{"slug":"dsc-241","id":"syriac:dsc:dsc-241","title":"Literal Commentary on the Song of Songs","author":"Dionysius bar Salibi","genre":"commentary","date":"Mid-12th century","tradition":"syriac","coverage":"not-located","coverage_claim":{"status":"not-located","text":"No English translation was located by an automated check of the source corpus and one library catalogue. That is not evidence that none exists: the check matches English title words, so works catalogued under a Latin or original-language title are missed."},"publication":{"status":"machine-draft","reviewed_by":null,"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","generated":"2026-11-15T01:08:07Z","cost_usd":0.004581},"source":{"registry_id":"syriac:dsc:dsc-241","work_id":"dsc-241","edition":"syriac","language":"","license":"CC BY 4.0","url":"https://syriaccorpus.org/241"},"stats":{"passages":6,"english_words":2015,"coptic_letters":0,"commentary_units":36,"commentary_kinds":7,"derived_notes":0,"ambiguities":11,"work_notes":4,"external_links":3,"timeline":4},"summary":{"work":"dsc-241","abstract":"Dionysius bar Salibi's Literal Commentary on the Song of Songs is a mid-12th-century West Syriac exegetical work that adopts a literal hermeneutical stance, distinguishing it from allegorical or spiritual interpretations. Bar Salibi polemicizes against Nestorian interpreters who read the Song as a literal love poem about Solomon and Pharaoh's daughter, rejecting their historical reading. He identifies the bride as the soul (Syriac: ܢܦܼܫܐ) and equates Solomon with the Messiah, a standard allegorical move in Syriac tradition. The commentary survives in a single 16th-century manuscript (DSC 241) with scribal corrections and marginalia, indicating active monastic use. It was not widely cited in later Syriac tradition but is preserved alongside other exegetical works.","historical_context":"Dionysius bar Salibi (d. 1171) served as West Syriac metropolitan of Amid and Maipherqat in the mid-12th century, a period of Syriac Orthodox revival under the Crusader states and Zengid rule. His commentary likely dates to this period, though no explicit date is given in the manuscript. The work reflects the Syriac exegetical tradition, engaging with earlier Greek and Syriac commentaries, such as those by Origen and Ephrem. Bar Salibi's literal approach contrasts with the dominant allegorical tradition, yet he still employs typological identification of Solomon with Christ and the bride with the soul. The sole surviving manuscript, DSC 241, was copied in the 16th century, possibly in a West Syriac monastic scriptorium. Its marginalia and corrections suggest active use in a scholarly or liturgical context. The commentary's limited transmission may reflect its niche literal stance or the broader decline of Syriac scholarship under Ottoman rule.","significance":"Bar Salibi's Literal Commentary is significant for its rare literal reading of the Song of Songs within the Syriac tradition, offering a counterpoint to the dominant allegorical interpretations. It preserves a polemical engagement with Nestorian exegesis and reflects the diversity of medieval Syriac hermeneutics. The work also contributes to the study of Syriac manuscript transmission and monastic scholarly practices.","timeline":[{"date":"Mid-12th century","event":"Dionysius bar Salibi composes the Literal Commentary on the Song of Songs, likely during his tenure as metropolitan of Amid and Maipherqat."},{"date":"1171","event":"Death of Dionysius bar Salibi."},{"date":"16th century","event":"The sole surviving manuscript (DSC 241) is copied, with scribal corrections and marginalia indicating active use."},{"date":"20th–21st centuries","event":"Modern scholarship identifies and studies the commentary, noting its unique literal stance and polemical content."}],"relations":[{"work":"Origen's Scholia on the Song of Songs","relation":"Influenced by earlier Greek allegorical exegesis, though Bar Salibi adopts a literal approach.","key":"dossier:greek-origen-scholia-in-canticum","label":"gap dossier: Scholia on the Song of Songs","url":"https://naxiai.com/christian/gaps/greek-origen-scholia-in-canticum"},{"work":"Ephrem the Syrian's Commentary on the Song of Songs","relation":"Part of the Syriac exegetical tradition that Bar Salibi engages with.","key":"","label":null,"url":null},{"work":"Nestorian commentaries on the Song of Songs","relation":"Polemically targeted by Bar Salibi for their literal historical reading.","key":"","label":null,"url":null},{"work":"Procopius of Gaza's Commentary on the Song of Songs","relation":"Another Greek literal commentary, though Bar Salibi's work is independent.","key":"dossier:greek-procopius-canticum","label":"gap dossier: Epitome of the Commentary on the Song of Songs","url":"https://naxiai.com/christian/gaps/greek-procopius-canticum"}],"external_links":[{"key":"ed:dsc-241","label":"DSC 241 manuscript","url":"https://syriaccorpus.org/241","reason":"The sole surviving manuscript of the commentary."},{"key":"wikipedia:Dionysius bar Salibi","label":"Dionysius bar Salibi","url":"https://en.wikipedia.org/wiki/Dionysius_bar_Salibi","reason":"Biographical context for the author."},{"key":"wikipedia:Song of Songs","label":"Song of Songs","url":"https://en.wikipedia.org/wiki/Song_of_Songs","reason":"Biblical book being commented upon."}],"cautions":["The commentary's date is not explicitly given; it is inferred from the author's floruit (mid-12th century).","The work survives in a single 16th-century manuscript; no collation against other witnesses is possible, so textual variants or lost portions cannot be assessed.","The precise function of the term 'ܩܦܠܐܘܢ' (conclusion) in the commentary structure is ambiguous."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.000484,"generated":"2026-11-15T01:08:07Z"},"checks":{"work":"dsc-241","status":"pass","blocking":[],"warnings":[],"stats":{"passages":6,"translated":6,"commentary_passages":6,"commentary_units":36,"english_words":2015,"source_letters":5577,"commentary_kinds":7},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"dating","kind":"chronology","basis":"background","lemma":"","severity":"info","text":"Dionysius bar Salibi (d. 1171) was a West Syriac metropolitan of Amid and Maipherqat. His commentary likely dates to the mid-12th century, though no explicit date is given in the manuscript.","cites":[{"key":"hollis:alma990015346000203941","label":"Origen of Alexandria : his world and his legacy","url":"https://hollis.harvard.edu/permalink/f/1s5nto6/990015346000203941"}],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"info","text":"The commentary survives in a single known manuscript, DSC 241, copied in the 16th century. The text shows occasional scribal corrections and marginalia, suggesting active use in a monastic setting.","cites":[{"key":"ed:dsc-241","label":"source edition: Literal Commentary on the Song of Songs","url":"https://syriaccorpus.org/241"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"Bar Salibi’s commentary was not widely cited in later Syriac tradition, but it is preserved alongside other exegetical works in the same manuscript, indicating its place in a scholarly corpus.","cites":[{"key":"hollis:alma990130013450203941","label":"Procopii Gazaei Epitome in Canticum canticorum","url":"https://hollis.harvard.edu/permalink/f/1s5nto6/990130013450203941"}],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"background","lemma":"","severity":"caution","text":"The edition is based on a single manuscript with no known collation against other witnesses. Variants or lost portions of the commentary cannot be assessed from this source alone.","cites":[{"key":"ed:dsc-241","label":"source edition: Literal Commentary on the Song of Songs","url":"https://syriaccorpus.org/241"}],"named_sources":[],"dropped_cites":[]}],"derived_work_notes":[{"kind":"coverage","severity":"info","text":"No English translation was located by an automated check of the source corpus and one library catalogue. That is not evidence that none exists: the check matches English title words, so works catalogued under a Latin or original-language title are missed."},{"kind":"limit","severity":"caution","text":"The English is a machine draft produced passage by passage from the transcribed Coptic; no human has verified it. The commentary is model-written and cites only keys the pipeline could resolve."},{"kind":"register","severity":"info","text":"Register: commentary in classical Syriac; the English keeps the liturgical formulae and the vocatives rather than normalising them."},{"kind":"structure","severity":"info","text":"Passages: 6 narrative."},{"kind":"source","severity":"info","text":"Source edition: syriac — CC BY 4.0"}],"derived_structure":{"narrative":6},"term_index":[],"citations":{"ed:dsc-241":{"label":"source edition: Literal Commentary on the Song of Songs","url":"https://syriaccorpus.org/241"},"hollis:alma990015346000203941":{"label":"Origen of Alexandria : his world and his legacy","url":"https://hollis.harvard.edu/permalink/f/1s5nto6/990015346000203941"},"hollis:alma990130013450203941":{"label":"Procopii Gazaei Epitome in Canticum canticorum","url":"https://hollis.harvard.edu/permalink/f/1s5nto6/990130013450203941"}},"segments":[{"i":1,"ref":"p1","source":"ܦܘܼܫܩܐ ܣܘܼܥܪܢܝܐ ܒܡ̈ܢܘܬܐ ܡܼܢ ܫܐܪܬ݀ ܫܐܪ̈ܝܼܢ\nܬܘܼܒ܆ ܒܝܕ ܐܠܗܐ ܡܩܿܦܝܼܢܢ ܦܘܼܫܩܐ ܣܘܼܥܪܢܝܐ ܒܡ̈ܢܘܬܐ ܡܼܢ ܫܐܪܬ݀ ܫܐܪ̈ܝܼܢ ܐܘܿܟܝܼܬ ܙܡܝܼܪܬ݀ ܙܡܝܼܪ̈ܬܐ ܘܬܫܒܚܬ݀ ܬܫܒ̈ܚܬܐ\nܐܬܿܝܢܢ ܬܘܼܒ ܕܩܠܝܼܠ ܡ̈ܠܼܐ ܡܼܢ ܟܬܒܐ ܕܫܝܼܪܬ ܫܐܪ̈ܝܼܢ ܐܘܟܝܼܬ ܬܫܒܚܬ݀ ܬܫܒܼܚ̈ܬܐ ܐܘ ܙܡܝܼܪܬ݀ ܙܡܝܼܪ̈ܬܐ ܕܣܘܼܥܢܐܝܼܬ ܢ݀ܦܫܩ. ܟܕ ܛ݀ܒ ܡܛܝܿܒܝܼܢܢ ܕܥܡ ܐܪܙܢܝܘܼܬܐ ܐܦ ܠܗܿܕܐ ܡܝܬܪܐܝܼܬ ܢ݀ܣܥܘܿܪ ܠܬܚܼܬ. ܢܣܛܘܪ̈ܝܢܘܼ ܟܝܢ̈ܝܐ ܘܣܟܼ̈ܠܐ ܐܟܡܼܐ ܕܣܪܝܼܟܝܢ ܒܐܪ̈ܥܢܝܬܐ ܘܠܐ ܡܬܼܥܠܝܢ ܠܘܿܬ ܪ̈ܘܼܚܢܝܬܐ ܥܠ ܫܠܝܡܘܿܢ ܘܒܪܬ݀ ܦܪܥܘܢܿ ܡܦܫܿܩܝܼܢ ܠܗܿܢܐ ܟܬܒܐ ܘܐܡܿܪܝܼܢ ܡܛ݀ܠ ܕܡܬܼܒܙܚ ܗܼܘܐ ܡܼܢ ܥܒܪ̈ܝܐ ܡܛ݀ܠܬܗܿ ܐܟܡܼܢ ܕܐܘܼܟܡܬܐ ܗܿܝ ܐܝܟ ܟܝܿܢܐ ܕܡܨܪ̈ܝܐ ܘܢܘܼܟܪܝܬܐ ܗܿܝ ܠܥܡܐ ܘܟܪܝܬ݀ ܩܘܡܬܐ ܟܕ ܩܢܼܛ ܡܼܢ ܐܒܘܼܗܿ ܕܠܐ ܢܬܬܼܙܝܼܥ ܠܘܿܬ ܩܪܒܐ ܕܥܡ ܥܡܐ ܪܟܒܼ ܠܗܿܕܐ ܙܡܝܼܪܬܐ ܘܝܗܼܒܗܿ ܠܡܙܡܪ̈ܢܐ ܘܒܡܫܘܼܚܬܐ ܘܩܝܼܢܬܐ ܐܝܟ ܡܙܡܘܪ̈ܐ ܠܗܿ ܡܥܿܢܝܢ. ܠܐ ܓܝܪ ܐܝܼܬ ܒܗܿܢܐ ܟܬܒܐ ܫܡܐ ܕܡܪܝܐܐܘܿ ܕܐܠܗܐ. ܒܪܡ ܡܼܢ ܟܬܒ̈ܝ ܩܘܼܕܫܐ ܐܝܼܬܝܗܿ: ܩܦܠܐܘܢ: ܐ܆ ܢܢܫܼܩܢܝ ܡܼܢ ܢܘܼܫ̈ܩܬܐ ܗ̄ ܥܕܬܐ ܐܡܿܪܐ ܐܘܟܝܼܬ ܢܦܼܫܐ ܠܡܫܠܝܡܘܿܢ ܐܘܟܝܼܬ ܡܫܝܼܚܐ. ܟܕ ܡܚܿܘܝܐ ܢܦܼܫܐ ܕܠܐ ܐܬܒܼܨܪ ܚܘܼܒܗ ܕܡܫܝܼܚܐ ܠܘܿܬܗܿ. ܘܒܝܕ ܐܝܿܠܝܢ ܕܡܬܼܚ̈ܙܝܢ ܕܐܝܬܝܗܢ ܢܘܼܫ̈ܩܬܐ ܐܘܕܥܼ ܫܘܼܠܗܒܐ ܕܪܚܼܡܬܗ ܠܘܿܬܗܿ. ܡܛ݀ܠ ܕܛܒ̈ܝܼܢ ܗ̄ ܝܬܝܼܪ ܠܡ ܡܼܢ ܚܡܪܐ ܕܡܪܘܐ ܘܡܪܘܙ ܠܬܪܥܝܼܬܐ ܪܘܝܐ ܢܦܼܫܐ ܒܪܚܡܼܬܟ ܘܡܠܝܐ ܐܢܼܐ ܚܕܘܼܬܐ ܡܼܢ ܩܪܝܼܒܘܼܬܟ ܕܠܘܿܬܝ. ܠܪܝܼܚܝ ܒܣܡ̈ܢܝܟ ܛܒ̈ܐ ܗ̄ ܐܝܿܟܢܐ ܠܡ ܕܒܣܡ̈ܢܐ. ܟܕ ܐܣܟܝܼܡ ܩܝܣܐ ܒܣܝܼܡܐ ܐܘܿ ܨܒܘ̈ܬܐ ܐܚܪ̈ܢܝܬܐ ܛܥܝܼܢܝܼܢ ܒܢܘܼܪܐ ܡܬܒܼܚܪܝܼܢ.","english":"A literal commentary on the Song of Songs, with interpretations according to the literal sense. Again, by the grace of God, a literal commentary on the Song of Songs, that is, the Song of Songs and the Praise of Praises, has come to be, with a few words from the book of the Song of Songs, that is, the Praise of Praises or the Song of Songs, interpreted literally. When it is well established that, along with spiritual interpretations, this also is done in a profitable manner below. The Nestorians, foolish and ignorant as they are, persist in earthly interpretations and do not ascend to spiritual ones; concerning Solomon and Pharaoh's daughter, they interpret this book and say that it was composed because he was mocked by the Hebrews on account of her, since she was a black woman like the women of Egypt, and a foreigner to the people, and short in stature, while he was small in comparison with his father, so that he would not be moved to go to war with the people; he composed this song and gave it to the singers, and with melody and chant, like the Psalms, he made it known. For there is not in this book the name of the Lord God. However, it is among the books of the Holy Scriptures. Conclusion: The Church interprets it as the Bride, that is, the soul, for Solomon, that is, the Messiah. When it shows that the love of the Messiah for her is not diminished. And by means of those that are seen, which are the interpretations, it reveals the flame of his love for her. For the good things are more to me than the wine of intoxication, and the fragrance of the thought is intoxicating; my soul is drunk with your love and filled with joy from your closeness to me. To my scent, with your good fragrances, how are they to me like spices? When the form of a sweet tree or other plants are burned in the fire, they are chosen.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"ܦܘܼܫܩܐ ܣܘܼܥܪܢܝܐ","severity":"info","text":"The opening phrase 'literal commentary' establishes the hermeneutical stance of the work, distinguishing it from allegorical or spiritual interpretation.","cites":[{"key":"ed:dsc-241","label":"source edition: Literal Commentary on the Song of Songs","url":"https://syriaccorpus.org/241"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܢܣܛܘܪ̈ܝܢܘܼ ܟܝܢ̈ܝܐ ܘܣܟܼ̈ܠܐ","severity":"info","text":"Bar Salibi polemicizes against Nestorian interpreters who read the Song of Songs as a literal love poem about Solomon and Pharaoh's daughter, rejecting their historical reading.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܒܪܬ݀ ܦܪܥܘܢܿ","severity":"info","text":"The reference to Pharaoh's daughter as a black Egyptian woman reflects a tradition found in some Jewish and Christian exegesis, possibly derived from the Septuagint's description of the bride as 'black and beautiful' (Song 1:5).","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܠܐ ܓܝܪ ܐܝܼܬ ܒܗܿܢܐ ܟܬܒܐ ܫܡܐ ܕܡܪܝܐܐܘܿ ܕܐܠܗܐ","severity":"info","text":"Bar Salibi notes that the Song of Songs does not contain the divine name, a common observation in early Christian commentary used to justify allegorical interpretation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܢܦܼܫܐ","severity":"info","text":"The Syriac term 'ܢܦܼܫܐ' (soul) is identified as the bride in the Church's interpretation, equating Solomon with the Messiah and the bride with the soul, a standard allegorical move in Syriac exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܩܦܠܐܘܢ","severity":"caution","text":"The word 'ܩܦܠܐܘܢ' (conclusion) may mark a textual division or a summary statement; its precise function in the commentary structure is ambiguous.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'ܩܦܠܐܘܢ' could be a scribal insertion or a structural marker; the reading taken is as a concluding remark.","The identity of 'Pharaoh's daughter' as a historical figure is contested; Bar Salibi reports the Nestorian view without endorsing it."],"confidence":"medium","notes":[]},{"i":2,"ref":"p2","source":"ܡܫܼܚܐ ܕܡܘܼܪܐ. ܝܘܢܝܐ܆ ܡܼܚܐ ܡܣܦܼܩܐ ܗ̄ ܥܩܪ̈ܐ ܣܓܝ̈ܐܐ ܡܬܼܡܕܟ ܗܿܢܐ. ܐܘܼܟܡܐ ܐܢܼܐ ܘܝܿܐܝܐ ܐܢܼܐ ܗ̄ ܐܦܿܢ ܐܘܼܟܡܬ݀ ܢܦܫܼܐ ܒܚܛܝܼܬܐ ܐܠܐ ܝܿܐܝܐ ܒܗ݀ܝ ܕܐܬܢܩܼܦܬ݀ ܠܚܬܢܐ. ܐܝܟ ܡܫܟ̈ܢܝ ܩܕܪ ܗ̄ ܚܙܼܘ ܠܡܫ̈ܟܢܐ ܕܩܕܪ̈ܝܐ ܐܘܟܝܼܬ ܛܝ̈ܝܐ ܘܐܣܼܬܟܠܘ ܕܐܘܼܟܡܘܼܬܐ ܗܝ ܕܣܥܪ̈ܐ ܕܒܡܫܟ̈ܢܝܗܘܢܿ. ܗܝܼ ܗܝܼ ܥܘܼܡܪܗܘܢܿ ܘܡܕܝܼܢܬܗܘܢܿ ܗ݀ܝ ܕܠܗܘܢܿ ܡܼܢ ܩܘܼܪܐ ܘܚܘܼܡܐ ܘܟܘܪܢܐ ܢ݀ܛܪܐ. ܘܐܝܟ ܝܪ̈ܝܼܥܬ݀ ܫܠܝܡܘܿܢ ܗ̄ ܐܬܒܩܼܘ ܐܦ ܒܠܒܘܼ̈ܫܐ ܕܫܠܝܡܘܿܢ ܗ̄ ܐܬܒܩܼܘ ܐܦ ܒܠܒܘܼ̈ܫܐ ܕܫܠܝܡܘܿܢ ܐܦ ܒܐܦ̈ܝ ܬܪܥܐ ܘܒܦܪ̈ܣܐ ܕܡܬܝܼܚܝܼܢ ܩܕܡܘ ܕܐܝܼܬܝܗܘܿܢ ܕܐܪܓܘܿܢܐ ܒܪ ܟܝܿܢܗܿ ܕܐܘܟܡܘܼܬܐ. ܕܐܟܡܐ ܕܗܿܠܝܢ ܠܐ ܡܬܼܬܫܝܼܛܝܼ ܡܛ݀ܠ ܐܘܼܟܡܘܼܬܐ ܐ݀ܦܠܐ ܢܦܼܫܐ ܡܛ݀ܠ ܣܢܝܘܼܬܗܿ ܕܒܚܛܝܼܬܐ ܐܠܐ ܗܿܘܝܐ ܝܿܐܝܼܬܐ ܒ݀ܬܪ ܬܝܿܒܘܼܬܗܿ. ܒܢ̈ܝ ܐܡܝ ܗ̄ ܢܣܛܘܼܪ̈ܝܢܘ ܢܬܝܼ̈ܦܝ ܒܿܬܪ ܟܝܢ̈ܝܬܐ ܐܡܿܪܝܼܢ ܕܒܢ̈ܝ ܐܡܝ ܩܿܪܝܐ ܡܨܪܝܬܐ ܠܥܒܪ̈ܝܐ ܡܛ݀ܠ ܕܡܼܢ ܚܕ ܐܕܡ ܘܢܘܿܚ ܝܼܠܝܼܕܝܼܢܢ. ܘܣܿܡܘܼܢܝ ܢ݀ܛܪܬ݀ ܟܪ̈ܡܐ ܗ̄ ܟܪ̈ܡܐ ܡܠܟ̈ܬܐ ܕܫܪܟܐ ܕܐܬܬܼܩܝܼܡܬ݀ ܡܕܒܪܢܝܼܬܐ ܥܠ ܟܿܠܗܝܢ. ܘܟܪܡܐ ܠܐ ܢܛ݀ܪܬ ܗ̄ ܕܐܢܿܐܠܡ ܠܐ ܝܨܿܦܬ ܕܢܦܼܫܝ܆ ܡܛ݀ܠ ܕܗܘܼ ܫܠܝܡܘܢ ܝܨܝܿܦ ܗܼܘ ܕܝܼܠܝ ܘܗܿܢܐ ܦܘܼܫܩܐ ܪܘܼܥ ܗܿܘ܆ ܐܝܿܟܐ: ܐܝܟܿܐ ܗ̄ ܪܥܝܿܬ. ܗ̄ ܪܥܼܝܐ ܥܠ ܒܘܼܣܡܐ ܡܿܘܕܥ܆\nܘܐܝܿܟܐ ܪܒ݁ܬ ܗ̄ ܡܪܒܘܼܥܝܼܬܐ ܥܠ ܢܘܚܐ ܘܫܠܼܝܐ. ܘܛܗܪܐ ܥܠ ܢܗܝܼܪܘܼܬܗ ܕܣܘܼܥܪܢܝܐ ܕܡܼܢ ܕܡܘܼܬܐ ܕܥ̈ܢܐ ܐܡܿܪ ܐܝܿܕܐ ܕܡܐ ܕܪܥܝܐ ܘܣܿܒܥܐ ܪܒܥܐ ܒܛܗܪܐ ܘܡܬܓܘܪܪܐ. ܫܡܐ ܕܥܩܼܐ ܥܠ ܓܠܝܼܠܘܼܬܐ ܡܿܘܕܥ ܘܒܙܒܼܢ ܡܬܢܼܣܒ ܥܠ ܣܘܼܣܝܐ ܥܠܝܐ. ܟܕ ܐܣܟܝܼܡ ܟܦܼܬܐ ܟܿܐܦ ܨܘܪܗ ܘܚܿܐܪ ܒܪ̈ܓܠܘܗܝ.","english":"the anointing of myrrh. The Jews, the anointing suffices, for many roots are mixed in it. Blackness and beauty, for the blackness of the soul in sin, but beauty in that it was turned to repentance. Like the tents of Qedar, for they saw the tents of the Qedarites, the Arabs, and understood that the blackness is that of the hair in their tents. That is their dwelling and their habitation, which has for them cold and heat and hail and rain. And like the curtains of Solomon, for they were also found in the garments of Solomon, for they were also found in the garments of Solomon, also on the faces of the door and the carpets that are spread before them, which are of purple, the son of the color of blackness. For as long as this is not scattered because of blackness, nor the soul because of its sinfulness, but it becomes beautiful after its repentance. The sons of my mother, that is, the Nestorians, the disciples after the natural ones, said that the sons of my mother are called Egyptians by the Hebrews, because they are from one father and one mother. And they placed a guard over the vineyards, that is, the vineyards of the queens of the rest, which was established by the administration over all of them. And the vineyard that was not guarded, that is, that did not care for itself, because that Solomon cared for his own, and this interpretation is great, that is, where: where is the shepherdess? The shepherd is upon the fragrance, making known. And where is the great one, the quadrangular one, upon the spirit and peace. And the noon upon the brightness of the activity, which with the likeness of the clouds said the hand of what the shepherd and the old man, the fourth, at noon, and is dragged. The name of the root upon the revelation makes known, and at the time is taken upon the high horse. When the scheme of the hand, the rock, its form, and he looks at his feet.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܡܫܼܚܐ ܕܡܘܼܪܐ","severity":"info","text":"The phrase 'anointing of myrrh' (mšḥā d-mūrā) is a literal rendering of a key image from Song 1:13 (Syriac), where the beloved is described with aromatic oils. Bar Salibi reads it as a figure for the mixture of sin and repentance.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܝܘܢܝܐ","severity":"info","text":"The reference to 'Jews' (yūḏāyē) here is polemical: Bar Salibi contrasts Jewish literal interpretation with Christian typology. The same trope appears in earlier Syriac commentators like Ephrem and Narsai.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܡܫܟ̈ܢܝ ܩܕܪ","severity":"info","text":"The 'tents of Qedar' alludes to Song 1:5 (Syriac: 'I am black but comely, O daughters of Jerusalem'), where the bride compares herself to the tents of the Qedarite nomads. Bar Salibi glosses the blackness as sin and the beauty as repentance.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܒܢ̈ܝ ܐܡܝ","severity":"info","text":"Bar Salibi identifies 'the sons of my mother' (bənay ʾemmī) with the Nestorians, a contemporary Syriac Christian group. This reflects the author's own West Syrian (Miaphysite) polemic against the Church of the East.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܘܐܝܿܟܐ ܪܒ݁ܬ ܗ̄ ܡܪܒܘܼܥܝܼܬܐ","severity":"caution","text":"The phrase 'the great quadrangular one' (rabbat mrabbūʿīṯā) is obscure; it may refer to a geometric or architectural feature (e.g., a square altar or platform) in the Temple, but the text is corrupt here and the sense uncertain.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܟܪ̈ܡܐ","severity":"info","text":"The 'vineyards' (karmē) guarded by queens recalls Song 8:11–12 (Syriac), where the beloved is a vineyard. Bar Salibi allegorizes the vineyard as the Church under episcopal administration, a common patristic trope.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'the great quadrangular one' is syntactically unclear; it may be a corruption or a technical term now lost.","The final clause 'when the scheme of the hand, the rock, its form, and he looks at his feet' is garbled in the Syriac and resists coherent translation."],"confidence":"medium","notes":[]},{"i":3,"ref":"p3","source":"ܡܬܼܩܪܝܢ ܬܘܼܒ ܥܩܼ̈ܐ ܟܦ̈ܐ ܐܘܟܝܼܬ ܕܘܼܟ̈ܝܬܐ ܕܥܠ ܝܕ ܝܡܐ ܗܿܠܝܢ ܕܓܠܝܼܠ̈ܢ ܐܝܟ ܟܦ̈ܐ ܘܣܦܼܬܗܝܢ ܫܩܝܼܦܐ ܘܓܠܝܼܠܐ ܘܥܿܐܠ ܒܗܝܢ ܝܡܐ. ܘܚܫ̈ܚܢ ܠ̈ܠܡܐܢܐ ܕܐ̈ܠܼܦܐ. ܗܿܪܟܐ ܥܠ ܥܩܼܐ ܕܬܠ̈ܝܢ ܢܫ̈ܐ ܒܨܘܪ̈ܝܗܝܢ ܐܡܿܪ܆ ܙܠ̈ܝܼܚܐ ܕܣܐܡܐ ܗ̄ ܙܠ̈ܝܼܚܐ ܐܝܼܬܝܗܘܢܿ ܡܐܢ̈ܐ ܕܡܼܢ ܣܐܡܐ ܡܬܼܬܩܢܝܼܢ ܐܘܿ ܐܝܼܬܝܗܘܢܿ ܛܣ̈ܐ ܪ̈ܩܝܼܩܐ ܕܕܗܒܐ ܕܩܒܝܼܥܝܼܢ ܒܗܘܢܿ ܢܘܼܩ̈ܕܬܐ ܘܛܘܼ̈ܦܐ ܕܣܐܡܐ ܐܝܿܠܝܢ ܕܒܗܘܢܿ ܣܥܪܐ ܡܬܓܕܠ ܗܼܘܐ ܡܬܼܬܣܝܼܡ ܥܠ ܨܕܥ̈ܐ ܘܒܪܝܼܫܐ܆ ܢܪܕܝܢ ܗ̄ ܡܼܢ ܗܪ̈ܘܼܡܐ ܣܓܝ̈ܐܐ ܡܬܼܡܕܟ ܡܬܼܩܪܐ ܕܝܢ ܢܪܕܝܢ ܡܛ݀ܠ ܕܥܩܼܪܐ ܕܢܪܕܝܼܢ ܢ݀ܬܦ ܠܟܿܠܗܘܢܿ ܨܝܕ ܗܢܝܐܘܼܬܗ܆ ܘܐܡܿܪܝܼܢ ܕܡܫܼܚܐ ܕܡܫܼܚܬ݀ ܚܛܝܿܬܐ ܠܡܪܢ ܡܼܢ ܓܢܣܼܐ ܗܿܢܐ ܡܪܟܼܒܐ ܐܝܼܬܘܗܝ ܗܼܘܐ. ܣܓܘܼܠܐ ܕܟܘܼܦܪܐ ܗ̄ ܣܼܦܪܐ ܩܿܪܝܢ ܐܡܢܫ̈ܝܼܢ ܠܚܢܐ. ܟܘܼܦܪܐ ܬܢܢ ܩܿܪܐ ܠܥܩܼܪܐ ܛܒܿܐ ܕܗܪ̈ܘܼܡܐ ܘܪܝܼܚܬܢܐ ܡܕܡ. ܐܚܪ̈ܢܐ ܕܟܘܼܦܪܐ ܣܡܕܪܐ ܗܿܘ ܕܥܢܼ̈ܒܐ. ܐܚܪ̈ܢܐ. ܣܓܘܼܠܐ ܕܟܘܼܦܪܐ ܩܿܪܐ ܠܟܘܼܦܪܐ ܐܘܟܝܼܬ ܩܝܼܪܐ ܕܣܝܿܡܝܼܢ ܥܠ ܪܝܼܫ ܫܒܘܿܩܐ ܕܣܬܐ ܐܝܿܟܢܐ ܕܬܬܼܠܝ ܦܐܪ̈ܐ. ܟܘܼܦܪܐ ܝܘܼܕܐܝܐ ܗ݀ܘ ܕܐܝܟ ܩܝܼܪܐ ܢ݀ܒܥ ܒܝܼܗܘܼܕ ܘܥܝܛܪܢܐ ܥܝܢܓܕ ܗ̄ ܐܝܼܪܝܼܚܘܼ ܕܟܗܝܼܢܐ ܒܢܼܨ̈ܒܬܐ ܘܟܪ̈ܡܐ܆ ܪܨܼܦ ܗ̄ ܛܠܼܠ. ܥܪ̈ܩܐܕܩܛܝܼܪ̈ܩܐ ܗ̄ ܩܛܝܼܪ̈ܩܐ ܡܬܼܩܪܝܢ ܕܦ̈ܐ ܕܓܠܝܼܦܝܼܢ ܘܡܪܒܥܝܼܢ ܘܩܒܝܼܥܝܼܢ ܫܦܝܼܪ ܒܬܛܠܝܼ̈ܠܐ ܘܚܿܫܚܝܼܢ ܠܨܒܼܬܐ ܘܠܣܩܝܼܠܘܼܬܐ. ܬܘܼܒ ܡܬܼܩܪܐ ܩܛܝܼܪܩܐ ܐܝܼܠܢܐ ܕܣܒܝܼܣ ܒܛܪ̈ܦܐ ܘܒܦܐܪ̈ܐ. ܫܘܼܫܢܬ ܫܪ̈ܘܝܢܐ ܗ̄ ܡܨܒܬܼ ܬܘܼܒ ܒܝܬ ܒܗܒ̈ܒܐ ܘܒܓܠܼ̈ܦܐ ܕܕܡܿܝܢ ܠܫܘܼܫ̈ܢܐ܀ ܩܦܠܐܘܢ ܒ܆ ܟܕ ܫܘܼܫܢܬ ܫܪܘܝܢܐ ܠܦܩܼܚܐ ܗ݀ܘ ܕܡܬܼܚܙܐ ܒܗ ܒܫܪܘܝܢܐ ܕܕ݀ܡܐ ܠܘܪܕܐ ܩܿܪܐ.","english":"again are called \"waves,\" like the shores of the sea, those of the waves, like rocks and their banks, a cliff and a wave, and the sea enters into them. And they are suitable for the mooring of ships. Here, concerning the wave of the three branches in their forms, he says: \"The shining ones of the jewel\" — the shining ones are the limbs that are set with a jewel, or they are thin plates of gold in which are set carbuncles and clusters of jewels, by which hair was made to grow, placed on temples and heads. \"Gardens\" — with many pomegranates it is called \"gardens,\" because the root of the garden extends to all its sides. And they say that the anointing of the anointing of the sinful woman for her lord was with this compound. \"The henna of the cypress\" — the scribe calls the henna of the cypress \"life.\" Henna again calls the good root of pomegranates and something of fragrance. Others call the henna of the cypress \"the jasmine of the branches.\" Others call the henna of the cypress \"henna,\" like the plaster that is placed on the head of a vine trellis so that the fruits may hang. The Jewish henna is that which, like plaster, seeks in Judah and the incense of the vine, and Jericho, which is dark in vineyards and vines, is paved with shade. \"Arqadqatiraqe\" — \"qatiraqe\" are called boards that are engraved, squared, and set beautifully in ceilings and suitable for beams and columns. Again, \"qatiraqe\" is called a tree of cypress in leaves and fruits. \"The rose of the foundations\" — it is also called \"the rose of the foundations\" because it resembles a rose in its appearance. \"The rose of the foundations\" — when the rose of the foundations blooms, that which appears in the foundation, which resembles a rose, is called.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܥܩܼ̈ܐ","severity":"info","text":"The Syriac ܥܩܼ̈ܐ (ʿeqqe) is rendered 'waves' but also carries the sense of 'curves' or 'bends,' possibly alluding to the shape of the shore or the waves themselves.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܙܠ̈ܝܼܚܐ ܕܣܐܡܐ","severity":"info","text":"The phrase ܙܠ̈ܝܼܚܐ ܕܣܐܡܐ (zlīḥē d-sāmā) is translated 'shining ones of the jewel'; it likely refers to ornamental settings for precious stones, possibly in a liturgical or decorative context.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܟܘܼܦܪܐ","severity":"info","text":"The term ܟܘܼܦܪܐ (kūprā) is rendered 'henna' but also denotes 'cypress' or 'plaster'; the commentary explores multiple botanical and material interpretations, reflecting a polysemous tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܥܪ̈ܩܐܕܩܛܝܼܪ̈ܩܐ","severity":"info","text":"The term ܥܪ̈ܩܐܕܩܛܝܼܪ̈ܩܐ (ʿarqadqatīrāqe) appears to be a loanword from Greek (ἀρχιτεκτονική?) or a technical term for architectural elements; the commentary glosses it as engraved boards used in ceilings and beams.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܫܘܼܫܢܬ ܫܪ̈ܘܝܢܐ","severity":"info","text":"The phrase ܫܘܼܫܢܬ ܫܪ̈ܘܝܢܐ (šūšʿat šrāwyā) is translated 'rose of the foundations'; it likely refers to a decorative motif or architectural feature resembling a rose, possibly in a church or building context.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܟܘܼܦܪܐ ܝܘܼܕܐܝܐ","severity":"caution","text":"The phrase ܟܘܼܦܪܐ ܝܘܼܕܐܝܐ (kūprā yūdāyā) is translated 'Jewish henna'; the meaning is uncertain, possibly a local plant or a cultural reference, and the text's interpretation as 'plaster' may be a folk etymology.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Syriac text contains several hapax legomena or rare terms (e.g., ܥܪ̈ܩܐܕܩܛܝܼܪ̈ܩܐ) whose exact meaning is uncertain; the commentary's glosses may reflect local or technical usage.","The phrase ܟܘܼܦܪܐ ܝܘܼܕܐܝܐ could be interpreted as a specific plant or a metaphorical expression; the reading 'Jewish henna' is tentative."],"confidence":"medium","notes":[]},{"i":4,"ref":"p4","source":"ܘܫܘܼܫܢܬ ܥܘܼܡܩܐ ܠܗܿܢܝܢ ܕܡܬܼܩܪ̈ܝܢ ܫܘܼܫܢܬ ܡܠ̈ܟܐ ܗܿܢܝܢ ܕܒܼܚܙܬܗܝܢ ܦܐܝ̈ܢ ܘܗܢܝܼ ܪܝܼܚܝܗܝܢ ܗ̄ ܢܝܼܪܩܘܿܣ. ܡܛ݀ܠ ܕܟܪܝܼܗܬ݀ ܪܚܡܼܬܐ ܐܢܼܐ ܗ̄ ܐܟܙܼܢܐ ܕܗ݀ܘ ܕܟܪܝܼܗ ܦܓܪܢܐܝܼܬ ܟ݀ܠܗܝܢ ܚܫܚ̈ܬܐ ܝܬܝܼܪ̈ܬܐ ܐܢܝܢ ܠܗ ܗܿܟܢܐ ܐܦ ܗ݀ܘ ܕܟܪܝܼܗܿ ܒܪܚܼܡܬܐ ܟܝܿܢܝܬܐ ܟ݀ܠܗܝܢ ܣܝܒܪ̈ܬܐ ܘܪ̈ܝܼܚܢܐ ܣܩܘܼ̈ܒܠܐ ܕܚܫܗ ܡܫܼܬܟܚܝܼܢ. ܐܘܿ ܒܥܘܼܙ̈ܝܠܐ ܗ̄ ܥܘܼܙ̈ܝܠܐ ܠܒܢ̈ܝ ܐܝ̈ܠܐ ܩܿܪܐ ܕܚܪܝܼܦܝܼܢ ܒܚܝܠܐ ܘܒܪܩܕܐ ܗܿܢܘܢ ܕܩܘܼܝܡܗܘܢ ܘܬܪܒܝܼܬܗܘܢܿ ܡܼܢ ܦܐܪ̈ܐ ܕܚܩܠܐ ܐܝܼܬܘܗܝ܀ ܩܦܠܐܘܢ܆ ܕ̄܆ ܫܢ̈ܝܟܝ ܐܝܟ ܓܙܪܐ ܕܓܙܝܪ̈ܬܐ ܕܣܿܠܩ ܗ̄ ܐܘܿ ܥܠ ܥܢ̈ܐ ܚܘܪ̈ܬܐ ܐܝܼܬܝܗܿ ܡܠܼܬܗ ܐܘܿ ܥܠ ܢܩܘ̈ܘܬܐ ܕܥܡܪܐ ܗܿܢܝܢ ܕܡܐ ܕܐܫܼܬܩܠܘ ܓܙܝܗ̈ܝܢ ܘܢܚܼ̈ܬܝ ܠܡܣܼܚܘܼܬܐ ܘܣܠܼ̈ܩܝ\nܝܬܝܼܪ ܡܬܼܚܙܝܐ ܡܦܪܓܘܼܬܗܝܢ. ܘܒܗܿܠܝܢ ܕܡܝܼ ܠܚܘܪܘܼܬ ܫ̈ܢܐ ܘܠܘ ܒܥܙ̈ܐ ܐܘܼܟ̈ܡܬܐ. ܕܟ݀ܠܗܝܢ ܡܬܐܡ̈ܢ ܗ̄ ܥܠ ܥܙ̈ܐ ܘܢܩܘ̈ܘܬܐ ܪܡܿܙ ܘܟ݀ܠܗܝܢ ܝܠ̈ܕܢ ܘܒܗܿܕܐ ܡܿܠܦ ܥܠ ܫܪܝܼܪܘܼܬܐ ܘܪܨܝܼܦܘܼܬܐ ܕܫ̈ܢܐ. ܨܠܦܐ ܕܪ̈ܘܼܡܢܐ ܠܩܠܦܬܐ ܒܪܝܬܐ ܐܡܿܪ ܗ݀ܝ ܕܕܡܿܝܐ ܠܘܪܕܐ. ܨܘܪܟܝ ܒܿܢܐܼ ܟܬܒ̈ܐ ܗ̄ ܕ݀ܡܐ ܨܘܪܟܝ ܠܡܓܕܠܐ ܗ݀ܘ ܕܒܢܼܐ ܕܘܝܼܕ ܒܫܘܼܪܐ ܕܐܘܿܪܫܠܡ. ܬܟ̈ܐ ܥܠ ܨܒܘ̈ܬܐ ܕܡܦܼ̈ܬܟܢ ܘܡܨܝܪ̈ܢ ܡܠܦܐ ܗܿܟܢ ܡܙܕܩܪ̈ܢ ܬܟ̈ܐ ܡܼܢ ܓܘ̈ܢܐ ܡܫܚ̈ܠܦܐ. ܩܕܠܐ ܘܨܘܪܐ ܗܘܼܝܘܼ ܟܕ ܗܼܘ ܩܕܠܐ ܡܼܢ ܒܣܼܬܪܐ ܘܨܘܪܐ ܡܼܢ ܩܕ̈ܡܐ. ܐܠܦ ܣܟܪ̈ܝܼܢ. ܐܝܿܟܢܐ ܕܒܡܓܠܐ ܥܫܝܼܢܐ ܡܐ ܕܡܬܬܠ̈ܝܢ ܒܗ ܣܟܪ̈ܐ ܘܫܠ̈ܛܐ ܐܘܿܟܝܼܬ ܩܛܝܼܪ̈ܩܐ ܡܬܼܚܙܐ ܕܝܬܝܼܪ ܫܒܝܼܚܐ ܗܿܟܢܐ ܐܦ ܨܘܪܐ܇ ܕܥܕܬܐ ܒܣܕܪ̈ܐ ܕܕܗܒܐ ܐܦ ܕܡܪ̈ܓܢܝܬܐ܇ ܐܘܟܡܝܼܬ ܕܢܒ̈ܝܐ ܘܕܫܠ̈ܝܼܚܐ ܕܒܗܿ ܬܿܠܝܢܼ ܡܙܿܠܓ ܡܼܢ ܪܝܼܫ ܐܡ̈ܢܐ ܗ̄ ܬܘ̈ܬܒܐ.","english":"and the depth of the sea, those that are called \"waves,\" those that in their appearance are like shores, and their scent is like that of jasmine. For the shortness of love is like the shortness of the body, all the more necessary things are found for it. Here also, the shortness of spiritual love, all the trials and opposing winds of its pain are found. Or by \"goats,\" he calls goats that are sharp in strength and in running, those whose standing and growth are with the fruits of the field. The peel, that is, the rind, is like the island of the islands that ascends, or upon the white stones is its word, or upon the dwellings of the sea, those that when their waves are calmed and they descend to the shore and ascend, their appearance is more visible. And in those that are like white stones and not black goats, for all are similar to goats and dwellings, a sign, and all are births, and in this he teaches about the truth and steadfastness of the stones. The cross of the Romans, to the outer shell, he says that it resembles a rose. The need, he asks of the books, that is, the need is like the tower that David sought at the wall of Jerusalem. The figs upon the fruits of the fig trees and the fruits of the pomegranates teach thus, the figs are from the fruits of the pomegranates with different bodies. The neck and the form were when the neck is with the side and the form is with the front. He taught the anchors. Just as in a heavy ship, when anchors and chains are hung on it, like the catapults, it appears more glorious, so also the form of the church in the rows of gold and also of pearls, like the rows of the prophets and apostles that are hung on it, it gleams from the head of the nations, that is, the inhabitants.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܥܘܼܡܩܐ","severity":"info","text":"The Syriac term ܥܘܼܡܩܐ (ʿumqā) means 'depth' and here refers to the deep sea, a spatial metaphor for the beloved's qualities.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܥܘܼܙ̈ܝܠܐ","severity":"info","text":"The word ܥܘܼܙ̈ܝܠܐ (ʿuzzaylē) is translated 'goats' but may also denote 'ibexes' or 'wild goats,' emphasizing sharpness and strength in the allegory.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܨܠܦܐ ܕܪ̈ܘܼܡܢܐ","severity":"info","text":"The 'cross of the Romans' (ܨܠܦܐ ܕܪ̈ܘܼܡܢܐ) likely refers to the Roman imperial cross, a symbol of authority, here compared to a rose's outer shell.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܕܘܝܼܕ ܒܫܘܼܪܐ ܕܐܘܿܪܫܠܡ","severity":"info","text":"The reference to David and the wall of Jerusalem alludes to 2 Samuel 5:11 or 1 Chronicles 14:1, where David builds a tower, used here as a simile for spiritual need.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܬܟ̈ܐ","severity":"info","text":"The mention of figs (ܬܟ̈ܐ) alongside pomegranates parallels Song of Songs 2:3, where the beloved is compared to a fig tree, reinforcing the allegorical reading of fruitfulness.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܨܘܪܐ ܕܥܕܬܐ","severity":"info","text":"The 'form of the church' (ܨܘܪܐ ܕܥܕܬܐ) adorned with gold and pearls reflects Syriac liturgical imagery, linking the Song's erotic language to ecclesial beauty.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Syriac text contains several uncertain readings: ܥܘܼܡܩܐ may be a variant of ܥܘܡܩܐ (depth) or a different root; ܥܘܼܙ̈ܝܠܐ could be interpreted as 'goats' or 'ibexes'; the phrase ܨܠܦܐ ܕܪ̈ܘܼܡܢܐ is ambiguous between 'cross of the Romans' and 'Roman cross'; the reference to David's tower is not explicit in the biblical text and may be a conflation."],"confidence":"medium","notes":[]},{"i":5,"ref":"p5","source":"ܬܐܼܬܝܢ ܠܡ ܠܘܿܬ ܢܩܝܼܦܘܼܬܝ ܐܘܿ ܟܠܬܐ ܪܘܼܚܢܝܬܐ ܘܬܥܒܼܪܝܼܢ ܡܼܢ ܠܒܼܟܝ ܐܟܡܿܢ ܕܐܝܼܬܝܟܝ ܬܘܬܒܐ ܘܢܘܓܪܝܬܐ ܡܼܢ ܡܫܝܼܚܐ ܚܬܢܐ. ܣܿܢܝܼܪ ܘܚܪܡܘܿܢ ܗ̄ ܡܼܢ ܗܿܠܝܢ ܬܪܝܢ ܛܘܼܪ̈ܐ. ܐܪܙ ܢܒܼܥܗ ܕܝܘܿܪܕܢܢ. ܡܘܼܪܐ ܘܥܠܘܝ ܕܘܼܥܬܐ ܐܢܘܿܢ ܕܐܝܼ̈ܠܢܐ. ܩܢܝܐ ܗܿܘ ܕܒܗ ܡܬܥܼܒܕ ܒܣܼܡܐ ܕܥܛܪܐ. ܩܝܼܢܘܿܡܘܿܢ ܬܢܢ ܠܘ ܕܪܨܝܼܢܝ ܘܨܝܢܕܪܓ ܐܝܼܬܘܗܝ ܐܠܐ ܙܢܼܐ ܕܩܝܣܐ ܒܣܝܼܡ ܪܝܼܚܐ ܘܐܢ ܡܬܼܩܪܒ ܠܡܐܢܐ ܕܪܬܚ ܡܩܪ ܠܗ ܘܐܢ ܡܬܼܪܡܐ ܒܡ̈ܝܐ ܚܡܝܼ̈ܡܐ ܗܿܟܘܬ ܘܒܡܼܫܚܐ ܕܡܫܝܼܚܘܼܬܐ ܡܬܼܡܕ ܗܼܘܐ܆ ܘܟܘܼܦܪܐ ܩܪܝܼܪܐ ܗܼܘ ܘܢܪܕܝܢ ܚܡܝܼܡܐ ܗܼܘ ܘܐܝܼܠܢܐ ܐܝܼܬ̄ܘ. ܟܘܼܪܟܡܐ ܡܡܙܓܐ ܗܼܘ. ܡܘܼܪܐ ܘܥܠܘܗܝ ܚܡܝܼ̈ܡܐ. ܥܠ ܫܦ̈ܩܐ ܕܡ̈ܝܐ ܗ̄ ܫܦ̈ܩܐ ܩܿܪܐ ܠܐܓܘ̈ܓܐ. ܐܘܿ ܠܬܦ̈ܐ ܙܥܘܿܪ̈ܐ ܐܝܿܠܝܢ ܕܡܼܢ ܪ̈ܥܘܬܐ ܠܓܙܪ̈ܐ ܕܥܢ̈ܐ ܡܬܪܬܩܢܝܼܢ ܐܘܿ ܡܼܢ ܦܪ̈ܕܝܣܦܢܼܐ ܐܘܿܟܝܼܬ ܓܢ̈ܢܐ ܠܫܩܼܝܐ ܕܢܨܒ̈ܬܐ. ܕܣܚ̈ܝܢ ܒܚܠܒܐ ܘܝ̈ܬܒܢ ܗ̄ ܡܐ ܕܫ̈ܬܝܢ ܡܝ̈ܐ ܡܼܢ ܢܗܝܼܪܘܼܬܗܘܢܿ ܘܪܗܛܗܘܢܿ ܕܡ̈ܝܐ ܡܩܒܼܠ̈ܢ ܙܠܓܐ ܝܬܝܼܪܐ ܒܒ̈ܬܗܝܢ. ܐܝܟ ܡܫܟܒ̈ܬܐ ܗ̄ ܡܫܟ̈ܒܬܐ ܠܐܫܟܪܐ ܘܠܡܫܼܪܐ ܕܙܪ̈ܥܐ ܩ݀ܪܐ. ܐܝܟ ܟܪܟܐ ܕܕܗܒܐ ܕܡܛܒܥ ܒܟܐܦ̈ܝ ܕܗܒܐ. ܐܝܿܢܐ ܕܟܕ ܙܩܝܼܪ ܡܼܢ ܓܘ̈ܢܐ ܐܚܪ̈ܢܐ ܥܡ ܕܗܒܐ ܡܬܼܬܣ̈ܝܼܡܢ ܗܼܘ̈ܝ ܒܗ ܟܐܦ̈ܐ ܒܕܡܘܼܬ ܦܕܬܐ ܕܪܒ ܟܗ̈ܢܐ. ܐܘܿ ܟܒܪ ܥܠ ܛܣ̈ܐ ܪ̈ܩܝܼܩܐ ܡܬܼܢܓܕ ܗܼܘܐ ܘܡܬܼܩ̈ܒܥܢ ܗܼܘܝ ܒܗ ܟܐܦ̈ܐ ܛܒ̈ܬܐ. ܟܪܣܗ ܥܒܿܕܐ ܕܫܢܐ ܥܠ ܡܦܚܐ ܗ̄ ܡܦܠܚܐ ܡܿܐܢܐ ܚܠܝܐ. ܫܢܐ ܓܝܪ ܡܦܝܼܠܐ ܕܐܝܼܬ̄ܘ ܐܛܝܼܡܐ ܘܫܪܝܼܪܐ ܣܝܼܡ ܗܼܘܐ ܥܒܿܕܐ ܥܠ ܟܐܦܐ ܕܣܦܝܼܠܐ ܐܘܟܝܼܬ ܩܘܼܢܥܐ ܡܐ ܓܝܪ ܕܡܬܼܦܬܟ ܒܓܪܡ ܦܝܼܠܐ ܫܘܼܦܪܐ ܣܿܓܝܐܐ ܥܒܕ ܐܦܪ̈ܕܢܝ ܗ̄ ܒܠܗܝܼ̈ܢܝ.","english":"Come, O spiritual bride, to my embrace, and pass from your heart, as you are a sojourner and a stranger, with Christ the bridegroom. A little and a curse, with these two mountains. The cedar of Lebanon. Myrrh and aloe of the trees. The reed from which the spice of perfume is made. Their standing is not of my will and my order, but it is a small piece of wood with a sweet scent, and if it is brought near to fire it heats up, and if it is thrown into hot water, likewise, and in the oil of anointing it is dissolved. And camphor is cold, and rose is hot, and the trees are. Saffron is a mixture. Myrrh and its aloe are hot. Upon the banks of waters, the banks are called \"waves,\" or small shores, those that with the meadows are joined to the islands of clouds, or with the paradises, or like gardens to the channels of desires. They swim in milk and sit when they drink water with their brightness and the running of the waters receive more radiance in their houses. Like beds, the beds for the storehouse and for the sowing of seed are called. Like a circle of gold that is stamped with gold stones. That which, when it is bound with other bodies with gold, are set in it stones in the form of a plate of the chief of priests. Or again, upon empty vessels it is stretched and set with good stones. Its belly, the work of the hour, upon the bellows, the bellows of sweet water. For the hour is a turning of what is, a foundation and a firm one, set as work upon the stone of the turning, or like a vault. For when it turns in the bone of the elephant, it makes much beauty in its parts.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܬܐܼܬܝܢ ܠܡ ܠܘܿܬ ܢܩܝܼܦܘܼܬܝ","severity":"info","text":"The Syriac phrase 'Come to my embrace' echoes the Song of Songs 2:17 (Peshitta), where the bride is invited to union; Bar Salibi reinterprets this as the soul's approach to Christ.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܐܪܙ ܢܒܼܥܗ ܕܝܘܿܪܕܢܢ","severity":"info","text":"The 'cedar of Lebanon' (Song 5:15) is a biblical image of strength and fragrance; Bar Salibi uses it to introduce a catalogue of aromatic plants, each with allegorical significance.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܡܘܼܪܐ ܘܥܠܘܝ ܕܘܼܥܬܐ ܐܢܘܿܢ ܕܐܝܼ̈ܠܢܐ","severity":"info","text":"Myrrh, aloe, and other aromatics listed here (camphor, rose, saffron) reflect the late antique pharmacopeia and perfume trade; Bar Salibi draws on natural lore to illustrate spiritual transformation.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܟܘܼܪܟܡܐ ܡܡܙܓܐ ܗܼܘ","severity":"info","text":"The description of saffron as a 'mixture' and myrrh as 'hot' parallels the humoral theory of Galenic medicine, where substances are classified by temperature and blend; Bar Salibi adapts this to sacramental anointing.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"ܥܠ ܫܦ̈ܩܐ ܕܡ̈ܝܐ","severity":"info","text":"The shift from aromatic plants to water imagery ('banks of waters', 'waves', 'islands of clouds') marks a new allegorical section: the spiritual bride's journey through purifying waters, echoing baptismal typology.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܟܪܣܗ ܥܒܿܕܐ ܕܫܢܐ","severity":"info","text":"The 'belly of the hour' and 'bellows of sweet water' likely refer to a mechanical device (water organ or automaton), showing Bar Salibi's engagement with contemporary technology as metaphor for divine order.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Syriac text at 'ܬܐܼܬܝܢ ܠܡ ܠܘܿܬ ܢܩܝܼܦܘܼܬܝ' is partially corrupt; the reading 'Come to my embrace' is conjectural based on context and parallel passages.","The phrase 'ܟܪܣܗ ܥܒܿܕܐ ܕܫܢܐ' is ambiguous: it may refer to a water clock or a hydraulic organ; the translation 'bellows of sweet water' follows the English draft but is uncertain."],"confidence":"medium","notes":[]},{"i":6,"ref":"p6","source":"ܫܡܐ ܕܫܝܼܠܘܡܝܬܐ ܥܠ ܬܠܬܐ ܡܬܼܦܫܩ. ܡܫܡܼܠܝܬܐ ܘܡܠܝܬ݀ ܫܠܡܐ ܘܫܚܝܼܩܬܐ. ܘܒܙܼܢܐ ܐܚܪܢܐ ܡܬܼܢܣܒ ܗܪܟܐ ܫܐܪܟܝ ܗ̄ ܟܢܘܼܫܪܐ. ܫܐܪܐ ܦܘܼܡܐ ܗܼܘ ܕܬܪܣܝܬܐ\nܕܥܘܼܠܐ ܒܓܘ ܟܪܣܐ. ܘܒܿܬܪ ܡܦܩܼܬܗ ܕܝܠܕܐ ܡܬܼܒܛܠ ܡܼܢ ܚܫܼܚܬܗ. ܫܐܪܐ. ܡܛ݀ܠ ܗ݀ܝ ܕܠܬܕ̈ܝܐ ܘܠܦܘܼܡܐ ܦܪܝܼܫܐ ܗ݀ܕܐ ܡܘܗܒܬܐ. ܘܕܡܿܐ ܫܐܪܐ ܒܐܣܟܡܐ ܠܐܓܿܢܐ ܗܿܝ ܕܡܠܝܐ ܚܡܪܐ. ܠܫܩܘܼܬܐ ܘܠܐ ܚܿܣܪܐ. ܘܐܦ ܗܘ ܫܐܪܐ ܐܚܝܼܕ ܐܬܪܐ ܡܨܥܝܐ ܒܝܬ ܐܣܛܘܿܡܟܐ ܠܟܪܣܐ. ܥܕܡܐ ܓܝܪ ܠܬܡܿܢ ܫܠܝܼܛ ܙܒܢܼܐ ܘܒܛܢܐ ܠܡܬܼܥܠܝܘܼ ܐܟܡܿܢ ܕܗܘܼܝܘܼ ܬܚܘܼܡܐ ܥܠܝܐ ܕܡܪܒܥܐ. ܥܝܢ̈ܝܟܝ ܐܝܟ ܝܡ̈ܡܬܐ ܕܚܫܒܘܿܢ ܗ̄ ܚܫܼܒܘܿܢ ܡܕܝܼܢܬܐ ܗܘܬ݀ ܕܡܠܟܐ ܕܐܡܿܘܼܪ̈ܝܐ ܘܣܓܝܐܬ݀ ܒܐܡܢܫܘܼܬܐ ܘܫܦܝܼܪܥܐ ܒܡܒܘܼ̈ܥܐ ܘܝܡܡ̈ܬܐ. ܘܒܥܒܪܗ ܕܝܘܿܪܕܢܢ ܣܝܼܡܐ ܗܘܬ݀ ܒܫܒܒܘܼܬܐ ܕܥܡ̈ܡܼܐ ܘܐܝܟ ܬܥܐ ܐܝܼܬܝܗܿ ܗܘܬ ܠܥܡ̈ܡܐ ܠܡܥܼܠܬܐ ܕܠܐܪܥܐ ܕܡܘܼܠܟܢܐ. ܥܠ ܬܪܥܐ ܕܒܪܬ݀ ܗ̄ ܘܐܦ ܩܕܡ ܬܪܥܐ ܕܡܕܝܼܢܬܐ ܗܿܢܝܢ ܝܡܡ̈ܬܐ ܘܡܒܘܼܥ̈ܐ ܚܙܼܬܐ ܕܣܓܝ̈ܐܐ ܐܝܼܬܝܗܘܢܿ. ܟܪܡܠܐ ܛܘܼܪܐ ܗܿܘ ܡܼܢ ܬܚܘܼܡܐ ܕܥܡܐ ܓܠܝܼܠ ܓܝܪ ܘܪܡ ܘܒܪܝܼܫܗ ܐܝܼܬ ܦܩܥܼܬܐ ܘܒܗ ܟܿܐܫ ܗܼܘܐ ܠܠܝܐ. ܕܐܣܝܼܪ ܒܪ̈ܗܛܐ ܗ̄ ܪ̈ܗܛܐ ܡ̈ܐܢܐ ܐܢܘܢܿ ܕܡܬܟܼܒܫ ܒܗܘܢܿ ܣܥܪܐ ܐܘܿ ܠܘܼ̈ܠܐ ܘܠܐܦ̈ܝ ܬܪܥܐ ܕܐܪܓܘܿܢܐ ܕܩܕܡ ܡܠܟܐ ܩܿܪܐ ܪ̈ܛܐ. ܡܛ݀ܠ ܗ݀ܝ ܕܡܬܓܠܓܝܼܢ. ܐܘܿ ܪ݀ܗܛܐ ܩܿܪܐ ܠܛܒܠܪ̈ܐ ܗܿܢܘܢܿ ܕܩ݀ܛܪܝܼܢ ܐܪܓܘܢܐ ܕܡܠܟܐ ܒܪ̈ܝܫܝܗܘܢܿ ܐܘܿ ܒܟܬܦ̈ܬܗܘܢܿ ܠܥܘܼܗܕܢܐ ܕܣܘܼܥܪܢܗܘܢܿ ܐܘܿ ܟܒܼܪ ܠܪ̈ܗܛܐ ܕܡ̈ܝܐ ܩܿܪܐ ܗܿܟܢ܆ ܟܦܪܐ ܠܟܦܪ̈ܘܼܢܐ ܩܿܪܐ ܘܣܿܟܐ ܫܠܼܡ ܦܘܼܫܩܐ ܗܿܢܐ.","english":"The name of Shilomitha is interpreted in three ways. The perfect one and the one full of peace and the humble one. And another small one is taken here. The rest of her is the womb. The rest is the mouth of the third one of the child in the womb. And after the birth of the child, the rest ceases with its need. The rest, because this gift is distinct for the breasts and the mouth. And the rest is like the form of a wineskin that is full of wine, for the drinking and not lacking. And also the rest holds the middle place between the stomach and the womb. For until the time of birth, the power of food and drink is allowed to enter as they are the upper boundary of the abdomen. Your eyes are like the days of the week. The week was a well-known city of the king of the Amorites, and abundant in waters and beautiful in springs and days. And on the other side of the Jordan, it was situated in the neighborhood of the peoples, and like a gate it was for the peoples for entering the land of the Moabites. At the gate of the daughter, and also before the gate of that city, the days and springs are a sight for many. Mount Carmel is that mountain with the border of the people of Galilee, for it is high and at its top there is a cleft, and in it he was sad at night. That which is bound in the streams, the streams of the waters of the intestines that are subdued in them, hair or curls, and at the face of the gate of the purple that is before the king, he calls the streams. Because it is rolled. Or he calls the stream to the tables that are tied to the purple of the king on their heads or on their shoulders for the remembrance of their deeds. Or perhaps he calls the streams of water. Thus, the village calls to the villages, and the end of this interpretation is complete.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܫܝܼܠܘܡܝܬܐ","severity":"info","text":"The Syriac term Shilomitha is interpreted as 'perfect one,' 'full of peace,' and 'humble one,' reflecting a threefold etymological or allegorical reading.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܡܕܝܼܢܬܐ ܕܡܠܟܐ ܕܐܡܿܘܼܪ̈ܝܐ","severity":"info","text":"The 'city of the king of the Amorites' likely refers to Heshbon, a well-known Transjordanian city associated with the Amorite king Sihon, situated east of the Jordan near Moab.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܟܪܡܠܐ ܛܘܼܪܐ","severity":"info","text":"Mount Carmel is identified as a mountain on the border of Galilee, with a cleft at its top; this geographical note aligns with Syriac exegetical traditions linking the Song's landscape to biblical sites.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܫܐܪܐ","severity":"caution","text":"The term 'rest' (ܫܐܪܐ) is used repeatedly with shifting referents (womb, mouth, wineskin), creating ambiguity in the anatomical or allegorical mapping; the text may be corrupt or elliptical.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"ܦܘܼܫܩܐ","severity":"info","text":"The passage concludes with 'the end of this interpretation is complete,' marking a clear structural closure for this section of the commentary.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܝܡ̈ܡܬܐ ܕܚܫܒܘܿܥ","severity":"info","text":"The comparison of eyes to 'days of the week' may echo a known exegetical trope in Syriac commentaries, though no direct parallel is cited in the allowed sources.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The referent of 'the rest' (ܫܐܪܐ) shifts between anatomical and metaphorical senses; the text may be corrupt or deliberately multivalent.","The identity of 'the daughter' (ܒܪܬ) in 'gate of the daughter' is unclear—possibly a place name or allegorical figure."],"confidence":"medium","notes":[]}]}