̱ܝ
ܠܦܰܓܪܳܐ ܕܥܰܠ ܣܰܒܪܳܐ
܀܀܀
ܐܶܬܕܒܰܚ ܘܠܳܐ ܕܒܰܚ
ܓܰܠܝܳܐ ܗ̱ܝ ܕܳܐܦ ܩܶܛܠܶܗ
ܣܳܗܕܰܐ ܗ̱ܘ ܕܢܽܘܚܳܡܶܗ
11.
ܕܠܰܘ ܓܶܝܪ ܐܰܠܳܗܰܐ ܗ̱ܘ
ܕܡܺܝ̈ܬܶܐ ܐܶܡܰܪ ܡܳܪܰܢ
ܡܺܝ̈ܬܶܐ ܕܡܺܝ̈ܬܰܝܗܽܘܢ
ܩܳܒܪܺܝܢ ܕܠܳܐ ܣܰܒܪܳܐ
ܟܢܰܫܘ̱ ܗ̱ܘܰܘ ܕܪܰܫܘ̱ ܥܰܡܶܗ
ܕܰܡܚܳܐ ܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ
ܒܗܳܝ ܥܶܠܬܳܐ ܕܰܪܟܶܒܘ̱
ܐܶܙܕܰܟܺܝܘ
ܕܰܬܢܳܐ ܠܗܽܘܢ ܣܳܦܪܳܐ
ܘܰܐܚܺܝ ܠܗܽܘܢ ܡ̈ܺܝܬܶܐ
ܒܡ̈ܶܠܶܐ ܘܒܰܥܒܳܕ̈ܶܐ
ܫܪܳܪܶܗ ܠܢܽܘܚܳܡܳܐ
12.
ܩܪܳܝܗ̱ܝ ܗ̱ܘܳܐ ܠܳܠܥܳܙܳܪ
ܘܰܢܦܰܩ ܒܣܰܪ ܐܶܢܽܘܢ
ܕܶܐܠܽܘ ܠܡܳܪܶܗ ܡܺܝܬ
ܠܳܐ ܐܶܬܡܨܺܝ ܘܰܥܢܳܝܗ̱ܝ
ܚܰܝ ܗ̱ܘܳܐ ܒܡܺܝܬܽܘܬܶܗ
ܠܩܳܠܳܐ ܕܰܐܩܺܝܡܶܗ
ܡܺܝܬܳܐ ܚܰܝܳܐ ܘܗܶܢܽܘܢ
ܚܣܰܡܘ̱ ܘܡܺܝܬܘ̱
ܡܳܪܰܢ ܒܟܼܶܐ ܥܠܰܝܗܽܘܢ
ܕܚ̈ܰܝܶܐ ܕܡܺܝܬܺܝܢ ܗ̱ܘܰܘ
ܕܶܐܬܟܰܡܰܪܘ̱ ܒܢܽܘܚܳܡܳܐ
ܕܰܐܦܨܚܶܗ ܠܳܠܥܳܙܳܪ
13.
ܡܺܝܬܳܐ ܕܚܰܝܽܘܬܳܐ
ܟܣܺܝܬܳܐ ܛܡܺܝܪܳܐ ܒܶܗ
ܚܰܝ ܗܽܘ ܠܰܐܠܳܗܳܐ
ܡܶܢ ܩܕܳܡ ܕܢܶܬܢܰܚܰܡ
ܗܳܟܰܢ ܐܳܦ ܚܰܛܳܝܳܐ
܀܀܀
ܡܺܝܬܰܐ ܗ̱ܘ ܩܕܳܡ ܕܰܢܡܽܘܬ
ܡܺܝܬܳܐ ܠܟܳܦܽܘܪ̈ܶܐ
ܡܦܺܝܣ ܗ̱ܘܳܐ
ܕܗܳܢܽܘܢ ܐܶܢܽܘܢ ܡܺܝ̈ܬܶܐ
ܩܒܺܝܪ̈ܰܝ ܒܚܰܝ̈ܰܝܗܽܘܢ
ܢܦܺܝܚܝ̱ ܒܢܶܚ̈ܬܰܝܗܽܘܢ
ܡܰܣ̈ܝܰܝ ܒܚܰܘܒܰܝ̈ܗܽܘܢ
14.
ܠܳܐ ܡܳܪܝ̱ ܢܶܚܙܽܘܢܳܢܝ̱
ܥܰܡܗܽܘܢ ܒܓܺܗܰܢܳܐ
ܘܢܰܗܠܽܘܢ ܕܠܰܘ ܡܶܕܶܡ
ܡܶܢܗܽܘܢ ܡܝܰܬܰܪ ܐ̱ܢܳܐ
ܠܳܐ ܐܶܬܛܠܶܡ ܕܰܕܪܺܝܫ
ܠܶܫܳܢܝ̱ ܚܠܳܦ ܩܽܘܫܬܳܐ
ܠܳܐ ܡܳܪܝ̱ ܢܶܚܙܽܘܢܳܢܝ̱
ܠܘܳܬܗܽܘܢ
ܢܶܕܥܽܘܢ ܕܥܰܠ ܗܳܕܶܐ ܗ̱ܽܘ
ܚܰܢܬܳܢܝ̱ ܒܢܽܘܚܳܡܳܐ
ܕܰܥܠܰܘܗ̱ܝ ܕܢܽܘܚܳܡܳܐ
ܡܰܠܶܠܬ ܟܡܳܐ ܕܰܐܘܦܺܝܬ
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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