Ephrem the Syrian
The Death-Drama hymns (CN 35–42) turn from Nisibis the fallen city to Sheol the fallen kingdom. In Hymn 36, Death boasted, challenged, and finally confessed. In Hymn 37, Death and Sheol spoke in alternating voices. Hymn 38 sustains and deepens the dramatic monologue: Death complains that it alone receives no consolation, that its impartiality goes unrecognized, that it has always served God faithfully as treasury-keeper of the dead — and was deceived by Christ's flesh into taking him, acting on divine command all along.
The hymn pivots midway into theological meditation on the paradox of firstness and lastness: Ephraim over Manasseh; John the Baptist who is older yet announces the one before him; Adam whose cause pre-existed creation; Elijah who ascended for the sake of the one he preceded. The argument moves toward an astonishing close: Death prays to Christ for resurrection — not compelled resurrection, but resurrection from love — and reminds him that through Sheol he was fashioned.
1.
My throne in Sheol was prepared —
one dead man arose
and overturned me from it.
Every person feared me alone;
I feared no one.
Dread and anxiety among the living;
peace and quiet among the dead —
through a slain man,
behold, captivity has entered Sheol.
I was the captor of all people;
the son of the captive I captured has captured me —
what I had taken captive, he led away and went to Paradise.
Refrain (ʿŌnitā): Blessed is he who revived the dead of Sheol through his cross.
2.
From me, every person
received much —
but I from one alone
received only one blow.
Who among the children of humanity is wronged as I am?
And the time for my vindication has come.
I love every person;
whoever hates me, he knows it.
Never in all my days have I known
bribery — who have I not received from, on behalf of kings?
In me equality is proclaimed:
I make slave and master equal in Sheol.
3.
Before God himself
I minister —
with whom there is
no partiality.
Who else could endure as I do —
mocked from every side and cursed?
The good deeds I perform,
when my works are fair —
my name is not good; yet my mind rests at ease in its truth.
In God I am comforted:
even the Good One is oppressed daily and endures.
4.
For the old I have saved them
from all their pains;
for the young as well,
from all their sins.
Hidden wars I silence in Sheol;
injustice does not exist in our land.
Only Sheol and heaven alone
are free from all wrongdoing.
This earth in the middle —
injustice dwells in it.
So let whoever is discerning
either ascend to heaven,
or if that is too steep, descend to the easy Sheol.
5.
When one person dies,
all rush
to console
the living.
But I, for whom many dead have lived again —
there is no one who comes in to comfort me.
Upon Satan who raged —
seven woes upon him, and upon him too!
Even though the Son of Mary has trodden him,
his spirit is high: the crushed serpent who writhes.
It is better for me to fall and worship
before Jesus, who conquered me through his cross.
6.
When he entered
at the gate of Sheol,
in place of John
I proclaimed before him
and cried: "Behold, the one who revives the dead has come!"
I am your servant now, Jesus —
because of your body I was deceived,
which concealed your divinity.
Do not be angry, O Son of the King,
at your treasury-keeper:
by your command I opened and held fast.
Even though my wings are swift,
at your sign I run in all directions.
7.
All who were raised
were not firstborns —
for our Lord
is the firstborn of Sheol.
How could any dead man precede him
in the very power by which he was raised?
There are lasts who are firsts
and small ones who became firstborns.
For Manasseh who was the firstborn —
how was it that Ephraim took his birthright?
And if the last-born preceded the firstborn,
how much more shall the Lord and Son precede in his resurrection?
8.
Behold, John —
as a herald —
argues he is the last,
though he himself is older.
For he said: "Behold, a man has come after me,
and he has become before me" —
but how did he precede him?
In the very power about which he proclaimed:
for everything that came to be for the sake of something
is last, even though it is first —
for the cause that called it into being
is older and first in all things.
9.
The cause of Adam
was older
than the creatures
prepared for him.
For in Adam the Creator was looking every hour
while he was creating —
and if Adam, before he existed,
was older than the creatures,
how much older then, O Lord,
must your humanity be within your divinity,
which was from eternity with your Begetter!
To you be glory, and through you to your Father, from all of us.
10.
To you be praise —
you who preceded me
in your divinity
and in your humanity.
Even if Elijah went up and ascended before —
he cannot precede the One
for whose sake he was taken up,
whose mystery depends upon your truth.
And even though before him manifestly,
the mysteries of your truth were hidden before him —
the creatures came before Adam,
yet he is prior to them, since for his sake they were prepared.
11.
Lord, grant me
that resurrection —
not of your compulsion,
but of your love.
Your compulsion revives even sinners.
Even Judas Iscariot wished
that he might choose the death of Sheol
rather than the life of Gehenna.
Grant me then a resurrection —
that of your mercy; and may your justice not deny it,
for there is cause for your goodness.
Only remember this one thing:
that through Sheol you were fashioned.
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. Hymn 38 continues the Death-Drama series (CN 35–42). The dramatic voice throughout stanzas 1–6 is Death personified; stanzas 7–10 shift to Ephrem's theological meditation on the paradox of firstness and lastness; stanza 11 returns to Death's direct address as prayer. The melody indicator (ܕ ܒܰܪ ܩܳܠܶܗ) is a variant of the CN 36/37 melody formula. The refrain (ܒܪܺܝܟ ܕܰܐܚܺܝ ܡܺܝ̈ܬܶܐ ܕܰܫܝܽܘܠ ܒܰܨܠܺܝܒܶܗ — "Blessed is he who revived the dead of Sheol through his cross") uses ܨܠܺܝܒܶܗ (his cross) rather than CN 36's ܬܶܫܒܽܘܚܬܶܗ (his glory). The ܀܀܀ marker in the Syriac source within stanzas 5 and 8 indicates a structural break in the line sequence, typical of Ephrem's longer strophes. In stanza 6, Death casts itself as Jesus's treasury-keeper (ܓܺܙܰܒܪܳܐ): it held the dead in trust by divine command and was deceived only by Christ's concealed divinity. In stanza 11, ܛܶܦܣܶܬ (you were fashioned/formed) is the hymn's most daring claim — that Sheol was constitutive of Christ's redemptive work, the mold through which his resurrection body was shaped. 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 XXXVIII
ܥܰܠ ܩܳܠܳܐ (melody indicator): ܕ ܒܰܪ ܩܳܠܶܗ
1.
ܡܰܬܩܰܢ ܗ̱ܘܳܐ ܠܺܝ
ܟܽܘܪܣܳܝ ܒܰܫܝܽܘܠ
ܘܩܳܡ ܚܰܕ ܡܺܝܬܳܐ
ܣܰܚܦܰܢܝ̱ ܡܶܢܶܗ
ܟܽܠܢܳܫ ܡܶܢܝ̱ ܗܽܘ ܕܚܶܠ ܗ̱ܘܳܐ ܒܰܠܚܽܘܕ
ܘܶܐܢܳܐ ܡܶܢ ܐ̱ܢܳܫ ܠܳܐ ܕܶܚܠܶܬ ܩܶܢܛܳܐ ܘܨܶܦܬܳܐ ܒܶܝܬ ܚܰܝ̈ܶܐ
ܫܠܳܡܳܐ ܘܫܰܝܢܳܐ ܒܶܝܬ ܡܺܝ̈ܬܶܐ
ܒܓܰܒܪܳܐ ܩܛܺܝܠܳܐ
ܗܳܐ ܥܰܠ ܠܳܗ̇ ܫܶܒܝܳܐ ܠܰܫܝܽܘܠ
ܐܶܢܳܐ ܠܟܽܠܢܳܫ ܫܳܒܶܐ ܗܘܺܝܬ
ܒܰܪ ܫܰܒܝܳܐ ܕܰܫܒܺܝܬ ܫܒܳܢܝ̱
ܕܰܫܒܺܝܬܶܗ ܕܰܒܪܳܗ̇ ܘܶܐܙܰܠ ܠܦܰܪܕܰܝܣܳܐ
ܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܰܐܚܺܝ ܡܺܝ̈ܬܶܐ ܕܰܫܝܽܘܠ ܒܰܨܠܺܝܒܶܗ
2.
ܟܽܠܢܳܫ ܡܶܢܝ̱ ܗܽܘ
ܩܰܒܶܠ ܣܰܓܺܝ
ܘܶܐܢܳܐ ܡܶܢ ܚܰܕ
ܩܰܒܠܶܬ ܒܰܠܚܽܘܕ
ܡܼܰܢܽܘ ܒܰܒ̈ܢܰܝ ܐ̱ܢܳܫܳܐ ܕܰܟܐܶܝܢ ܐܰܟܘܳܬܝ̱
ܘܰܡܛܳܗ̇ ܙܰܒܢܳܐ ܠܰܬܪܺܝܨܽܘܬܝ̱
ܐܶܢܳܐ ܠܟܽܠܢܳܫ ܪܳܚܶܡ ܐ̱ܢܳܐ
ܘܰܕܣܳܢܶܐ ܠܺܝ ܗܼܽܘ ܝܳܕܰܥ
ܠܳܐ ܝܳܕܰܥ ܐ̱ܢܳܐ ܡܶܢ ܝܰܘܡ̈ܰܝ
ܫܽܘܚܕܳܐ ܡܰܢܽܘ ܒܰܐܦ̈ܰܝ ܡܰܠܟ̈ܶܐ ܠܳܐ ܢܶܣ̇ܒܶܬ
ܒܺܝ ܡܶܬܟܰܪܙܳܐ ܫܰܘܝܽܘܬܳܐ
ܕܰܠܥܰܒܼܕܳܐ ܘܡܳܪܶܗ ܒܰܫܝܽܘܠ ܡܫܰܘܶܐ ܐ̱ܢܳܐ
܀܀܀
3.
ܩܕܳܡ ܐܰܠܳܗܰܐ ܗ̱ܘ
ܡܫܰܡܶܫ ܐ̱ܢܳܐ
ܕܠܰܝܬ ܠܘܳܬܶܗ
ܡܰܣܰܒ ܒܰܐܦ̈ܶܐ
ܡܰܢܽܘ ܐ̱ܚܪܺܢܳܐ ܕܰܢܣܰܝܒܰܪ ܐܰܟܘܳܬܝ̱
ܕܰܡܨܶܛܚܳܐ ܐ̱ܢܳܐ ܘܰܡܛܰܐܶܒ ܐ̱ܢܳܐ ܗܳܦܟܳܐܺܝܬ ܡܶܬܦܢܶܝܢ ܠܺܝ
ܚܽܘܒ̈ܳܠܶܐ ܛܳܒ̈ܶܐ ܕܪܳܡܶܐ ܐ̱ܢܳܐ
ܟܰܕ ܣܽܘܥܪ̈ܳܢܰܝ ܫܰܦܺܝܪ̈ܺܝܢ
ܫܶܡܝ̱ ܠܳܐ ܫܰܦܺܝܪ ܡܢܳܚ ܗܽܘ ܪܶܥܝܳܢܝ̱ ܒܰܫܪܳܪܶܗ
ܒܰܐܠܳܗܰܐ ܗ̱ܘ ܡܶܬܒܰܝܰܐ ܐ̱ܢܳܐ
ܕܟܰܕ ܛܳܒܰܐ ܗ̱ܘ ܛܠܺܝܡ ܗ̱ܽܘ ܟܽܠܝܽܘܡ ܘܰܡܣܰܝܒܰܪ
4.
ܠܣ̈ܳܒܶܐ ܚ̇ܶܣܟܰܬ
ܡܶܢ ܟܽܠ ܟܺܐܒܰܝ̈ܢ
ܐܳܦ ܠܰܛܠܳܝ̈ܶܐ
ܡܶܢ ܟܽܠ ܚܰܘܒܰܝ̈ܢ
ܩܪ̈ܳܒܶܐ ܟܣܰܝ̈ܳܐ ܡܰܫܠܶܐ ܐ̱ܢܳܐ ܒܰܫܝܽܘܠ
ܒܰܐܬܪܰܢ ܥܰܘܠܳܐ ܠܳܐ ܗܳܘܶܐ
ܫܝܽܘܠ ܗ̱ܽܘ ܘܰܫܡܰܝܳܐ ܒܰܠܚܽܘܕ
ܕܰܚܣܺܝ̈ܟܳܢ ܡܶܢ ܟܽܠ ܚܰܘ̈ܒܺܝܢ
ܗܳܕܶܐ ܐܰܪܥܳܐ ܕܒܰܡܨܰܥܬܳܐ
ܥܰܘܠܳܐ ܫܪܶܐ ܒܳܗ̇ ܒܰܕܓܽܘܢ ܐܰܝܢܳܐ ܕܦܳܪܽܘܫܰܐ ܗ̱ܘ
ܐܰܘ ܠܰܫܡܰܝܳܐ ܢܰܣܶܩ ܠܶܗ
ܘܶܐܢ ܥܶܛܠܳܐ ܗ̱ܝ ܢܶܚܽܘܬ ܠܰܫܝܽܘܠ ܕܰܦܫܺܝܩܳܐ
5.
ܠܚܰܕ ܒܰܪܢܳܫܳܐ
ܥܰܠ ܚܰܕ ܡܺܝܬܶܐ
ܟܽܠܢܳܫ ܪܳܗܶܛ
ܠܰܡܒܰܝܰܐܘ
ܐܶܢܳܐ ܕܶܝܢ ܕܡܺܝ̈ܬܶܐ ܣܰܓܺܝ̈ܐܶܐ ܚܼܰܝܰܘ ܠܺܝ
ܠܰܝܬ ܕܥܳܐܶܠ ܘܰܡܒܰܝܰܐ ܠܺܝ
ܥܰܠ ܣܳܛܳܢܳܐ ܕܶܐܬܪܰܥܰܡ
ܫܰܒܥܳܐ ܠܶܗ ܘܳܝ̈ܳܝܢ ܐܳܦ ܠܶܗ
ܟܰܕ ܛܳܒ ܕܳܫܶܗ ܒܰܪ ܡܰܪܝܰܡ
ܪܳܡܳܐ ܗ̱ܝ ܪܽܘܚܶܗ ܚܶܘܝܰܐ ܗ̱ܘ ܕܰܡܥܳܙܳܐ ܘܰܪܨܺܝܨ
܀܀܀
ܦܰܩܳܚ ܠܺܝ ܕܶܐܦܶܠ ܘܶܐܣܓܽܘܕ
ܩܕܳܡ ܝܶܫܽܘܥ ܗܳܢܳܐ ܕܙܰܟܳܢܝ̱ ܒܰܨܠܺܝܒܶܗ
6.
ܡܳܐ ܕܥܳܐܶܠ ܒܶܗ
ܒܬܰܪܥܳܐ ܕܰܫܝܽܘܠ
ܚܠܳܦ ܝܽܘܚܰܢܳܢ
ܐܰܟܪܶܙ ܩܽܘܕܡܰܘܗ̱ܝ
ܘܶܐܩܥܳܐ ܕܗܳܐ ܡܰܚܶܐ ܡܺܝ̈ܬܶܐ ܡܰܛܺܝ
ܥܼܰܒܕܳܟ ܐ̱ܢܳܐ ܡܶܟܺܝܠ ܝܶܫܽܘܥ ܡܶܛܽܠ ܦܰܓܪܳܟ ܫܟܰܪܬܳܟ
ܕܚܰܦܺܝܬܳܗ̇ ܠܰܐܠܳܗܽܘܬܳܟ
ܠܳܐ ܬܶܪܓܰܙ ܐܰܘ ܒܰܪ ܡܰܠܟܳܐ
ܥܰܠ ܓܺܙܰܒܪܳܟ ܒܦܽܘܩܕܳܢܳܟ ܦܶܬܚܶܬ ܘܶܐܚܕܶܬ
ܟܰܕ ܛܳܒ ܓܶܦ̈ܰܝ ܩܰܠܺܝܠܺܝܢ
ܒܝܰܕ ܪܶܡܙܳܟ ܗܰܘ ܪܳܗܶܛ ܐ̱ܢܳܐ ܠܟܽܠ ܓܰܒܺܝ̈ܢ
7.
ܟܽܠ ܕܶܐܬܢܰܚܰܡܘ̱
ܠܳܐ ܗ̱ܘܰܘ ܒܽܘܟܪ̈ܶܐ
ܕܡܳܪܰܢ ܐܺܝܬܰܘܗ̱ܝ
ܒܽܘܟܪܳܐ ܕܰܫܝܽܘܠ
ܐܰܝܟܰܢ ܡܶܫܟܰܚ ܡܺܝܬܶܐ ܩܕܳܡ ܠܶܗ
ܠܗܰܘ ܚܰܝܠܳܐ ܕܒܶܗ ܐܶܬܢܰܚܰܡ
ܐܺܝܬ ܐ̱ܚܪ̈ܳܝܶܐ ܕܰܩܕܳܡܺܝܝܢ
ܘܰܙܥܽܘܪ̈ܶܐ ܕܰܗܘܰܘ ܒܽܘܟܪ̈ܶܐ
ܡܢܳܫܳܐ ܓܶܝܪ ܕܒܽܘܟܪܳܐ ܗ̱ܘܳܐ
ܐܰܝܟܰܢ ܐܶܫܟܰܚ ܕܰܐܦܪܶܝܡ ܢܣܰܒ ܒܽܘܟܪܽܘܬܶܗ
ܘܶܐܢ ܝܰܠܕܳܐ ܐ̱ܚܪܳܝܳܐ ܩܕܳܡܶܗ
ܟܡܳܐ ܢܶܩܕܽܘܡ ܡܳܪܳܐ ܘܰܒܪܳܐ ܒܢܽܘܚܳܡܶܗ
8.
ܗܳܐ ܝܽܘܚܰܢܳܢ
ܐܰܝܟ ܟܳܪܽܘܙܳܐ
ܡܦܺܝܣ ܕܰܐܚܪܳܝܰܐ ܗ̱ܘ
ܟܰܕ ܗܽܘ ܩܰܫܺܝܫ
ܐܶܡܰܪ ܓܶܝܪ ܕܗܳܐ ܓܰܒܪܳܐ ܐܶܬܳܐ ܒܳܬܰܪܝ̱
ܘܰܗܘܳܐ ܠܶܗ ܠܰܡ ܩܕܳܡܰܝ
ܐܰܝܟܰܢ ܓܶܝܪ ܩܰܕܶܡ ܗ̱ܘܳܐ ܠܶܗ
܀܀܀
ܠܗܰܘ ܚܰܝܠܳܐ ܕܒܶܗ ܡܰܟܪܶܙ ܗ̱ܘܳܐ
ܟܽܠ ܡܶܕܶܡ ܓܶܝܪ ܕܰܗܘܳܐ ܡܶܛܽܠ ܡܶܕܶܡ
ܐ̱ܚܪܳܝܰܐ ܗ̱ܘ ܐܳܦܶܢ ܩܰܕܡܳܝܰܐ ܗ̱ܘ
ܥܶܠܬܳܐ ܓܶܝܪ ܗܳܝ ܕܩܰܪܬܶܗ
ܩܰܫܺܝܫܳܐ ܗ̱ܝ ܐܳܦ ܩܰܕܡܳܝܳܐ ܒܟܽܠ ܡܶܕܶܡ
9.
ܥܶܠܬܶܗ ܕܳܐܕܳܡ
ܩܰܫܺܝܫܳܐ ܗܘܳܬ
ܡܶܢ ܒܶܪ̈ܝܳܬܳܐ
ܕܠܶܗ ܐܰܬܬܩܶܢ
ܒܶܗ ܓܶܝܪ ܒܳܐܕܳܡ ܚܳܐܰܪ ܗ̱ܘܳܐ ܟܽܠܫܳܥ
ܒܳܪܽܘܝܳܐ ܟܰܕ ܗܳܐ ܒܪܳܐ
ܘܶܐܢ ܐܳܕܳܡ ܥܰܕ ܠܳܐ ܢܶܗܘܶܐ
ܩܰܫܺܝܫ ܗܽܘ ܡܶܢ ܒܶܪ̈ܝܳܬܳܐ
ܟܡܳܐ ܗܳܟܺܝܠ ܡܳܪܝ̱ ܬܶܬܩܰܫܰܫ
ܗܳܝ ܐ̱ܢܳܫܽܘܬܳܟ ܒܰܐܠܳܗܽܘܬܳܟ
ܗܳܝ ܕܺܐܝܬܶܝܗ̇ ܡܶܢ ܥܳܠܰܡ ܥܰܡ ܝܰܠܽܘܕܳܟ
ܠܳܟ ܫܽܘܒܚܳܐ ܘܒܺܐܝܕܳܟ ܠܰܐܒܽܘܟ ܡܶܢ ܟܽܠܰܢ
10.
ܠܳܟ ܬܶܫܒܽܘܚܬܳܐ
ܕܰܐܢ̱ܬ ܗܽܘ ܩܕܳܡܰܝ
ܒܰܐܠܳܗܽܘܬܳܟ
ܘܰܒܐ̱ܢܳܫܽܘܬܳܟ
ܐܳܦܶܢ ܓܶܝܪ ܩܰܕܶܡ ܐܶܠܺܝܳܐ ܘܰܣܠܶܩ
ܠܳܐ ܡܨܶܐ ܩܕܳܡ ܠܶܗ ܠܰܐܝܢܳܐ
ܕܡܶܛܽܠܳܬܶܗ ܐܶܣܬܰܠܰܩ
ܕܰܬܠܶܐ ܗܽܘ ܪܳܙܶܗ ܒܰܫܪܳܪܳܟ
ܘܳܐܦܶܢ ܩܕܳܡܰܘܗ̱ܝ ܓܰܠܝܳܐܺܝܬ
ܐ̱ܪ̈ܳܙܶܐ ܠܩܽܘܫܬܳܟ ܩܕܳܡܰܝ ܗܽܘ ܠܗܽܘܢ ܟܰܣܝܳܐܺܝܬ
ܩܰܕܡܳܝܗ̱ܝ ܒܶܪ̈ܝܳܬܳܐ ܠܳܐܕܳܡ
ܩܕܺܝܡ ܗܽܘ ܠܗܶܝܢ ܕܡܶܛܽܠܳܬܶܗ ܐܰܬܬܩܶܢ
11.
ܡܳܪܝ̱ ܥܒܰܕ ܠܺܝ
ܗܰܘ ܢܽܘܚܳܡܳܐ
܀܀܀
ܠܳܐ ܕܰܩܛܺܝܪܳܟ
ܐܶܠܳܐ ܕܚܽܘܒܳܟ
ܩܛܺܝܪܳܟ ܐܳܦ ܠܚ̈ܰܛܳܝܶܐ ܡܰܚܶܐ
ܪܳܥܶܐ ܗ̱ܘܳܐ ܬܽܘܒ ܐܶܣܟܰܪܝܽܘܛܳܐ ܕܢܶܓܒܶܐ ܠܶܗ ܡܰܘܬܳܐ ܕܰܫܝܽܘܠ
ܛܳܒ ܡܶܢ ܚ̈ܰܝܶܐ ܕܓܺܗܰܢܳܐ
ܥܒܼܶܕ ܠܺܝ ܗܳܟܺܝܠ ܢܽܘܚܳܡܳܐ
ܗܰܘ ܕܰܚܢܳܢܳܟ ܘܶܐܠܳܐ ܫܳܒܩܳܐ ܟܺܐܢܽܘܬܳܟ
ܐܺܝܬ ܠܳܗ̇ ܥܶܠܬܳܐ ܠܛܰܝܒܽܘܬܳܟ
ܗܳܕܶܐ ܒܰܠܚܽܘܕ ܬܥܰܗܶܕ ܠܺܝ ܕܒܳܗ̇ ܛܶܦܣܶܬ
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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