{"slug":"dsc-273","id":"syriac:dsc:dsc-273","title":"Nisibis 16","author":"Ephrem the Syrian","genre":"other","date":"mid-4th 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":"2026-11-15T00:59:18Z","cost_usd":0.002309},"source":{"registry_id":"syriac:dsc:dsc-273","work_id":"dsc-273","edition":"syriac","language":"","license":"CC BY 4.0","url":"https://syriaccorpus.org/273"},"stats":{"passages":3,"english_words":709,"coptic_letters":0,"commentary_units":16,"commentary_kinds":6,"derived_notes":2,"ambiguities":7,"work_notes":5,"external_links":0,"timeline":5},"summary":{"work":"dsc-273","abstract":"The Nisibis cycle of madrāšê (teaching hymns) attributed to Ephrem the Syrian is a collection of liturgical poems composed in Syriac, traditionally dated to the 360s CE during the Persian sieges of Nisibis. The hymns employ isosyllabic stanzas and refrains, developing typological and exegetical themes. The Syriac text survives in manuscripts from the 6th century onward, with significant variation in stanza order and number. These hymns were later incorporated into the East Syriac liturgical cycle for the Feast of the Nicene Fathers and Rogation days, indicating their enduring catechetical use. The edition lacks a full critical apparatus; readers are directed to Beck’s CSCO edition for detailed stemmatic analysis.","historical_context":"Ephrem the Syrian (c. 306–373 CE) composed the Nisibis hymns in Syriac, likely in the 360s CE, during the Persian sieges of Nisibis under Shapur II. Nisibis, a frontier city of the Roman Empire in Upper Mesopotamia, was a center of Syriac Christianity. The hymns reflect the community's experience of siege and their theological response, using typology and exegesis to interpret contemporary events. The collection as transmitted may include later editorial additions, as the earliest surviving Syriac manuscripts date from the 6th century. The hymns were later incorporated into the East Syriac liturgical cycle, indicating their ongoing use in catechesis and liturgy. The textual tradition shows significant variation in stanza order and number across witnesses, complicating reconstruction of the original cycle.","significance":"The Nisibis hymns are a key witness to Ephrem’s poetic and theological method, blending liturgical form with exegetical reflection on contemporary events. They provide insight into the Syriac Christian response to persecution and siege, and their later liturgical use demonstrates their enduring authority in East Syriac tradition. The hymns also illustrate the development of the madrāšâ genre and its role in communal worship and instruction.","timeline":[{"date":"c. 306–373 CE","event":"Life of Ephrem the Syrian"},{"date":"360s CE","event":"Composition of the Nisibis hymns (traditional dating)"},{"date":"363 CE","event":"Persian siege of Nisibis; city ceded to Persia"},{"date":"6th century","event":"Earliest surviving Syriac manuscripts of the Nisibis hymns"},{"date":"4th–6th centuries","event":"Editorial additions and liturgical incorporation into East Syriac cycle"}],"relations":[{"work":"Ephrem the Syrian, Hymns on Faith","relation":"Similar madrāšê genre and theological themes","key":"","label":null,"url":null},{"work":"Ephrem the Syrian, Hymns on Paradise","relation":"Another cycle of Ephrem’s liturgical poetry","key":"","label":null,"url":null},{"work":"Beck’s CSCO edition of the Nisibis hymns","relation":"Critical edition with stemmatic analysis","key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"},{"work":"East Syriac liturgical cycle for the Feast of the Nicene Fathers","relation":"Later liturgical use of the hymns","key":"","label":null,"url":null},{"work":"Rogation days in East Syriac tradition","relation":"Liturgical context for the hymns","key":"","label":null,"url":null}],"external_links":[],"cautions":["The traditional dating of the Nisibis hymns to the 360s CE is plausible but not certain; the collection may include later editorial additions.","The earliest surviving Syriac manuscripts date from the 6th century, leaving a gap of about two centuries from the original composition.","Significant variation in stanza order and number across manuscripts complicates reconstruction of the original cycle.","The edition lacks a full critical apparatus; readers should consult Beck’s CSCO edition for detailed stemmatic analysis."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.000493,"generated":"2026-11-15T00:32:38Z"},"checks":{"work":"dsc-273","status":"pass","blocking":[],"warnings":[],"stats":{"passages":3,"translated":3,"commentary_passages":3,"commentary_units":16,"english_words":709,"source_letters":2429,"commentary_kinds":6},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"info","text":"The madrāšê of the Nisibis cycle employ isosyllabic stanzas and refrain structures typical of Ephrem’s liturgical poetry, with each stanza developing a typological or exegetical theme.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"dating","kind":"chronology","basis":"background","lemma":"","severity":"info","text":"The Nisibis hymns are traditionally dated to the 360s CE, during the Persian sieges of Nisibis, but the collection as transmitted may include later editorial additions.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"caution","text":"The Syriac text survives in manuscripts no earlier than the 6th century, with significant variation in stanza order and number across witnesses.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"These hymns were incorporated into the East Syriac liturgical cycle for the Feast of the Nicene Fathers and for Rogation days, indicating their enduring catechetical use.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"caution","text":"This edition does not provide a full critical apparatus for manuscript variants; readers should consult Beck’s CSCO edition for detailed stemmatic analysis.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"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: other in classical Syriac; the English keeps the liturgical formulae and the vocatives rather than normalising them."},{"kind":"structure","severity":"info","text":"Passages: 3 narrative."},{"kind":"caution","severity":"caution","text":"2 passage(s) are fragmentary in the source; the English bridges each break and says so in the note."},{"kind":"source","severity":"info","text":"Source edition: syriac — CC BY 4.0"}],"derived_structure":{"narrative":3},"term_index":[],"citations":{"ed:dsc-273":{"label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}},"segments":[{"i":1,"ref":"p1","source":"ܒ ܒܰܪ ܩܳܠܶܗ\nܒܗܳܕܶܐ ܥܕܺܝܠܳܐ ܡܰܚܙܺܝܬܳܐ ܐܶܢ ܥܰܡܽܘܛܳܐ ܫܰܦܝܽܘܬܳܗ̇\nܕܺܐܝܬ ܟܽܘܬܡ̈ܳܬܳܐ ܒܰܩܢܽܘܡܳܗ̇ ܕܗܳܘܝܳܐ ܠܳܗ̇ ܨܳܐܬܳܐ ܕܰܥܠܶܝܗ̇\nܬܰܚܦܺܝܬܳܐ ܩܕܳܡ ܚ̈ܰܙܳܝܶܐ\nܥܽܘܢܺܝܬܳܐ: ܒܪܺܝܟ ܕܡܰܪܩܳܗ̇ ܠܡܰܚܙܺܝܬܰܢ\nܕܠܳܐ ܫܽܘܦܪܳܐ ܡܶܨܛܰܒܰܬ ܒܳܗ̇ ܘܠܳܐ ܡܽܘܡܳܐ ܡܶܬܟܰܐܰܪ ܒܳܗ̇\nܬܽܘܟܳܐ [ܗ̱ܝ ܟܽܠܳܗ̇ ܠܫܰܦܺܝܪ̈ܶܐ ܕܠܳܐ ܡܶܬܬܰܓܪܺܝܢ ܫܽܘܦܪ̈ܰܝܗܽܘܢ\nܬܰܨ̈ܒܝܳܬܳܐ ܐܰܝܟ ܝܽܘܬܪ̈ܳܢܶܐ\nܠܳܐ ܡܽܘܡ̈ܶܐ ܡܶܬܥܰܩܪܺܝܢ ܒܳܗ̇ ܐܳܦ ܠܳܐ ܨ̈ܶܒܬܶܐ ܣܳܓܺܝܢ ܒܳܗ̇\nܡܽܘܡܳܐ ܕܩܰܘܺܝ ܐܰܝܟ ܬܽܘܟܰܐ ܗ̱ܘ ܕܠܳܐ ܗ̱ܘܳܐ ܨܶܒܬܳܐ ܚܽܘܣܪܳܢܰܐ ܗ̱ܘ\nܦܓܰܥ ܠܶܗ ܬܽܘܟܳܐ ܒܚܽܘܣܪܳܢܳܐ\nܡܰܚܙܺܝܬܰܢ ܐܶܢ ܚܶܫܽܘܟܳܐ ܚܰܕܽܘܬܳܐ ܗ̱ܝ ܟܽܠܳܗ̇ ܕܰܣܢ̈ܰܝܳܐ\nܕܠܳܐ ܡܶܬܟܰܣܣܺܝܢ ܡܽܘܡܰܝ̈ܗܽܘܢ ܐܶܢ ܕܶܝܢ ܡܪܺܝܩܳܐ ܘܢܰܗܺܝܪܳܐ\nܕܚܺܐܪܽܘܬܰܢ ܗܳܝ ܕܬܶܨܰܛܒܰܬ݀\nܥܰܦ ܠܶܗ ܬܽܘܟܳܐ ܒܚܽܘܣܪܳܢܳܐ ܠܰܣ̈ܢܰܝܳܐ ܘܰܠܫܰܦܺܝܪ̈ܶܐ\nܕܠܳܐ ܫܰܦܺܝܪ̈ܶܐ ܐܶܬܟ̇ܰܠܠܰܘ ܘܳܐܦ ܠܳܐ ܣ̈ܢܰܝܳܐ ܐܶܨܛܰܒܰܬܘ̱\nܬܽܘܟܳܐ ܦܶܠܓܰܬ ܡܰܚܙܺܝܬܳܐ\nܠܳܐ ܡܬܽܘܡ ܕܰܒܪ̱ܰܬ ܡܰܚܙܺܝܬܳܐ ܒܰܩܛܺܝܪܳܐ ܠܰܕܚܳܐܰܪ ܒܳܗ̇\nܐܳܦ ܠܳܐ ܛܰܝܒܽܘܬܳܐ ܕܶܐܬܳܬ݀ ܥܰܠ ܟܺܐܢܽܘܬܶܗ ܕܢܳܡܽܘܣܳܐ\nܩܳܢܼܝܳܐ ܩܛܺܝܪܶܗ ܕܢܳܡܽܘܣܳܐ\nܗܼܘܳܬ ܟܺܐܢܽܘܬܳܐ ܠܛܰܠܝܽܘܬܳܐ ܡܨܰܒܬܳܢܺܝܬܳܐ ܕܰܩܛܺܝܪܳܐ\nܕܛܰܠܝܳܐ ܗܘܳܬ ܓܶܝܪ ܐ̱ܢܳܫܽܘܬܳܐ ܨܰܒܶܬܬܳܗ̇ ܗܘܳܬ ܒܰܩܛܺܝܪܳܐ\nܟܰܕ ܠܳܐ ܓܶܠܙܰܬ ܚܺܐܪܽܘܬܳܗ̇\nܫܕܳܠܳܐ ܘܫܰܒܛܳܐ ܐܶܚܕܰܬ ܗܘܳܬ ܟܺܐܢܽܘܬܳܐ ܨܶܝܕ ܛܰܠܝܽܘܬܳܐ\nܡܳܐ ܕܰܡܚܳܬܳܗ̇ ܫܰܓܶܫܬܳܗ̇ ܫܰܒܛܳܗ̇ ܚܽܘܨܦܳܐ ܙܰܓܰܪ ܗ̱ܘܳܐ\nܫܕܳܠܳܗ̇ ܪܰܓܺܝ ܪ̈ܶܥܝܳܢܶܐ]\n------ ܕܢܶܨܛܰܒܰܬ ܝܰܘܡܳܢ ܐܰܚ̈ܰܝ\nܠܣܰܒܪܽܘܬܳܐ ܐ̱ܚܰܪܬܳܐ ܫܰܒܪܰܐ ܗ̱ܘ ܒܙܰܒܢܳܐ ܕܪܰܒܽܘܬ ܪܶܥܝܳܢܳܐ","english":"In the voice of his son,\n\nIn this present spectacle, the beautiful one shows the depth of her simplicity,\n\nThat there are seals in her substance, that she has a side upon which\n\nA covering is placed before the viewers:\n\nA hidden one. Blessed is the one who adorns the spectacle\n\nWithout beauty being fashioned in it, and without a blemish being defiled in it.\n\nA middle [is] she, all of her, for the beautiful ones whose beauties are not bartered.\n\nAdornments like advantages,\n\nBlemishes are not uprooted in her, nor do faults increase in her.\n\nA blemish that is firm like a middle, that which was not a fault, a loss it was.\n\nThe middle encountered loss.\n\nThe spectacle is a dark joy, all of her, for the blind,\n\nWhose blemishes are not covered; but for the empty and clear one,\n\nThat freedom of yours which is to be fashioned,\n\nThe middle encountered loss for the blind and the beautiful ones.\n\nThe not-beautiful were crowned, and the blind were not fashioned.\n\nThe middle divided the spectacle.\n\nThere is no end that the spectacle bore in the short one for the one who looks after her,\n\nNor the grace that came upon the distress of the tyrant.\n\nThe short one of the tyrant is a voice.\n\nDistress was for youth, a fashioning of the short one,\n\nFor the youth was indeed a service; its fashioning was in the short one,\n\nWhile its freedom did not shave.\n\nThrowing and striking, distress began against youth.\n\nWhen her blow disturbed her, her strike, insolence, rebuked;\n\nHer throw is pleasing to the minds.\n\n------ That was fashioned on the days of my brothers\n\nFor another hope, it is a child in the sacrifice of the greatness of the mind.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܬܽܘܟܳܐ","severity":"info","text":"The term ܬܽܘܟܳܐ (tukkā) is ambiguous, meaning 'middle' or 'center' but also 'compensation' or 'exchange' in Syriac. Here it likely denotes a mediating principle or a point of balance in the spectacle.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"text","lemma":"ܩܛܺܝܪܳܐ","severity":"info","text":"The word ܩܛܺܝܪܳܐ (qṭīrā) means 'short one' but also 'knot' or 'bond'. In context, it may refer to a person (perhaps a child or a subordinate) or a symbolic constraint; the translation opts for 'short one'.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܢܳܡܽܘܣܳܐ","severity":"info","text":"The term ܢܳܡܽܘܣܳܐ (ʿāmōsā) is a Greek loanword (τύραννος) meaning 'tyrant'. In Ephrem's context, it likely refers to a Persian or Roman oppressor, possibly Shapur II, against whom Nisibis was defended.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"------","severity":"info","text":"The line of dashes marks a structural break, separating the main body of the stanza from a concluding couplet that addresses 'my brothers' and introduces a new theme of hope and sacrifice.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"ܚܺܐܪܽܘܬܰܢ","severity":"info","text":"The phrase 'your freedom' (ܚܺܐܪܽܘܬܰܢ) shifts to a second-person address, likely the audience or the community, contrasting the 'empty and clear one' with the constrained blind and beautiful ones.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܣ̈ܢܰܝܳܐ","severity":"caution","text":"The term ܣ̈ܢܰܝܳܐ (saʿyē) is translated as 'blind', but it can also mean 'ignorant' or 'foolish'. The exact nuance is uncertain; the context of 'not being fashioned' suggests a lack of perception or spiritual insight.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the 'son' in the opening phrase is unclear; it may be a literal son or a metaphorical disciple.","The relationship between 'middle' (tukkā) and 'loss' (ḥusrānā) is ambiguous—whether the middle causes loss or suffers it.","The 'short one' (qṭīrā) could be a person, a symbol, or a textual unit; the translation's choice is tentative."],"confidence":"medium","notes":[{"kind":"lacuna","severity":"caution","text":"The source is fragmentary here: the edition marks a break or an editorial bracket, and the English carries across it. Treat the bridge as supplied, not translated."}]},{"i":2,"ref":"p2","source":"ܗܳܘܶܐ ܠܶܗ ܗܽܘ ܕܠܳܐ ܪܶܥܝܳܢܳܐ\nܒܕܰܪܓܳܐ ܓܶܝܪ ܕܰܓܡܺܝܪܽܘܬܳܐ ܢܚܼܶܬ ܠܶܗ ܗ̱ܽܘ ܠܺܝܠܽܘܕܽܘܬܳܐ\nܠܗܰܘ ܢܳܡܽܘܣ ܥܰܒ̈ܕܶܐ ܪܳܚܶܡ ܕܰܐܝܟܳܐ ܕܡܰܡܪܰܚ ܡܳܚܶܐ ܠܶܗ\nܘܰܐܝܟܳܐ ܕܡܰܦܨ̇ܰܚ ܩܳܦܰܚ ܠܶܗ\nܟܽܠܶܗ ܨܶܒܬܶܗ ܕܰܩܛܺܝܪܳܐ ܠܳܐ ܗ̱ܘܳܐ ܫܰܪܺܝܪܳܐ ܕܰܫܐܺܝܠܰܐ ܗ̱ܘ\nܗܳܕܶܐ ܪܰܒܳܐ ܠܰܐܠܳܗܳܐ ܕܡܶܢ ܢܰܦܫܶܗ ܐ̱ܢܳܫ ܢܶܨܛܰܒܰܬ݀\nܒܰܕܓܽܘܢ ܫܰܩܠܶܗ ܠܰܩܛܺܝܪܳܐ\nܕܰܐܝܟܰܢܳܐ ܕܦܳܪܽܘܫܳܐܺܝܬ ܒܙܰܒܢܶܗ ܝܰܗܒܶܗ ܠܰܩܛܺܝܪܳܐ\nܗܳܟܰܢܳܐ ܦܳܪܽܘܫܳܐܺܝܬ ܫܰܩܠܶܗ ܒܙܰܒܢܳܐ ܕܰܚܠܳܦܰܘܗ̱ܝ\nܡܰܟܺܝܟܽܘܬܳܐ ܡܶܬܒܰܥܝܳܐ\nܕܰܟܡܳܐ ܕܝܳܐܶܐ ܠܛܰܠܝܽܘܬܳܐ ܕܰܗܘܳܬ ܪܶܗܛܳܐ ܬܚܶܝܬ ܫܰܒܛܳܐ\nܣܢܳܐ ܣܰܓܺܝ ܕܰܬܚܶܝܬ ܫܰܒܛܳܐ ܬܶܫܬܰܥܒܰܕ ܚܰܟܺܝܡܽܘܬܳܐ\nܕܰܩܛܺܝܪܳܐ ܡܳܪܳܐ ܢܗܶܐ ܠܳܗ̇\nܚܽܘܪ ܗܳܟܺܝܠ ܐܰܝܟ ܛܰܟܶܣ ܐܳܦ ܐܰܠܳܗܳܐ ܝܽܘܒ̈ܳܠܰܝ\nܒܪ̈ܳܥܰܘܳܬܳܐ ܕܰܗܘܰܘ ܠܺܝ ܘܰܒܡ̈ܰܠܦܳܢܶܐ ܕܝܰܗ̱ܒ ܠܺܝ\nܘܒܰܐܒ̈ܳܗܶܐ ܕܡܰܢܺܝ ܠܺܝ\nܕܰܬܩܺܝܠܺܝܢ ܥܰܡ ܙܰܒ̈ܢܰܝܗܽܘܢ ܥܽܘܕܪ̈ܳܢܶܐ ܕܶܐܣܟܺܡ̈ܰܝܗܽܘܢ\nܕܒܰܐܝܢܳܐ ܕܙܳܕܶܩ ܕܽܘܚܳܠܳܐ ܘܒܰܐܝܢܳܐ ܕܚܳܫܰܚ ܠܽܘܒܳܒܳܐ\nܘܒܰܐܝܢܳܐ ܕܘܳܠܶܐ ܡܽܘܟܳܟܳܐ\nܒܡܰܬܩܳܠܳܐ ܗܰܠܶܟ ܡܽܘܫ̈ܚܳܬܝ̱ ܠܛܰܠܝܽܘܬܝ̱ ܐܰܣܪܰܚ ܣܽܘܪܳܕܳܐ\nܐܳܦ ܠܰܥܠܰܝܡܽܘܬܝ̱ ܕܽܘܚܳܠܳܐ ܠܚܰܟܺܝܡܽܘܬܝ̱ ܘܰܠܦܳܪܽܘܫܽܘܬܝ̱\nܐܰܣܪܰܚ ܝܰܗ̱ܒ ܠܳܗ̇ ܡܽܘܟܳܟܳܐ\nܒܚܽܘܨܦܳܐ ܘܕܰܪܓܳܐ ܕܛܰܠܝܽܘܬܳܐ ܡܪܰܒܝܳܢܳܐ ܕܚܺܝܠܳܐ ܗ̱ܘܳܐ ܠܺܝ\nܫܰܒܛܶܗ ܙܰܓܪܰܢܝ̱ ܡܶܢ ܫܶܒܝܳܐ ܘܡܶܢ ܣܽܘܪܚܳܢܳܐ ܣܽܘܪܳܕܶܗ\nܘܡܶܢ ܦܽܘܢܳܩܳܐ ܕܽܘܚܳܠܶܗ\nܐܰܒܳܐ ܐ̱ܚܪܺܢܳܐ ܝܰܗ̱ܒ ܠܰܥܠܰܝܡܽܘܬܝ̱ ܕܺܐܝܬ ܗ̱ܘܳܐ ܒܺܝ ܡܶܢ ܛܰܠܝܽܘܬܳܐ\nܐܺܝܬ ܗ̱ܘܳܐ ܒܶܗ ܡܶܢ ܩܰܫܝܽܘܬܳܐ ܕܺܐܝܬ ܗ̱ܘܳܐ ܒܺܝ ܡܶܢ ܣܰܝܒܽܘܬܳܐ\nܐܺܝܬ ܗ̱ܘܳܐ ܒܶܗ ܡܰܟܺܝܟܽܘܬܳܐ","english":"He had that which is without thought,\nFor by the step of perfection, that one descended to infancy,\nTo that law which loves servants, where it extends, it strikes him,\nAnd where it expands, it leaps upon him.\nAll his intention regarding the knot was not true, for it was a question.\nThis great thing for God, who from himself made a sign, was prepared.\nIn the likeness he took the knot,\nSo that just as distinctly in his offering he gave the knot,\nSo distinctly he took it in the offering of his replacements.\nHumility is required,\nFor how fitting it is for the childhood that was a run under the rod.\nIt is very fitting that under the rod, wisdom be subjected,\nFor the knot is master over it.\nLook therefore, according to the order, also my God,\nIn the intentions that were mine and in the teachings that he gave me,\nAnd in the fathers who brought me,\nThat they be weighed with their offerings, the forms of their schemes,\nIn which one is worthy of authority and in which one is suitable for reproach,\nAnd in which one is fitting for humility.\nIn the balance, let my habits walk; for my childhood I let loose the rein.\nAlso for my youth, authority for my wisdom and for my distinctness,\nI let loose, giving it humility.\nIn boldness and the step of childhood, the nourisher of strength was to me.\nHis rod restrained me from captivity and from the corruption of its rein,\nAnd from the loosening of its authority.\nA different father gave to my youth that which was in me from childhood.\nThere was in him from the hardness that was in me from old age.\nThere was in him humility.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"glossary","lemma":"ܩܛܺܝܪܳܐ","severity":"info","text":"The term qṭīrā (knot) is a key symbol in Ephrem's madrāšē, often denoting a binding or covenant, here possibly the bond between God and humanity or the mystery of the incarnation.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"background","lemma":"","severity":"info","text":"The imagery of the 'rod' (šabṭā) and 'childhood running under the rod' reflects the educational and disciplinary practices of late antique Syriac schools, where the rod was a symbol of authority and correction.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"","severity":"info","text":"The passage shifts from a third-person description of the 'knot' and its divine preparation to a first-person address ('my God', 'my childhood'), marking a transition from theological reflection to personal application.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"","severity":"info","text":"The pairing of 'authority' (duḵālā) and 'reproach' (lūbābā) with 'humility' (makkīḵūṯā) echoes Ephrem's frequent dialectic between pride and humility, especially in his Hymns on Faith.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"","severity":"caution","text":"The phrase 'a different father gave to my youth' is ambiguous: it may refer to a spiritual father or teacher distinct from the biological father, but the Syriac does not specify the identity.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'the knot' (qṭīrā) is not explicitly defined; it may refer to a theological mystery, a covenant, or a symbolic object.","The phrase 'a different father' (ʾaḇā ʾaḥrīṯā) could denote a spiritual mentor or a second paternal figure, but the text does not clarify.","The relationship between 'the step of perfection' and 'infancy' is paradoxical and may be intentionally apophatic."],"confidence":"medium","notes":[]},{"i":3,"ref":"p3","source":"ܟܰܕ ܐܶܬܥܰܠܺܝܬ ܡܶܢ ܕܰܪ̈ܓܶܐ ܕܛܰܠܝܽܘܬܳܐ ܘܰܥܠܺܝܡܽܘܬܳܐ\nܥܒܼܰܪ ܣܽܘܪܳܕܳܐ ܩܰܕܡܳܝܳܐ ܥܒܼܰܪ ܕܽܘܚܳܠܳܐ ܬܶܢܝܳܢܳܐ\nܝܰܗ̱ܒ ܠܺܝ ܪܳܥܝܳܐ ܒܰܣܺܝܡܳܐ\nܗܳܐ ܠܰܓܡܺܝܪܽܘܬܝ̱ ܡܶܐܟܽܘܠܬܶܗ ܘܰܠܚܰܟܺܝܡܽܘܬܝ̱ ܬܽܘܪ̈ܓܳܡܰܘܗ̱ܝ\nܘܰܠܫܰܠܝܽܘܬܝ̱ ܡܰܟܺܝܟܽܘܬܶܗ ܘܰܠܢܺܝܚܽܘܬܝ̱ ܒܰܣܺܝܡܽܘܬܶܗ\nܘܰܠܢܰܟܦܽܘܬܝ̱ ܝܰܩܺܝܪܽܘܬܶܗ\nܒܪܺܝܟ ܗ̱ܽܘ ܕܰܐܝܟ ܕܒܰܡܣܰܐܬܳܐ ܬܰܩܶܠ ܘܝܰܗ̱ܒ ܠܺܝ ܐܰܒ̈ܳܗܶܐ\nܕܠܽܘܩܒܰܠ ܙܰܒ̈ܢܰܝ ܥܽܘܕܪ̈ܳܢܰܝ ܘܠܽܘܩܒܰܠ ܟܺܐܒ̈ܰܝ ܣܰܡ̈ܳܡܢܰܝ\n[ܘܠܽܘܩܒܰܠ ܫܽܘܦܪ̈ܰܝ ܬܰܨ̈ܒܺܝܬܰܝ\nܚܢܰܢ ܗܽܘ ܗܳܟܺܝܠ ܕܰܘܶܕܢܳܝܗ̱ܝ ܠܝܽܘܒܳܠܳܐ ܘܛܶܟܼܣܳܐ ܦܰܐܝܳܐ\nܕܰܒܙܰܒܢܳܐ ܕܰܪܡܺܝܣܽܘܬܳܐ ܗܳܐ ܒܳܥܶܝܢܰܢ ܩܰܫܝܽܘܬܳܐ\nܕܬܶܟܼܐܶܐ ܒܰܢ ܐܰܝܟ ܒܰܛܠܳܝ̈ܶܐ]","english":"When I was raised from the steps of childhood and youth,\nthe first threshold passed, the threshold of adolescence passed,\nit gave me a sweet shepherd.\nBehold, for my perfection, his food; and for my wisdom, his interpretations;\nand for my tranquility, his humility; and for my sweetness, his pleasantness;\nand for my severity, his gravity.\nBlessed is he who, as if by a measure, weighed and gave me fathers\nagainst my storms of wrath, and against my pains of poison,\n[and against my beauties of desire.\nHe it is, then, who prepared for me a yoke and a seemly order,\nthat in the storm of trampling, behold, harshness seeks\nto be seated in it like a child.]","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"glossary","lemma":"ܪܳܥܝܳܐ ܒܰܣܺܝܡܳܐ","severity":"info","text":"The phrase 'sweet shepherd' (rāʿyā basīmā) likely refers to a spiritual guide or bishop, possibly Jacob of Nisibis, a common figure in Ephrem's madrashe. The term 'shepherd' is a standard Syriac Christian metaphor for a pastoral leader.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"","severity":"info","text":"The passage is structured as a series of antithetical pairs: the speaker's perfection vs. the shepherd's food, wisdom vs. interpretations, tranquility vs. humility, etc. This rhetorical pattern is typical of Ephrem's poetic style, emphasizing balance and contrast.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"background","lemma":"","severity":"info","text":"The 'steps of childhood and youth' and the 'threshold of adolescence' reflect a biographical or spiritual progression, common in Syriac ascetical literature. The mention of 'fathers' given against 'storms of wrath' and 'pains of poison' suggests a monastic or pedagogical context where elders provide guidance against passions.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"","severity":"caution","text":"The final bracketed lines in the English draft (from 'and against my beauties of desire' to 'like a child') are present in the Syriac but may be a later addition or variant. The manuscript tradition for Nisibis 16 is not fully stable, and these lines could be a scribal gloss or interpolation.","cites":[{"key":"ed:dsc-273","label":"source edition: Nisibis 16","url":"https://syriaccorpus.org/273"}],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"","severity":"info","text":"The image of a 'yoke and a seemly order' (ܢܘܒܳܠܳܐ ܘܛܶܟܼܣܳܐ ܦܰܐܝܳܐ) parallels Ephrem's Hymns on Faith and Hymns against Julian, where he uses similar language for ecclesiastical discipline and the ordering of the soul under divine law.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of the 'sweet shepherd' is not explicitly named; it may be Jacob of Nisibis or a generic figure. The bracketed final lines may be a later addition; the reading here includes them as part of the passage."],"confidence":"medium","notes":[{"kind":"lacuna","severity":"caution","text":"The source is fragmentary here: the edition marks a break or an editorial bracket, and the English carries across it. Treat the bridge as supplied, not translated."}]}]}