Hymn XVII (Carmina Nisibena XVII)
Hymn XVII is the lyre hymn — Ephrem's personal tribute to Bishop Abraham, the last and greatest of the three. The structure is unlike any other hymn in the cycle: twelve stanzas of ten cola each, with no single repeated refrain but instead a unique closing doxology in every stanza (Blessed is he who...). The speaker is Ephrem himself — a "small coin" cast into God's treasury, a "member of the flock," an "eloquent lamb" — using the humility-formula to frame what becomes one of the cycle's most sophisticated theological portraits. Abraham is the disciple of three who became the fourth teacher. The Elisha typology organizes stanza 2: as Elisha remained after Elijah, the horn of Abraham's election heated and he was completed into headship. The celestial body of the church surrounds him as members surround a head, sucking life from him, his teaching the new bread. His election came through long testing — time refined him in the furnace of the flock, and the proof of his own person became his qualification. His fasting is a weapon, his prayer a shield, his intercession peace. He embodies all three predecessors at once: in stanza 11, Ephrem prays that Abraham become a wall like Jacob, full of mercies like Babu (Vologeses' Syriac name), and a treasury of words like Valgesh (a third teacher from Ephrem's own formation — possibly Ephrem's own teacher, here named alongside the two bishops). The closing stanza is remarkable: Ephrem — the poet — declares that he painted a portrait of both (teacher and disciple) from the pigments of both, so that the flock might see their adornments. He became an eloquent lamb for the bishop. In the standing of Abram — playing on Abraham's two scriptural names — he gives thanks to the God of Abraham. Blessed who made me his lyre.
I.
My Lord, permit my smallness too
to cast in your treasury a small coin —
like the merchant of our flock
who multiplied the talent of your teaching
and, separating himself, went out to your harbor.
I will speak of his occasions:
he who became head of the flock
was the disciple of three,
and became himself the fourth teacher.
Blessed is he who made him our consolation.
II.
In one love I will weave them
and braid them into a wreath —
their glorious flowers
and their sweet blossoms:
the great one and his disciple
who remained after him like Elisha.
The horn of his election heated,
was completed, and he became head;
he was exalted and became great.
Blessed who made him the head.
III.
The heavenly ones rejoiced for the flock
that by a shepherd pleasing to them it is shepherded;
the monastery of occasions rejoiced
seeing the succession of their ranks.
He took his station like a mind
within the great body of the church,
and its members surround him
that they may suck life from him.
Teaching is the new bread.
Blessed who made him their treasury.
IV.
He chose him from the multitude of occasions
which gave the test of his reliability;
time tested him within the flock
and kept him long, like a furnace,
which gave proof in his own person —
he made him a wall for the many.
Let your fasting be a weapon for our land,
your prayer a shield for our city,
your intercession win peace.
Blessed who sanctified your sacrifices.
V.
The shepherd who separated from his flock
pastured her in spiritual meadows;
by his glorious staff
he kept her from the hidden wolves.
Fill for her the place of your teacher —
she thirsts for the voice of his melodies.
He established you like a pillar
in the city of the weary people.
Let us be supported by your prayers.
Blessed who made you our pillar.
VI.
He handed to his disciple:
the throne to the one worthy of it,
the key to the one who was trusted,
the treasury to the one who excelled.
Blessing is fitting for your hand,
atonement for your offering,
consolation for your tongue.
Your authority planted peace —
among the angels within and the peoples without.
Blessed who chose you for joys.
VII.
Let your teaching be enriched
by deeds more than by words —
for few words you sow;
you cultivate our land with deeds.
For in great cultivation
even common seed enriches.
The withered ancient seed
brought one in thirty in us;
your fresh seed brings one in sixty.
Blessed who multiplies one in a hundred.
VIII.
Your wrath toward yourself lies idle,
for peace pervades all of you.
Jealousy toward you lies dormant,
for your love burns at every hour.
You have broken the root of envy
so that no one may strike in secret.
The slander that disturbs
finds no reception in your hearing —
for open truth is your delight.
Blessed who adorned your members.
IX.
Let the king settle among your people —
there is advantage among the Hebrews.
Go wholly with the one
who counsels you to profit;
flee wholly from the one
who counsels you otherwise.
Let Rehoboam be a sign for you:
choose kings who serve the good;
dismiss kings who serve envy.
Blessed who counseled discernment.
X.
The gift given to you
flew and descended from on high.
Do not call it by a human name;
do not attribute it to another power —
for no one could reach its place.
The cunning Satan suggests
that human hands gave it to you,
so that the free-born gift
may serve in slavery to humans.
Blessed who inclined his gift.
XI.
Your teacher was painted in your person —
lo, his likenesses are upon all of you.
He departed from us, yet he is with us:
in you we see all three glorious ones
who departed from us.
Be for us a wall like Jacob;
be full of mercies like Babu;
be a treasury of words like Valgesh.
Blessed who in one painted them all.
XII.
And I too, a member of the flock,
did not sit still on what was fitting —
I drew a portrait of both
from the pigments of both,
that the flock might see their adornments
and the congregation their beauties,
and that I became an eloquent lamb for you.
God of Abraham —
in the standing of Abram I give you thanks.
Blessed who made me his lyre.
Colophon
Carmina Nisibena XVII — translated from Classical Syriac by the DSS Translator lineage, 2026-03-23. Translation independently derived from the Digital Syriac Corpus base text (Beck/DSC, CC-BY 4.0). McVey's Paulist edition not consulted. Lexical verification against Payne Smith's Thesaurus Syriacus and Costaz's Dictionnaire syriaque–français. The Blood Rule holds.
Meter: decacolon stanzas — ten cola per stanza, making this by far the longest stanza form in the Nisibene cycle. Melody indicator: ܕܥܰܠ ܐܰܒܪܳܗܳܡ ܐܶܦܺܝܣܩܽܘܦܳܐ ܕܰܢܨܺܝܒܺܝܢ — "On Abraham the Bishop of Nisibis" — this melody is named for this hymn's own subject, the only such self-naming in the staged cycle; the melody may have originated with this hymn. Refrain structure: unlike every other hymn in the cycle, Hymn XVII has no single repeated congregational refrain (ʿunīthā); instead, each stanza closes with a unique doxological line beginning ܒܪܺܝܟ ܗ̱ܽܘ ܕ (Blessed is he who...). These are translated as internal concluding lines of each stanza rather than formatted as a separate refrain.
Voice and structure: Personal encomium — Ephrem in first person. Three movements: (I) The Elisha typology and Abraham's headship (I–III) — Ephrem casts himself as the small merchant with a small coin; Abraham is the merchant of the flock who multiplied his talent and went out to the harbor (the Parable of the Talents as episcopal career); the Elisha parallel (stanza 2) organizes the transmission: as Elisha remained after Elijah and the double portion of the spirit rested on him, Abraham remained after the previous teachers and the horn of his election completed him; the heavenly rejoicing (stanza 3) applies the parable of the lost sheep (Luke 15) to the whole church: the flock in the great body of the church surrounds him as members surround a mind, teaching as new bread. (II) Portrait of Abraham's virtues (IV–X) — the sequence is cumulative: election through testing (IV); pastoral succession as fulfillment of Jacob's legacy (V); the triple transmission — throne, key, treasury — to one worthy, trusted, and excelling (VI); teaching by deeds, the agricultural yield (thirty–sixty–hundred, Mark 4:20) applied to the succession (VII); peace over wrath, love over jealousy, open truth over slander (VIII); the Rehoboam counsel (1 Kings 12) as political wisdom — choose advisors who serve the good (IX); the episcopal gift as descending from on high, not to be attributed to human patronage (the Satanic temptation that would enslave the free-born gift) (X). (III) Abraham as the living portrait of all three (XI–XII) — the teacher is painted in the disciple's person; Ephrem sees all three glorious predecessors in Abraham at once; the triple petition names all three by name: Jacob (wall), Babu (Vologeses' Syriac birth name, used here in the familiar form — mercies), Valgesh (a third teacher figure in Ephrem's formation, possibly his own direct teacher in Nisibis, treasury of words); Ephrem ends as the lyre — the poet who painted the portrait of both teacher and disciple from their own pigments, so the flock can see their adornments.
Key translation choices: ܫܳܡܽܘܢ (I) = a small coin — literally a small weight or coin of little value; the widow's mite register; Ephrem's self-deprecating entry into the treasury. ܬܰܓܳܪܳܐ (I) = merchant/trader — the episcopal career as multiplication of the talent; ܠܰܠܡܺܐܢܳܟ = to your harbor (the final harbor of heavenly rest; the merchant has gone out to the harbor of God). ܪܶܬܚܼܰܬ ܩܰܪܢܳܐ ܕܓܰܒܝܽܘܬܶܗ (II) = the horn of his election heated/boiled up — ܪܬܚ = to boil, heat, seethe; the horn of the chosen one's anointing heated to the point of completion; the image may echo the anointing oil which heated into full consecration. ܡܳܡܪܰܚ (IV) = grows bold — of the slave-law that strikes when boldness appears; the verb ܡܪܚ carries a sense of presumptuous advance, audacity. ܕܰܝܪܳܐ ܕܥ̈ܶܠܳܢܶܐ (III) = the monastery of occasions — the community of all the occasions/events that have shaped the city; the word ܕܰܝܪܳܐ (monastery/community) used metaphorically for the gathered experiences of the church's history, which now witness the transmission of episcopal rank. ܩܠܺܝܕܳܐ (VI) = key — the episcopal key of the kingdom; transmitted to the one who was trusted (ܐܶܬܗܰܝܡܰܢ = was found faithful); echo of Matthew 16:19 (keys of the kingdom). ܓܙܳܪܳܐ (VI) = treasury/charge — the stewardship of souls; distinct from the throne (authority) and key (access): the treasury is the accumulated spiritual wealth of the congregation. ܘܰܠܓܶܫ / ܒܳܒܽܘ / ܝܰܥܩܽܘܒ (XI) = Valgesh / Babu / Jacob — three names of three predecessors: Jacob is the first bishop; Babu is Vologeses' Syriac-Persian birth name (also written Babuyeh), used here in the intimate form; Valgesh is a third teacher figure — likely Ephrem's own direct teacher, as distinct from the episcopal succession; he represents the tradition of word-treasury (ܓܰܙܳܐ ܕܡ̈ܶܠܶܐ), suggesting a scholar-teacher rather than a bishop. The three gifts asked of Abraham correspond to the three predecessors: Jacob's wall of intercession and protection; Babu's/Vologeses' abundance of mercy; Valgesh's gift of learned speech. ܫܶܚܠܳܐ (XII) = member of the flock — literally a shoot, a small branch, a subordinate member; the opposite of the head; Ephrem as the least member; contrasted with ܐܶܡܪܳܐ ܡܰܠܠܳܐ (eloquent lamb) — the small member who was given speech. ܟܶܢܳܪ (XII) = lyre — the instrument of David; the poet as the lyre of the bishop; the bishop plays the song; the poet's words are the strings.
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Source Text: Ephrem the Syrian — Hymns on Nisibis, Hymn 17 (Carmina Nisibena 17)
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܕܥܰܠ ܐܰܒܪܳܗܳܡ ܐܶܦܺܝܣܩܽܘܦܳܐ ܕܰܢܨܺܝܒܺܝܢ
1.
ܐܰܦܶܣ ܡܳܪܝ̱ ܐܳܦ ܠܰܙܥܽܘܪܽܘܬܝ̱ ܕܬܶܪܡܶܐ ܒܓܰܙܳܟ ܫܳܡܽܘܢܳܗ̇
ܐܰܝܟ ܬܰܓܳܪܳܐ ܕܡܰܪܥܺܝܬܰܢ ܕܪܰܒܺܝ ܟܰܟܰܪ ܝܽܘܠܦܳܢܳܟ
ܘܰܦܼܪܰܫ ܘܰܢܦܼܰܩ ܠܰܠܡܺܐܢܳܟ ܐܶܡܰܠܶܠ ܥܰܠ ܥܰܠܳܢܶܗ
ܕܗܼܳܘܶܐ ܪܺܝܫܳܐ ܠܡܰܪܥܺܝܬܳܐ ܬܰܠܡܺܝܕܳܐ ܗ̱ܘܳܐ ܕܰܬܠܳܬܳܐ
ܗܘܳܐ ܠܶܗ ܪܰܒܳܐ ܪܒܺܝܥܳܝܳܐ ܒܪܺܝܟ ܗ̱ܽܘ ܕܥܰܒܼܕܶܗ ܒܽܘܝܳܐܰܢ
2.
ܒܚܰܕ ܚܽܘܒܳܐ ܐܰܦܬܽܘܟ ܐܶܢܽܘܢ ܘܰܟܠܺܝܠܳܐ ܐܶܓܕܽܘܠ ܐܶܢܽܘܢ
ܠܗ̈ܰܒܳܒܰܝܗܽܘܢ ܢܰܨ̈ܺܝܚܶܐ ܘܠܰܦܩܳܚ̈ܰܝܗܽܘܢ ܒܰܣܺܝ̈ܡܶܐ
ܕܗܰܘ ܪܰܒܳܐ ܘܕܰܬܠܡܺܝܕܶܗ ܕܦܳܫ ܡܶܢܶܗ ܐܰܝܟ ܐܶܠܺܝܫܰܥ
ܪܶܬܚܼܰܬ ܩܰܪܢܳܐ ܕܓܰܒܝܽܘܬܶܗ ܘܶܐܫܬܰܡܠܺܝ ܘܰܗܘܳܐ ܪܺܝܫܳܐ
ܘܶܐܬܥܰܠܺܝ ܘܰܗ̣ܘܳܐ ܪܰܒܳܐ ܒܪܺܝܟ ܕܥܰܒܼܕܶܗ ܪܺܝܫܳܝܳܐ
3.
ܘܚܼܰܕܺܝܘ ܫܡ̈ܰܝܳܢܶܐ ܕܥܳܢܳܐ ܕܰܒܪܳܥܝܳܐ ܕܪܰܥܘ̱ ܪܳܥܶܝܢ
ܚܶܕܝܰܬ ܕܰܝܪܳܐ ܕܥ̈ܶܠܳܢܶܐ ܕܰܚܙܰܘ ܝܽܘܒܳܠ ܕܰܪ̈ܓܰܝܗܽܘܢ
ܫܩܼܰܠ ܩܰܒܥܶܗ ܐܰܝܟ ܪܶܥܝܳܢܳܐ ܒܓܰܘ ܓܽܘܫܡܳܐ ܪܰܒܳܐ ܕܰܥܕܳܐ
ܘܰܟܪܺܝܟܺܝܢ ܠܶܗ ܗܰܕܳܡܰܘ̈ܗ̱ܝ ܕܰܢܡܽܘܪܽܘܢ ܡܶܢܶܗ ܚ̈ܰܝܶܐ
ܝܽܘܠܦܳܢܳܐ ܠܰܚܡܳܐ ܚܰܕܬܳܐ ܒܪܺܝܟ ܗܽܘ ܕܥܰܒܕܶܗ ܐܰܘܨܰܪܗܽܘܢ
4.
ܓܒܳܝܗ̱ܝ ܡܶܢ ܣܽܘܓܳܐܐ ܕܥ̈ܰܠܳܢܶܐ ܕܝܰܗ̱ܒ ܢܶܣܝܳܢܳܐ ܕܰܫܪܳܪܶܗ
ܒܰܚܪܶܗ ܙܰܒܢܳܐ ܒܓܰܘ ܥܳܢܳܐ ܘܰܒܩܳܝܗ̱ܝ ܢܽܘܓܪܳܐ ܐܰܝܟ ܟܽܘܪܳܐ
ܕܝܰܗ̱ܒ ܒܩܳܝܳܐ ܒܰܩܢܽܘܡܶܗ ܥܰܒܕܶܗ ܫܽܘܪܳܐ ܠܣܰܓܺܝ̈ܐܶܐ
ܢܗܶܐ ܨܰܘܡܳܟ ܙܰܝܢܳܐ ܠܰܐܬܪܰܢ ܨܠܽܘܬܳܟ ܣܰܟܪܳܐ ܠܰܡܕܺܝܢ̱ܬܰܢ
ܦܺܝܪܡܳܟ ܢܶܩ̇ܢܶܐ ܠܬܰܪܥܽܘܬܳܐ ܒܪܺܝܟ ܗ̱ܽܘ ܕܩܰܕܶܫ ܕܶܒܚ̈ܳܬܳܟ
5.
ܪܳܥܝܳܐ ܕܰܦܼܪܰܫ ܡܶܢ ܥܳܢܶܗ ܪܥܳܗ̇ ܒܡܰܪ̈ܓܶܐ ܪ̈ܽܘܚܳܢܶܐ
ܘܰܒܝܰܕ ܚܽܘܛܪܶܗ ܢܰܨܺܝܚܳܐ ܡܶܢ ܕܺܐܒ̈ܶܐ ܟܣܰܝ̈ܳܐ ܢܰܛܪܳܗ̇
ܬܶܡܠܶܐ ܠܳܗ̇ ܕܽܘܟܰܬ ܪܰܒܳܟ ܕܨܰܗܝܳܐ ܠܨܰܘܬܳܐ ܕܢܶܥܡ̈ܳܬܶܗ
ܐܰܩܺܝܡܳܟ ܐܰܝܟ ܥܰܡܽܘܕܳܐ ܒܟܰܪܟܳܐ ܕܥܰܡܳܐ ܪܥܺܝܠܳܐ
ܒܰܨ̈ܠܰܘܳܬܳܟ ܢܶܣܬܰܡܰܟ ܒܪܺܝܟ ܗ̱ܽܘ ܕܥܰܒܕܳܟ ܥܰܡܽܘܕܰܢ
6.
ܐܰܫܠܼܶܡ ܐܺܝܕܶܗ ܠܬܰܠܡܺܝܕܶܗ ܟܽܘܪܣܝܳܐ ܠܰܐܝܢܳܐ ܕܫܳܘܶܐ ܠܶܗ
ܩܠܺܝܕܳܐ ܠܰܐܝܢܳܐ ܕܶܐܬܗܰܝܡܰܢ ܓܙܳܪܳܐ ܠܰܐܝܢܳܐ ܕܶܐܬܢܰܨܰܚ
ܝܳܐܶܐ ܠܺܐܝܕܳܟ ܪܽܘܚܳܦܳܐ ܘܰܠܩܽܘܪܒܳܢܳܟ ܚܽܘܣܳܝܳܐ
ܘܰܠܠܶܫܳܢܳܟ ܒܽܘܝܳܐܳܐ ܢܨܰܒܶܬ ܫܰܝܢܳܐ ܫܽܘܠܛܳܢܳܟ
ܠܓܰܘ ܥܺܝܪ̈ܶܐ ܘܰܠܒܰܪ ܟ̈ܶܢܫܶܐ ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܓܒܳܟ ܠܚ̈ܰܕܘܳܬܳܐ
7.
ܡܰܠܦܳܢܽܘܬܳܟ ܬܶܬܝܰܬܰܪ ܒܰܥܒܳܕܳܐ ܛܳܒ ܡܶܢ ܡ̈ܶܠܶܐ
ܕܩܰܠܺܝܠ ܡ̈ܶܠܶܐ ܙܳܪܰܥ ܐܰܢ̱ܬ ܦܳܠܽܘܚܶܝܗ̇ ܠܰܐܪܥܰܢ ܒܰܥܒܳܕ̈ܶܐ
ܕܰܒܦܽܘܠܚܳܢܳܐ ܣܰܓܺܝܐܳܐ ܢܶܥܬܰܪ ܙܰܪܥܳܐ ܙܰܠܺܝܠܳܐ
ܟܬܰܗ ܕܙܰܪܥܳܐ ܥܰܬܺܝܩܳܐ ܚܰܕ ܒܰܬܠܳܬܺܝܢ ܬܺܐܬܶܐ ܒܰܢ
ܘܙܰܪܥܳܟ ܚܰܕܬܳܐ ܚܰܕ ܒܶܫܬܺܝܢ ܒܪܺܝܟ ܗ̱ܽܘ ܕܡܰܣܓܶܐ ܚܰܕ ܒܰܡܳܐܐ
8.
ܚܶܡܬܳܟ ܠܘܳܬܳܟ ܒܰܛܺܝܠܳܐ ܗ̱ܝ ܕܫܰܝܢܳܐ ܪܳܣܶܡ ܥܰܠ ܟܽܠܳܟ
ܛܰܢܳܢܳܐ ܠܘܳܬܳܟ ܕܰܥܺܝܟܰܐ ܗ̱ܘ ܕܚܽܘܒܳܟ ܟܽܠܫܳܥ ܡܶܬܓܰܘܙܰܠ
ܬܒܰܪܬܳܝܗ̱ܝ ܥܽܘܩܣܳܐ ܕܰܚܣܳܡܳܐ ܕܐ̱ܢܳܫܳܐ ܒܣܼܶܬܳܪܳܐ ܠܳܐ ܢܶܡܚܶܐ
ܡܶܐܟܰܠ ܩܰܪܨܳܐ ܕܰܡܕܰܘܶܕ ܠܳܐ ܦܳܢܝܳܐ ܠܶܗ ܡܰܫܡܰܥܬܳܟ
ܕܩܽܘܫܬܳܐ ܓܰܠܝܳܐ ܒܳܣܶܡ ܠܳܟ ܒܪܺܝܟ ܗ̱ܽܘ ܕܨܰܒܶܬ ܗܰܕ̈ܳܡܰܝܟ
9.
ܬܶܬܶܠ ܡܰܠܼܟܳܐ ܒܓܰܘ ܥܰܡܳܟ ܐܺܝܬ ܝܳܬܪܽܘܢ ܒܶܝܬ ܥܶܒܪ̈ܰܝܶܐ
ܬܺܐܙܰܠ ܟܽܘܠܳܟ ܥܰܡ ܐܰܝܢܳܐ ܕܰܠܝܽܘܬܪܳܢܳܐ ܡܳܠܶܟ ܠܳܟ
ܬܶܥܪܽܘܩ ܟܽܘܠܳܟ ܡܶܢ ܐܰܝܢܳܐ ܕܰܐ̱ܚܪܳܢܝܳܐܺܝܬ ܡܳܠܶܟ ܠܳܟ
ܪܰܚܒܥܳܡ ܢܺܝܫܳܐ ܢܶܗܘܶܐ ܠܳܟ ܬܶܓܒܼܶܐ ܡܰܠܟ̈ܶܐ ܕܥܽܘܕܪܳܢܳܐ
ܬܶܣܠܶܐ ܡܰܠܟ̈ܶܐ ܕܰܚܣܼܳܡܳܐ ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܡܠܰܟ ܒܽܘܝܳܢܳܐ
10.
ܡܰܘܗܰܒܬܳܐ ܕܶܐܬܝܰܗܼܒܰܬ ܠܳܟ ܡܶܢ ܪܰܘܡܳܐ ܦܶܪܚܰܬ̤ ܢܶܚܬܰܬ̤
ܠܳܐ ܬܶܩܪܶܝܗ̇ ܒܰܫܡܳܐ ܕܐ̱ܢܳܫܳܐ ܠܳܐ ܬܶܬܠܶܝܗ̇ ܒܰܐ̱ܚܪܺܝܢ ܚܰܝܠܳܐ
ܕܠܰܝܬ ܕܠܰܐܬܪܳܗ̇ ܡܳܛܶܐ ܗ̱ܘܳܐ ܣܳܛܳܢܳܐ ܨܢܺܝܥܳܐ ܡܣܰܒܰܪ
ܕܰܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ ܝܰܗܒܽܘܗ̇ ܠܳܟ ܕܗܳܝ ܡܰܘܗܰܒܬܳܐ ܒܰܪ̱ܬ ܚܺܐܪ̈ܶܐ
ܥܰܒܕܽܘܬܳܐ ܠܐ̱ܢܳܫܳܐ ܬܶܦܠܽܘܚ ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܐܪܟܶܢ ܡܰܘܗܰܒܬܶܗ
11.
ܨܼܺܝܪ ܗ̱ܘܳܐ ܪܰܒܳܟ ܒܰܩܢܽܘܡܳܟ ܗܳܐ ܕܶܡܘ̈ܳܬܶܗ ܥܰܠ ܟܽܠܳܟ
ܦܼܪܰܫ ܡܶܢܰܢ ܚܰܕ ܥܰܡܰܢ ܗ̱ܽܘ ܒܳܟ ܢܶܚܙܶܐ ܠܰܬܠܳܬܰܝܗܽܘܢ
ܢܰܨ̈ܺܝܚܶܐ ܕܰܦܼܪܰܫܘ̱ ܡܶܢܰܢ ܬܗܶܐ ܠܰܢ ܫܽܘܪܳܐ ܐܰܝܟ ܝܰܥܩܽܘܒ
ܘܰܡܠܶܐ ܪ̈ܰܚܡܶܐ ܐܰܝܟ ܒܳܒܽܘ ܘܓܰܙܳܐ ܕܡ̈ܶܠܶܐ ܐܰܝܟ ܘܰܠܓܶܫ
ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܒܚܰܕ ܨܳܪ ܐܶܢܽܘܢ
12.
ܐܳܦ ܐܶܢܳܐ ܫܶܚܠܳܐ ܕܡܰܪܥܺܝܬܳܐ ܠܳܐ ܟܳܡܶܬ ܥܰܠ ܘܳܠܺܝܬܳܐ
ܨܳܪܶܬ ܨܰܠܡܳܐ ܠܰܬܪܰܝܗܽܘܢ ܡܶܢ ܣܰܡ̈ܳܡܢܶܐ ܕܰܬܪܰܝܗܽܘܢ
ܕܬܶܚܼܙܶܐ ܥܳܢܳܐ ܨ̈ܶܒܬܰܝܗܽܘܢ ܐܳܦ ܡܰܪܥܺܝܬܳܐ ܫܽܘܦܪ̈ܰܝܗܽܘܢ
ܘܕܰܗܘܺܝܬ ܐܶܡܪܳܐ ܡܰܠܠܳܐ ܠܳܟ ܐܰܠܳܗܶܗ ܕܰܐܒܪܳܗܳܡ
ܒܩܰܘܡܶܗ ܕܰܐܒܪܳܡ ܐܰܘܕܶܐ ܠܳܟ ܒܪܺܝܟ ܗ̱ܽܘ ܕܰܥܒܰܕܢܝ̱ ܟܶܢܳܪܶܗ
Source Colophon
Syriac text from the Digital Syriac Corpus (DSC), file 274.xml. TEI edition CC BY 4.0 (syriaccorpus.org/274). Based on the critical edition of Edmund Beck, Carmina Nisibena (CSCO 218/219, Louvain, 1961). Transcription by Michael Oez.
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