Ephrem the Syrian
The Carmina Nisibena are seventy-seven hymns Ephrem composed after the fall of Nisibis to Persia in 363 CE — a sustained meditation on siege theology, loss, and God's hidden purposes. The cycle's later movement, however, widens its lens from the fallen city to the fallen world. Hymns in the mid-thirties turn to Death itself and to the cosmic drama of Christ's harrowing of Sheol.
Hymn 36 is a death-drama. Ephrem gives Death full voice: he speaks, boasts, challenges, taunts — cataloguing Samson, Goliath, Og, and the uncountable dead poured into his keeping since Adam. He shows Christ his genealogical register to prove no one escapes. He demands a pledge. When the resurrection finally comes, it is not described triumphantly but through Death's bewildered eyes — the bonds, the blazing rays, the dead streaming out past the angels at the empty tomb. In the final stanzas Death confesses, prays, and even promises to deliver the dead at the Last Trumpet with his own hands.
The congregational refrain is spoken from Death's perspective — which is itself the hymn's central gesture: making the assembly voice Death's confession as liturgy.
1.
Our Lord subdued his power and let them seize him —
that by his death, the Living One,
he might give life to Adam.
His hands he surrendered to the nails
in place of the hand that plucked the fruit.
He received the blow upon his cheek in the judgment hall
in place of the mouth that ate in Eden.
Because Adam's foot had strayed,
his own feet they nailed.
Our Lord stripped himself bare to shame —
in bitterness and gall
he dissolved the serpent's venom
that had been poured into the flesh of humanity.
Refrain (ʿŌnitā): Blessed is he who conquered me and revived the dead to his glory.
2.
If you are God — show your power.
If you are human — test our strength.
And if it is Adam you seek — go away;
for his debts he is imprisoned here.
Not even cherubim or seraphim
can be redeemers in his place —
they hold no mortality,
no soul to give for his.
Who will open the mouth of Sheol
and dive down to bring him up —
she who swallowed him
and closed over him forever?
3.
I am the one who has conquered all the wise —
and look, in Sheol's corners they are stored away for me.
Come, enter, Son of Joseph, and see the fallen:
the bones of the mighty —
Samson's great skull,
the skeleton of hard Goliath,
and Og, son of the giants,
who made himself an iron bed and lay in it.
From it I toppled him and cast him down —
that sign of power — at Sheol's gate
I brought him low.
4.
I alone have conquered many,
and the Only One seeks to conquer me.
Prophets and priests and the renowned alike —
I conquered kings in their armies,
heroes at their hunts,
and the righteous in their victories.
Rivers of corpses pour into Sheol
and however much flows in, she thirsts.
Whether a person is near or far,
the end brings every one of them to Sheol's gate.
5.
I despised silver beside the rich;
their offerings did not bribe me.
Never did masters persuade me
to take the slave instead of his lord —
the poor instead of the wealthy,
the old instead of the newborn.
Wise handlers can reason with their animals;
their reasoning does not enter my ears.
I hate entreaty.
Let every person call to me —
I carry out what I was commanded.
6.
Who is this one, or whose son,
and what is his lineage —
this one who has conquered me?
I am the keeper of genealogical records.
I went in, labored, and read through
every name from Adam until now.
Not one of the dead is missing —
tribe by tribe, they are written here.
On my tablets, O Jesus — because of you
I went in and made a full accounting,
to show you: none escapes from my hands.
7.
Two men I will not lie about —
whose names Sheol does not hold.
Enoch and Elijah never came to me.
Through all of creation I searched for them,
even to the place where Jonah went down.
I descended and searched — they were not there.
I suspected they had slipped into Paradise and escaped —
but the dreadful cherub guards it.
Jacob once saw a ladder —
perhaps by it they ascended to heaven.
8.
Who has consumed the sand of the sea
and only two grains scattered?
This is the harvest cast into me every day.
Diseases come like reapers —
I alone receive their sheaves
and bury the warriors even as they tremble.
Hands drop; harvesters carry away their baskets.
Only two small gleanings escape me
in the great harvest I have reaped alone.
9.
I am the one who has hunted — says Death —
on sea and on land, all that can be hunted.
Eagles of the air came to me,
and the sea-monsters of the deep,
creeping things and birds and cattle,
old men, young men, boys —
let all of these plead with you,
O Son of Mary:
my dominion rules over all.
How has your cross conquered me,
when it was by wood
that I first prevailed and conquered?
10.
I would speak on — I am not short of words —
but words are not needed.
Near servants are crying out already
to the simple about hidden things:
that the resurrection is indeed happening.
When? When?
If you are so mighty,
give a near pledge —
that your distant promise may also be believed.
11.
Death concludes the words of his mockery.
The voice of our Lord thunders in Sheol itself.
He cried out and split the graves one by one.
Bonds seized Death.
Sheol — which from eternity had never been lit —
blazed with rays
from the watchers who entered and brought out
the dead to meet that Dead One
who gave life to all.
The dead came forth, and the living were shamed —
those who thought they had conquered the One who gives life to all.
12.
Who gave me the day of Moses? — says Death —
that day made a feast for me.
The lamb of Egypt gave me
from every house the firstborn —
heaps upon heaps of firstborns —
the gate of Sheol thrown wide.
That lamb was my feast-day;
it filled the graves.
But this one has emptied
the graves that were filled.
13.
The death of Jesus is torment to me.
I would have preferred his life to his death —
this is the dead one whose death I hate.
In the death of every other I rejoice;
in his own death I am angered,
dreading that he will return and live.
While he was alive, he revived and raised three dead.
Now by his death,
at the gate of Sheol —
the crossing over of the dead who lived —
I had gone to consume them.
14.
I ran to seize the gates of Sheol
before that Dead One
whose death had bewildered me.
Whoever hears will marvel at my abasement —
that a dead man from outside defeated me.
Every dying one seeks to go out;
but this one pressed inward to enter.
He placed life into Sheol itself
and revived her dead.
Who was it that led in and planted in me, indeed,
a living fire
that melted through her —
Sheol's cold, dark chambers?
15.
Death saw watchers in Sheol —
immortals in place of mortals —
and said: disturbance has entered our dwelling.
In both it is torment:
the dead went out from Sheol,
and watchers who do not die entered her.
Look — one at the head of his tomb, seated;
another companion at his feet.
I will ask him and beg him
to take his leaven and go to his kingdom.
16.
Do not be angry at me, good Jesus,
for the words my pride spoke before you.
Who, seeing your cross, would not have wavered —
thinking you merely human?
Who, seeing your power,
would not believe you also God?
Now in both I have learned to confess
that you are human and you are also God.
Since the dead in Sheol do not repent —
come up, Lord;
bring repentance to the house of the living.
17.
Jesus the King, receive my prayer —
and together with my prayer, take the leaven for yourself:
Adam's great leaven,
in which all the dead are buried.
Just as when you first received it
all the living were hidden within it —
the first leaven you took was Adam's body —
rise now, and reign over all.
And when I hear your trumpet,
I will with my own hands
bring out the dead at your coming.
18.
Our living King rose and ascended from Sheol
like a conqueror.
Woe swept over the left side —
grief to the spirits and demons,
suffering to Satan and Death,
mourning to sin and Sheol.
Joy to the right side.
Today it happened,
on this day that is great indeed.
Great glory let us give
to the one who died and lives,
that he might give life to all and raise them.
Translated from Classical Syriac by the New Tianmu Anglican Church (Good Works Translation), April 2026. Source text: Edmund Beck, ed., Des Heiligen Ephraem des Syrers Carmina Nisibena, CSCO 218/219 (Louvain: Secrétariat du CorpusSCO, 1961); TEI XML edition transcribed by Michael Oez, Digital Syriac Corpus, University of Oxford / Brigham Young University / Vanderbilt University (CC-BY 4.0). The English is independently derived from the Syriac. Sebastian Brock's scholarship on Ephremite theology (The Luminous Eye, 1985) was consulted for theological orientation only. The dramatic voice throughout stanzas 2–16 is Death personified; stanza 17 shifts to the poet's own prayer; stanza 18 is the doxological close. The congregational refrain (ʿŌnitā, ܥܽܘܢܺܝܬܳܐ) is marked once in the source text after stanza 1; in liturgical performance it would be sung after each stanza. The melody indicator (bar qālā) ܡܶܢܶܗ ܒܰܪ ܩܳܠܶܗ designates a now-lost Nisibene liturgical tune. The reference to "wood" in stanza 9 is Ephrem's characteristic Eden-Calvary typology: the wood of the tree of knowledge through which Death first conquered is answered by the wood of the cross. This appears to be the first full English translation of this hymn derived directly from the Syriac.
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Source Text: ܡܰܕܪ̈ܫܶܐ ܥܰܠ ܢܨܺܝܒܺܝܢ — Carmina Nisibena, Hymn XXXVI
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܡܶܢܶܗ ܒܰܪ ܩܳܠܶܗ
1.
ܡܳܪܰܢ ܫܰܥܒܶܕ ܚܰܝܠܶܗ ܘܰܐܚܕܽܘܗ̱ܝ
ܕܡܰܘܬܶܗ ܚܰܝܳܐ ܢܺܚܶܐ ܠܳܐܕܳܡ
ܐܺܝ̈ܕܰܘܗ̱ܝ ܠܩܽܘܒܥܳܐ ܕܨܶܨ̈ܶܐ ܝܰܗ̱ܒ ܗ̱ܘܳܐ
ܚܠܳܦ ܐܺܝܕܳܐ ܕܩܶܛܦܰܬ ܦܺܐܪܳܐ ܒܠܼܰܥ ܥܰܠ ܦܰܟܶܗ ܒܶܝܬ ܕܺܝܢܼܳܐ
ܚܠܳܦ ܦܽܘܡܳܐ ܕܶܐܟܼܰܠ ܒܥܶܕܳܢ ܘܕܶܫܕܶܐ ܗ̱ܘܳܐ ܐܳܕܳܡ ܪܶܓܠܶܗ
ܪ̈ܶܓܠܰܘܗ̱ܝ ܩܒܰܥܘ̱ ܫܠܼܰܚ ܗ̱ܘܳܐ ܡܳܪܰܢ ܕܢܰܢܟܶܦ
ܒܰܡܪܳܪܳܐ ܘܚܶܠܳܐ ܚ̇ܳܠܝ
ܡܳܪܬ ܚܶܘܝܳܐ ܕܰܢܼܣܰܟ ܗ̱ܘܳܐ ܒܐ̱ܢܳܫܽܘܬܳܐ
ܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܰܙܟܳܢܝ̱ ܘܰܐܚܺܝ ܡܺܝ̈ܬܶܐ ܠܬܶܫܒܽܘܚܬܶܗ
2.
ܐܶܢ ܐܰܠܳܗܳܐ ܐܰܢ̱ܬ ܚܰܘܳܐ ܚܰܝܠܳܟ
ܘܶܐܢ ܒܰܪܢܳܫܳܐ ܐܰܢ̱ܬ ܢܰܣܳܐ ܚܰܝܠܰܢ
ܘܶܐܢ ܗܼܽܘ ܕܠܳܐܕܳܡ ܒܥܺܝܬ ܙܶܠ ܠܳܟ
ܥܰܠ ܚܰܘ̈ܒܳܬܶܗ ܚܒܺܝܫ ܗܳܪܟܳܐ ܠܳܐ ܡܨܶܝܢ ܟܪ̈ܽܘܒܶܐ ܘܰܣܪ̈ܳܦܶܐ
ܕܢܶܗܘܽܘܢ ܚܠܳܦܰܘܗ̱ܝ ܦܳܪ̈ܽܘܥܶܐ ܠܰܝܬ ܒܗܽܘܢ ܡܳܝܽܘܬܳܐ ܕܢܶܬܶܠ
ܢܰܦܫܶܗ ܚܠܳܦܰܘܗ̱ܝ ܡܰܢ ܦܳܬܰܚ ܦܽܘܡܳܗ̇ ܕܰܫܝܽܘܠ
ܘܥܳܡܶܕ ܡܰܣܶܩ ܠܶܗ ܡܶܢܳܗ̇
ܕܰܒܠܰܥܬܶܗ ܘܰܟܡܳܬ ܥܠܰܘܗ̱ܝ ܘܰܠܥܳܠܰܡ
3.
ܐܶܢܳܐ ܐ̱ܢܳܐ ܕܰܙܟܺܝܬ ܟܽܠ ܚܰܟܺܝ̈ܡܶܐ
ܘܗܳܐ ܒܙܳܘܝ̈ܳܬܳܐ ܟܳܫܶܝܢ ܠܺܝ ܒܰܫܝܽܘܠ
ܬܳܐ ܥܽܘܠ ܒܰܪ ܝܰܘܣܶܦ ܘܰܚܙܺܝ ܓܽܘܢ̈ܚܶܐ
ܩܽܘܠܘ̈ܳܬܳܐ ܕܓܰܢ̱ܒܳܪ̈ܶܐ ܫܰܪܕܽܘܕܶܗ ܪܰܒܳܐ ܕܫܶܡܫܽܘܢ
ܘܬܶܓܪܽܘܡܬܶܗ ܕܓܽܘܠܝܰܕ ܩܰܫܝܳܐ ܥܽܘܓ ܒܰܪ ܓܰܢ̱ܒܳܪ̈ܶܐ ܬܽܘܒܰܢ
ܗܰܘ ܕܰܥܒܰܕ ܠܶܗ ܥܰܪܣܳܐ ܕܦܰܪܙܠܳܐ ܘܰܓܢܶܐ ܒܳܗ̇
ܡܶܢܳܗ̇ ܣܚܰܦܬܶܗ ܘܰܐܪܡܺܝܬܶܗ
ܠܗܰܘ ܐ̱ܪܳܙܳܐ ܒܬܰܪܥܳܐ ܕܰܫܝܽܘܠ ܫܰܦܠܬܶܗ
4.
ܐܶܢܳܐ ܒܰܠܚܽܘܕܝ̱ ܙܟܺܝܬ ܠܣ̈ܰܓܺܝܐܶܐ
ܘܺܝܚܺܝܕܳܝܳܐ ܒܳܥܶܐ ܕܢܶܙܟܶܝܢܝ̱
ܢܒܺܝ̈ܶܐ ܘܟܳܗ̈ܢܶܐ ܘܢܰܨ̇ܺܝܚܳܐ ܕܒܰܪ̱ܬ
ܙܟܺܝܬ ܠܡ̈ܰܠܟܶܐ ܒܣܶܕܪ̈ܰܝܗܽܘܢ ܘܓܰܢ̱ܒܳܪ̈ܶܐ ܒܢܰܚܫܺܝܪ̈ܰܝܗܽܘܢ
ܘܙܰܕܺܝܩ̈ܶܐ ܒܢܶܨܚ̈ܳܢܰܝܗܽܘܢ ܢܰܗܪ̈ܰܘܳܬܳܐ ܕܰܫ̈ܠܰܕܶܐ
ܪܳܡܶܝܢ ܒܰܫܝܽܘܠ ܘܰܟܡܳܐ ܕܢܳܣܟܺܝܢ ܒܳܗ̇ ܨܰܗܝܳܐ ܗ̱ܝ
ܐܶܢ ܩܰܪܺܝܒ ܐ̱ܢܳܫ ܘܶܐܢ ܪܰܚܺܝܩ
ܗܼܽܘ ܩܨܳܐ ܠܬܰܪܥܳܐ ܕܰܫܝܽܘܠ ܡܰܝܬܶܐ ܠܶܗ
5.
ܠܟܶܣܦܳܐ ܒܶܣܪܰܬ ܨܶܝܕ ܥܰܬܺܝܪ̈ܶܐ
ܘܠܳܐ ܫܰܚܕܽܘܢܝ̱ ܗ̱ܘܰܘ ܩܽܘܪ̈ܒܳܢܰܝܗܽܘܢ
ܡܳܪ̈ܰܝ ܥܼܰܒ̈ܕܶܐ ܠܳܐ ܫܕܰܠܽܘܢܝ̱ ܗ̱ܘܰܘ ܡܶܡܬܽܘܡ
ܕܶܐܕܒܰܪ ܥܼܰܒܕܳܐ ܚܠܳܦ ܡܳܪܶܗ ܘܡܶܣܟܺܢܳܐ ܚܠܳܦ ܥܰܬܺܝܪܳܐ
ܐܳܘ ܣܳܒܳܐ ܚܠܳܦ ܝܰܠܽܘܕܳܐ ܚܰܟܺܝ̈ܡܶܐ ܕܰܠܚܰܝ̈ܘܳܬܳܐ
ܡܨܶܝܢ ܕܰܢܦܺܝܣܽܘܢ ܦܝܳܣܗܽܘܢ ܒܶܐܕܢ̈ܰܝ ܠܳܐ ܥܳܐܶܠ
ܣܳܢܶܐ ܦܺܝܣ ܢܶܩܪܶܝܢܝ̱ ܟܽܠ ܐ̱ܢܳܫ
ܘܶܐܢܳܐ ܡܶܕܶܡ ܕܶܐܬܦܰܩܕܰܬ ܥܰܒܕܳܢܳܐ
6.
ܡܰܢܽܘ ܗܳܢܳܐ ܐܰܘ ܒܰܪ ܡܰܢܽܘ
ܘܰܐܝܢܰܘ ܛܽܘܗܡܶܗ ܕܗܰܘ ܡܰܢ ܕܰܙܟܼܳܢܝ̱
ܣܳܦܪܳܐ ܕܫܰܪ̈ܒܳܬܳܐ ܨܶܐܕܝ̱ ܐܺܝܬܰܘܗ̱ܝ
ܗܳܐ ܥܶܠܶܬ ܥܶܡܠܶܬ ܘܰܩܪܺܝܬ ܫܡ̈ܳܗܶܐ ܕܡܶܢ ܐܳܕܳܡ ܘܰܠܟܳܐ
ܘܐ̱ܢܳܫ ܡܶܢ ܡܺܝ̈ܬܶܐ ܠܳܐ ܛܳܥܶܐ ܫܰܪ̈ܒܳܢ ܫܰܪ̈ܒܳܢ ܗܳܐ ܟܬܺܝܒܺܝܢ
ܥܰܠ ܗܰܕ̈ܰܡܰܝ ܡܶܛܽܠܳܬܳܟ ܗܳܐ ܝܶܫܽܘܥ
ܥܶܠܶܬ ܥܶܒܕܶܬ ܚܽܘܫܒܳܢܳܐ
ܕܰܐܚܰܘܝܶܟ ܕܠܰܝܬ ܕܦܳܠܶܛ ܡܶܢ ܐܺܝܕ̈ܰܝ
7.
ܬܪܶܝܢ ܓܶܝܪ ܓܰܒܪ̈ܺܝܢ ܕܠܳܐ ܐܶܕܓܰܠ
ܕܰܫܡ̈ܳܗܰܝܗܽܘܢ ܛܥܺܝܢ ܒܰܫܝܽܘܠ
ܚܳܢܽܘܟ ܓܶܝܪ ܘܶܐܠܺܝܳܐ ܠܳܐ ܐܶܬܰܘ ܨܶܐܕܰܝ
ܒܟܽܠܳܗ̇ ܒܪܺܝܬܳܐ ܒܥܺܝܬ ܐܶܢܽܘܢ ܐܳܦ ܠܰܐܝܟܳܐ ܕܰܢܚܼܶܬ ܝܰܘܢܳܢ
ܢܶܚܬܶܬ ܡܳܫܶܬ ܘܠܰܝܬ ܐܶܢܽܘܢ ܘܕܰܐܣܒܰܪ ܕܰܠܦܰܪܕܰܝܣܳܐ
ܥܰܠܘ̱ ܘܶܐܬܦܰܠܰܛܘ̱ ܟܪܽܘܒܳܐ ܕܚܺܝܠܳܐ ܢܳܛܰܪ ܠܶܗ
ܣܶܒܶܠܬܳܐ ܚܙܳܐ ܗ̱ܘܳܐ ܝܰܥܩܽܘܒ
ܕܰܠܡܳܐ ܟܰܝ ܒܳܗ̇ ܐܶܬܥܰܠܺܝܘ ܠܰܫܡܰܝܳܐ
8.
ܡܰܢܽܘ ܕܰܐܟܺܝܠ ܚܰܠܳܐ ܕܝܰܡܳܐ
ܘܬܰܪ̈ܬܶܝܢ ܦܶܪ̈ܕܺܝܢ ܒܰܠܚܽܘܕ ܒܰܕܰܪ
ܗܳܢܳܐ ܚܶܨܕܳܐ ܕܰܐܪܡܰܝܢ ܒܶܗ ܟܽܠܝܽܘܡ
ܟܽܘܪ̈ܗܳܢܶܐ ܐܰܝܟ ܚܰܨ̈ܽܘܕܶܐ ܐܶܢܳܐ ܒܰܠܚܽܘܕ ܣܳܒܶܠ ܐ̱ܢܳܐ
ܟܦܰܝ̈ܗܽܘܢ ܘܰܡܩܰܒܶܪ ܐ̱ܢܳܐ ܡܩܰܪ̈ܒܳܢܶܐ ܟܰܕ ܡܶܬܪܰܗܒܺܝܢ
ܟ̈ܰܦܶܐ ܡܰܪܦܶܝܢ ܩܳܛܽܘ̈ܦܶܐ ܣܓܽܘ̈ܠܶܐ ܛܥܺܝܢ
ܬܰܪ̈ܬܶܝܢ ܛܽܘ̈ܛܝܳܢ ܦ̈ܳܠܛܳܢ ܡܶܢܝ̱
ܒܩܶܛܦܳܐ ܪܰܒܳܐ ܕܩܶܛܦܰܬ ܒܰܠܚܽܘܕܝ̱
9.
ܐܶܢܳܐ ܐ̱ܢܳܐ ܕܥܶܒܕܶܬ ܐܳܡܰܪ ܡܰܘܬܳܐ
ܒܝܰܡܳܐ ܘܝܰܒܫܳܐ ܟܽܠ ܢܰܚܫܺܝܪ̈ܺܝܢ
ܢܶܫܪ̈ܶܐ ܕܒܳܐܐܰܪ ܨܶܐܕܝ̱ ܐܶܬܝܳܢ
ܐܳܦ ܬܰܢܺܝ̈ܢܶܐ ܕܰܬܗܽܘܡܳܐ ܪܰܚܫܳܐ ܘܛܰܝܪܳܐ ܘܰܒܥܺܝܪܳܐ
ܣ̈ܳܒܶܐ ܥܠܰܝܡ̈ܶܐ ܘ̈ܰܛܠܳܝܶܐ ܗܳܠܶܝܢ ܟܽܠܗܽܘܢ ܢܦܺܝܣܽܘܢܳܟ
ܐܰܘ ܒܰܪ ܡܰܪܝܰܡ ܕܡܰܡܠܶܟ ܗܽܘ ܫܽܘܠܛܳܢܝ̱ ܥܰܠ ܟܽܠ
ܙܩܺܝܦܳܟ ܐܰܝܟܰܢ ܙܟܳܐ ܠܺܝ
ܕܗܳܐ ܒܩܰܝܣܳܐ ܢܶܨܚܶܬ ܘܰܙܟܺܝܬ ܡܶܢ ܠܽܘܩܕܰܡ
10.
ܨܳܒܶܐ ܗܘܺܝܬ ܕܶܝܢ ܕܺܐܡܰܪ ܘܰܐܣܓܶܐ
ܠܳܐ ܓܶܝܪ ܐܺܝܬܰܝ ܚܣܺܝܪ ܡ̈ܶܠܶܐ
ܐܳܦ ܠܳܐ ܡܶܬܒܥܶܝܢ ܡ̈ܶܠܶܐ ܗܳܐ ܓܶܝܪ
ܥܰܒ̈ܕܶܐ ܩܳܥܶܝܢ ܩܰܪ̈ܺܝܒܶܐ ܠܰܘ ܐܰܟܘܳܬܟܽܘܢ ܡܶܬܟܶܠ ܐ̱ܢܳܐ
ܠܰܦܫ̈ܺܝܛܶܐ ܥܰܠ ܟܰܣܝ̈ܳܬܳܐ ܕܰܗܘܳܐ ܗܽܘ ܠܰܡ ܢܽܘܚܳܡܳܐ
ܐܶܡܰܬܝ̱ ܐܶܡܰܬܝ̱ ܐܶܢ ܕܶܝܢ ܣܰܓܺܝ ܚܣܺܝܢ ܐܰܢ̱ܬ
ܗܰܒ ܪܰܗܒܽܘܢܳܐ ܩܰܪܺܝܒܳܐ
ܕܢܶܬܗܰܝܡܶܢ ܐܳܦ ܡܽܘܟܠܳܢܳܟ ܪܰܚܺܝܩܳܐ
11.
ܡܰܘܬܳܐ ܫܳܠܶܡ ܡܺܐܡܰܪ ܒܶܙܚܶܗ
ܘܩܳܠܶܗ ܕܡܳܪܰܢ ܪܳܥܶܡ ܒܳܗ̇ ܒܰܫܝܽܘܠ
ܘܰܩܥܼܳܐ ܘܰܨܪܺܝ ܐܶܢܽܘܢ ܩܰܒܪ̈ܶܐ ܚܰܕ ܚܰܕ
ܨܽܘܪ̈ܳܢܶܐ ܠܡܰܘܬܳܐ ܐܰܚܕܽܘܗ̱ܝ ܫܝܽܘܠ ܕܡܶܢ ܡܬܽܘܡ ܠܳܐ ܢܶܗܪܰܬ
ܐܰܒܪܶܩܘ̱ ܗ̱ܘܰܘ ܒܳܗ̇ ܙܰܠܺܝ̈ܩܶܐ ܡܶܢ ܥܺܝܪ̈ܶܐ ܕܥܰܠܘ̱ ܗ̱ܘܰܘ ܘܰܐܦܶܩܘ̱
ܡܺܝ̈ܬܶܐ ܠܽܐܘܪܥܶܗ ܕܗܰܘ ܡܺܝܬܳܐ ܕܰܠܟܽܠ ܐܰܚܺܝ
ܢܦܼܰܩܘ̱ ܡܺܝ̈ܬܶܐ ܘܰܒܗܶܬܘ̱ ܚ̈ܰܝܶܐ
ܗܳܢܽܘܢ ܕܰܣܒܰܪܘ̱ ܕܙܰܟܽܐܘܗ̱ܝ ܠܡܰܚܶܐ ܟܽܠ
12.
ܡܰܢ ܕܶܝܢ ܝܰܗ̱ܒ ܠܺܝ ܝܰܘܡܶܗ ܕܡܽܘܫܶܐ
ܐܶܡܰܪ ܡܰܘܬܳܐ ܥܺܐܕܳܐ ܥܒܼܰܕ ܠܺܝ
ܗܽܘܓܶܝܪ ܐܶܡܪܳܐ ܕܒܶܡܨܪܶܝܢ ܝܰܗ̱ܒ ܠܺܝ
ܡܶܢ ܟܽܠ ܒ̈ܳܬܶܝܢ ܪܫܺܝܬܳܐ ܟܪ̈ܰܘܳܢ ܟܪ̈ܰܘܳܢ ܡܶܢ ܒܽܘܟܪ̈ܶܐ
ܥܰܠ ܬܰܪܥܳܐ ܟܫܼܶܐ ܠܺܝ ܕܰܫܝܽܘܠ ܗܳܢܳܐ ܐܶܡܰܪ ܥܰܕܥܺܐܕܳܐ
ܒܰܙܳܗ̇ ܠܰܫܝܽܘܠ ܡܺܝ̈ܬܶܐ ܥܣܰܪ ܘܕܰܒܰܪ ܡܶܢܝ̱
ܗܰܘ ܐܶܡܪܳܐ ܩܰܒܪ̈ܶܐ ܡܶܠܳܐ ܠܺܝ
ܗܳܢܳܐ ܕܶܝܢ ܣܳܦܶܩ ܩܰܒܪ̈ܶܐ ܕܰܡܠܶܝܢ ܗ̱ܘܰܘ
13.
ܡܰܘܬܶܗ ܕܝܶܫܽܘܥ ܠܺܝ ܫܽܘܢܳܩܰܐ ܗ̱ܘ
ܓܒܺܝܬ ܠܺܝ ܚܰܝ̈ܰܘܗ̱ܝ ܛܳܒ ܡܶܢ ܡܰܘܬܶܗ
ܗܳܢܰܘ ܡܺܝܬܳܐ ܕܗܳܐ ܡܰܘܬܶܗ ܣܢܳܐ ܠܺܝ
ܒܡܰܘܬܳܐ ܕܟܽܠܢܳܫ ܚܳܕܶܐ ܐ̱ܢܳܐ ܒܡܰܘܬܶܗ ܕܺܝܠܶܗ ܩܳܨܶܦ ܐ̱ܢܳܐ
ܕܢܶܗܦܽܘܟ ܢܺܚܶܐ ܡܣܰܟܶܐ ܐ̱ܢܳܐ ܟܰܕ ܚܰܝ ܗ̱ܘܳܐ ܬܠܳܬܳܐ ܡܳܝ̈ܬܺܝܢ
ܐܰܚܺܝ ܘܢܰܚܶܡ ܗܳܫܳܐ ܕܶܝܢ ܒܝܰܕ ܡܰܘܬܶܗ
ܥܰܠ ܬܰܪܥܳܐ ܕܰܫܝܽܘܠ ܕܫܽܘܢܳܝ ܡܺܝ̈ܬܶܐ ܕܚܰܝܰܘ
ܕܶܐܙܶܠ̱ܬ ܗܘܺܝܬ ܕܶܐܟܠܶܐ ܐܶܢܽܘܢ
14.
ܐܶܪܗܶܛ ܐܶܚܽܘܕ ܬܰܪ̈ܥܶܝܗ̇ ܕܰܫܝܽܘܠ
ܩܕܳܡ ܗܰܘ ܡܺܝܬܳܐ ܕܒܰܙܢܝ ܡܰܘܬܶܗ
ܐܰܝܢܳܐ ܕܫܳܡܰܥ ܢܶܬܕܰܡܰܪ ܥܰܠ ܫܰܦܶܠܝ̱
ܕܡܶܢ ܡܺܝܬܳܐ ܕܰܠܒܰܪ ܚܳܒܶܬ ܟܽܠ ܡܳܝ̈ܬܺܝܢ ܠܡܶܦܰܩ ܒܳܥܶܝܢ
ܗܳܢܳܐ ܕܶܝܢ ܠܡܶܥܰܠ ܚܳܒܶܨ ܣܳܡ ܚ̈ܰܝܶܐ ܥܰܠ ܠܳܗ̇ ܠܰܫܝܽܘܠ
ܘܰܐܚܺܝ ܡܺܝ̈ܬܶܝܗ̇ ܡܰܢ ܐܰܥܶܠ ܘܰܛܡܼܰܪ ܠܺܝ ܟܰܝ
ܢܽܘܪܳܐ ܚܰܝܬܳܐ ܕܰܫܪܰܘ ܒܳܗ̇
ܥܽܘ̈ܒܶܐ ܕܰܫܝܽܘܠ ܩܰܪ̈ܺܝܪܶܐ ܘܚ̈ܶܫܽܘܟܶܐ
15.
ܡܰܘܬܳܐ ܚܼܙܳܐ ܗ̱ܘܳܐ ܥܺܝܪ̈ܶܐ ܒܰܫܝܽܘܠ
ܠܳܐ ܡܳܝ̈ܽܘܬܳܐ ܚܠܳܦ ܡܳܝ̈ܽܘܬܳܐ
ܘܶܐܡܼܰܪ ܕܕܽܘܳܘܕܳܐ ܠܥܽܘܡܪܰܢ ܥܰܠ ܠܶܗ
ܒܬܰܪ̈ܬܰܝܗܶܝܢ ܓܶܝܪ ܫܽܘܢܳܩܰܐ ܗ̱ܘ ܕܡܺܝ̈ܬܶܐ ܢܦܰܩܘ̱ ܡܶܢܳܗ̇ ܕܰܫܝܽܘܠ
ܥܺܝܪ̈ܶܐ ܕܠܳܐ ܡܳܝܬܺܝܢ ܥܰܠܘ̱ ܠܳܗ̇ ܗܳܐ ܚܰܕ ܠܶܐܣ̈ܕܰܝ ܩܰܒܪܶܗ
ܥܰܠ ܝܺܬܶܒ ܠܶܗ ܘܚܰܒܪܶܗ ܐ̱ܚܪܺܢܳܐ ܠܪ̈ܶܓܠܰܘܗ̱ܝ
ܐܶܒܥܶܐ ܡܶܢܶܗ ܘܰܐܦܺܝܣܶܗ
ܕܒܶܗܡܺܝܪܶܗ ܢܰܣܶܩ ܢܺܐܙܰܠ ܠܡܰܠܟܽܘܬܶܗ
16.
ܠܳܐ ܬܶܩܰܨ ܠܺܝ ܝܶܫܽܘܥ ܛܳܒܳܐ
ܡ̈ܶܠܶܐ ܕܡܰܠܶܠ ܫܽܘܒܗܳܪܝ ܩܽܘܕܡܰܝܟ
ܡܰܢܽܘ ܕܟܰܕ ܚܙܳܐ ܙܩܺܝܦܳܟ ܠܳܐ ܟܰܝ
ܢܶܬܦܰܠܰܓ ܗ̱ܘܳܐ ܕܒܰܪܢܳܫܳܐ ܐܰܢ̱ܬ ܡܰܢܽܘ ܕܢܶܚܙܶܐ ܗ̱ܘܳܐ ܚܰܝܠܳܟ
ܘܠܳܐ ܢܗܰܝܡܶܢ ܕܳܐܦ ܐܰܠܳܗܳܐ ܐܰܢ̱ܬ ܗܳܐ ܗܳܟܺܝܠ ܒܬܰܪ̈ܬܰܝܗܶܝܢ
ܕܰܐܘܕܶܐ ܝܶܠܦܰܬ ܕܒܰܪܢܳܫܳܐ ܐܰܢ̱ܬ ܐܳܦ ܐܰܠܳܗܳܐ ܐܰܢ̱ܬ
ܕܠܳܐ ܬܳܝܒܺܝܢ ܡܺܝ̈ܬܶܐ ܒܰܫܝܽܘܠ
ܒܶܝܬ ܚܰܝ̈ܶܐ ܣܰܩ ܡܳܪܝ̱ ܐܰܣܶܩ ܬܝܳܒܽܘܬܳܐ
17.
ܝܶܫܽܘܥ ܡܰܠܟܳܐ ܩܰܒܶܠ ܒܳܥܽܘܬܝ̱
ܘܥܰܡܳܗ̇ ܕܒܳܥܽܘܬܝ̱ ܗܡܺܝܪܳܐ ܣܰܒ ܠܳܟ
ܠܳܐܕܳܡ ܗܡܺܝܪܳܐ ܪܰܒܳܐ ܕܒܼܰܪ ܠܳܟ
ܕܒܶܗ ܗܽܘ ܛܡܺܝܪ̈ܺܝܢ ܟܽܠ ܡ̈ܺܝܬܺܝܢ ܐܰܝܟܰܢܳܐ ܕܟܰܕ ܩܰܒܶܠܬܶܗ
ܒܶܗ ܟܣܶܝܢ ܗ̱ܘܰܘ ܟܽܠܗܽܘܢ ܚ̈ܰܝܶܐ ܗܡܺܝܪܳܐ ܩܰܕܡܳܐ ܝܶܗܒܰܬ ܠܳܟ
ܦܰܓܪܶܗ ܕܳܐܕܳܡ ܣܰܩ ܡܶܟܺܝܠ ܐܰܡܠܶܟ ܥܰܠ ܟܽܠ
ܘܶܐܡܰܬܝ̱ ܕܶܐܫܡܰܥ ܫܺܝܦܽܘܪܳܟ
ܐܶܢܳܐ ܒܺܐܝ̈ܕܰܝ ܐܰܦܶܩ ܡܺܝ̈ܬܶܐ ܒܡܶܐܬܺܝܬܳܟ
18.
ܡܰܠܟܰܢ ܚܰܝܳܐ ܙܳܚܼ ܘܶܐܬܥܰܠܺܝ
ܡܶܢܳܗ̇ ܕܰܫܝܽܘܠ ܐܰܝܟ ܙܰܟܳܝܳܐ
ܘܳܝܳܐ ܠܓܰܒܳܐ ܕܣܶܡܳܠܳܐ ܥܳܦ ܗ̱ܘܳܐ
ܠܪ̈ܽܘܚܶܐ ܘܕܰܝ̈ܘܶܐ ܕܽܘܘܳܢܳܐ ܠܣܳܛܳܢܳܐ ܘܡܰܘܬܳܐ ܚܰܫܳܐ
ܠܰܚܛܺܝܬܳܐ ܘܰܫܝܽܘܠ ܐܶܒܠܳܐ ܚܰܕܽܘܬܳܐ ܠܓܰܒܳܐ ܕܝܰܡܺܝܢܳܐ
ܝܰܘܡܳܢܳܐ ܗܘܳܬ ܒܗܳܢܳܐ ܝܰܘܡܳܐ ܕܪܰܒ ܗܳܟܺܝܠ
ܫܽܘܒܚܳܐ ܪܰܒܳܐ ܢܶܬܶܠ ܠܶܗ
ܠܰܕܡܺܝܬ ܘܚܰܝܳܐ ܕܰܠܟܽܠ ܢܰܚܶܐ ܘܢܢܰܚܶܡ
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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