{"slug":"dsc-305","id":"syriac:dsc:dsc-305","title":"Nisibis 51","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":"2026-11-15T04:53:30Z","cost_usd":0.001086},"source":{"registry_id":"syriac:dsc:dsc-305","work_id":"dsc-305","edition":"syriac","language":"","license":"CC BY 4.0","url":"https://syriaccorpus.org/305"},"stats":{"passages":4,"english_words":893,"coptic_letters":0,"commentary_units":22,"commentary_kinds":8,"derived_notes":0,"ambiguities":10,"work_notes":4,"external_links":4,"timeline":5},"summary":{"work":"dsc-305","abstract":"Nisibis 51 is a madrāšā (teaching hymn) by Ephrem the Syrian, composed during or shortly after the Persian siege of Nisibis in 350 CE. The poem reflects the Christian identity of the city under Shapur II and employs stanzaic structure and acrostic patterns. It survives in Syriac manuscripts, with earliest witnesses from the 6th century. The work was later incorporated into the East Syriac liturgical cycle for the Feast of the Martyrs, serving catechetical and commemorative functions. The edition lacks a full critical apparatus, and some manuscript divergences in stanza order remain unresolved.","historical_context":"Ephrem the Syrian (c. 306–373 CE) composed the madrāšê of the Nisibis cycle while living in Nisibis, a frontier city of the Roman Empire frequently besieged by Sasanian Persia. The siege of 350 CE under Shapur II forms the immediate backdrop, with the poem articulating Christian resistance and identity. The Syriac-speaking community of Nisibis was a vibrant center of early Syriac Christianity, where Ephrem served as a deacon and teacher. The madrāšā genre, characterized by strophic verse and acrostic patterns, was used for liturgical and catechetical instruction. The text was transmitted in multiple manuscripts, the earliest dating to the 6th century, and was later adopted into the East Syriac liturgical tradition for the Feast of the Martyrs, indicating its enduring authority. The edition notes some manuscript divergences in stanza order but does not fully resolve them, reflecting the fluidity of oral and written transmission.","significance":"Nisibis 51 exemplifies Ephrem's poetic theology, blending biblical imagery with contemporary polemic against perceived heresies such as those of Bar Dayṣan. Its incorporation into the East Syriac liturgy underscores its role in shaping communal identity and memory. The work also provides insight into the Christian experience of Sasanian persecution and the use of hymnody for theological education.","timeline":[{"date":"c. 306–373 CE","event":"Life of Ephrem the Syrian"},{"date":"350 CE","event":"Persian siege of Nisibis under Shapur II; composition of Nisibis 51"},{"date":"4th century","event":"Ephrem composes the Nisibis cycle of madrāšê"},{"date":"6th century","event":"Earliest surviving Syriac manuscripts of the Nisibis madrāšê"},{"date":"Late antique period","event":"Incorporation into East Syriac liturgical cycle for Feast of the Martyrs"}],"relations":[{"work":"Nisibis cycle (Ephrem the Syrian)","relation":"Part of a larger collection of madrāšê on Nisibis","key":"","label":null,"url":null},{"work":"Prose Refutations (Ephrem the Syrian)","relation":"Ephrem's prose works against Bar Dayṣan share polemical themes","key":"","label":null,"url":null},{"work":"Hymns on Faith (Ephrem the Syrian)","relation":"Similar use of acrostic and stanzaic structure","key":"","label":null,"url":null},{"work":"Book of Martyrs (East Syriac tradition)","relation":"Liturgical context for the Feast of the Martyrs","key":"","label":null,"url":null}],"external_links":[{"key":"wikipedia:Ephrem the Syrian","label":"Ephrem the Syrian","url":"https://en.wikipedia.org/wiki/Ephrem_the_Syrian","reason":"Biographical and historical context for the author"},{"key":"wikipedia:Shapur II","label":"Shapur II","url":"https://en.wikipedia.org/wiki/Shapur_II","reason":"Historical context of the Persian siege"},{"key":"wikipedia:Nisibis","label":"Nisibis","url":"https://en.wikipedia.org/wiki/Nusaybin","reason":"Geographical and historical setting of the work"},{"key":"wikipedia:Madrasha","label":"Madrasha","url":"https://en.wikipedia.org/wiki/Madrasa","reason":"Genre of the work (teaching hymn)"}],"cautions":["The exact date of composition is not certain; it is placed during or shortly after the 350 CE siege based on internal references.","Manuscript divergences in stanza order are noted but not fully resolved, indicating possible textual fluidity.","The edition lacks a critical apparatus of variant readings, limiting certainty about the original form."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.00047,"generated":"2026-11-15T00:40:01Z"},"checks":{"work":"dsc-305","status":"pass","blocking":[],"warnings":[],"stats":{"passages":4,"translated":4,"commentary_passages":4,"commentary_units":22,"english_words":893,"source_letters":2993,"commentary_kinds":8},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"dating","kind":"chronology","basis":"external","lemma":"","severity":"info","text":"Nisibis 51 is one of Ephrem’s madrāšê composed during or shortly after the Persian siege of Nisibis in 350 CE, reflecting the city’s Christian identity under Shapur II.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"info","text":"The Syriac text survives in multiple manuscripts, with the earliest witnesses dating to the 6th century; the stanzaic structure and acrostic patterns are well preserved.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"This madrāšā was incorporated into the East Syriac liturgical cycle for the Feast of the Martyrs, indicating its enduring catechetical and commemorative use.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"text","lemma":"","severity":"caution","text":"The edition does not include a critical apparatus of variant readings; some manuscript divergences in stanza order are noted but not fully resolved.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"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: 4 narrative."},{"kind":"source","severity":"info","text":"Source edition: syriac — CC BY 4.0"}],"derived_structure":{"narrative":4},"term_index":[],"citations":{"ed:dsc-305":{"label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}},"segments":[{"i":1,"ref":"p1","source":"ܥܰܠ ܩܳܠܳܐ ܐܳܘ ܝܳܗܽܘܒܳܐ ܕܦܽܘܪ̈ܫܳܢܶܐ\nܒܙܺܝܙܳܢܳܐ ܦܶܓܥܶܬ ܐܰܚܰܝ̈\nܕܰܠܒܺܝܫ ܗ̱ܘܳܐ ܓܰܘܢܳܐ ܕܚ̈ܶܛܶܐ\nܕܰܢܕܰܘܶܕ ܙܰܪܥܳܐ ܛܳܒܳܐ\nܘܕܶܐܬܦܰܩܰܕܘ̱ ܐܰܟܳܪ̈ܶܐ\nܠܳܐ ܫܰܩܠܽܘܗ̱ܝ ܐܳܦ ܠܳܐ ܥܰܩܪܽܘܗ̱ܝ\nܘܳܐܦܶܢ ܐܰܗܡܺܝܘ ܐܰܟܳܪ̈ܶܐ\nܥܫܶܢ ܙܰܪܥܳܐ ܡܶܢ ܙܺܝ̈ܙܳܢܶܐ\nܪܰܒܺܝ ܘܰܣܓܺܝ ܘܚܰܦܺܝ ܚܰܢܩܶܗ\nܥܽܘܢܺܝܬܳܐ: ܠܳܟ ܬܶܫܒܽܘܚܬܳܐ ܡܰܚܶܐ ܟܽܠ\nܦܓܰܥ ܒܺܝ ܟܬܳܒܶܗ ܕܒܰܪ ܕܰܝܨܳܢ\nܘܶܐܬܐܰܠܨܶܬ ܕܰܡܠܶܐ ܫܳܥܳܐ\nܐܰܣܪܰܚ ܐܶܕ̈ܢܰܝ ܕ̈ܰܟܝܳܬܳܐ\nܘܶܐܥܒܶܕ ܐܶܢܶܝܢ ܡܰܥܒܰܪܬܳܐ\nܠܡܰܡܠ̱ܠܳܐ ܕܰܡܠܶܐ ܓܽܘܕܳܦܳܐ\n܀܀܀ ܪܶܗܛܶܬ ܬܽܘܒ ܐܰܣܚܺܝܬ ܐܶܢܶܝܢ\nܒܩܶܪܝܳܢܳܐ ܫܰܦܝܳܐ ܘܕܰܟܝܳܐ\nܕܰܟܬܳܒܶܝ̈ܗ̇ ܕܰܐܠܳܗܽܘܬܳܐ\nܫܶܡܥܶܬ ܡܶܢ ܗܰܘ ܩܶܪܝܳܢܳܐ\nܟܰܕ ܓܰܕܶܦ ܥܰܠ ܟܺܐܢܽܘܬܳܐ\nܘܥܰܠ ܒܰܪ̱ܬ ܙܰܘܓܳܗ̇ ܛܰܝܒܽܘܬܳܐ\nܐܶܢ ܓܶܝܪ ܦܰܓܪܳܐ ܠܳܐ ܩܳܐܶܡ\nܚܶܣܕܰܐ ܗ̱ܘ ܒܺܝܫܳܐ ܠܛܰܝܒܽܘܬܳܐ\nܕܰܒܪܳܬܶܗ ܐܰܝܟ ܕܰܠܣܽܘܪܳܚܰܢ\nܘܓܽܘܕܳܦܰܐ ܗ̱ܘ ܕܥܰܠ ܟܺܐܢܽܘܬܳܐ\nܕܰܫܕܳܬܶܗ ܐܰܝܟ ܕܠܰܐܒܕܳܢ\nܡܥܺܝܩ ܗ̱ܘܐ ܕܶܝܢ ܗܽܘ ܩܶܪܝܳܢܳܐ\nܠܢܰܦܫܳܐ ܘܦܰܓܪܳܐ ܫܰܘܝܳܐܺܝܬ\nܕܰܐܪܡܺܝ ܒܰܝܢܳܬ ܚܰܒܺܝ̈ܒܶܐ\nܦܽܘܪܫܳܢܳܐ ܕܰܦܣܳܩ ܣܰܒܪܳܐ\nܠܦܰܓܪܳܐ ܓܠܰܙ ܡܶܢ ܢܽܘܚܳܡܶܗ\nܘܰܠܢܰܦܫܳܐ ܡܶܢ ܫܰܘܬܳܦܳܗ̇\nܘܰܠܬܽܘܟܳܐ ܕܰܐܪܡܺܝ ܚܶܘܝܳܐ\nܝܽܘܬܪܳܢܳܐ ܩܪܳܝܗ̱ܝ ܒܰܪ ܕܰܝܨܳܢ\nܘܶܐܢ ܐܰܝܢܳܐ ܕܡܰܡܪܰܚ ܩܳܛܶܠ\nܚܰܕ ܦܰܓܪܳܐ ܚܰܝܳܒ ܡܰܘܬܰܐ ܗ̱ܘ\nܐܰܝܢܳܐ ܕܩܳܛܶܠ ܠܶܫܳܢܶܗ\nܟܽܠ ܦܰܓܪ̈ܺܝܢ ܕܰܒܢܰܝ̈ ܐ̱ܢܳܫ̈ܳܐ\nܠܝܰܡܳܐ ܪܰܒܳܐ ܐܶܢ ܢܳܚܶܬ\nܠܳܐ ܡܨܶܐ ܝܰܡܳܐ ܥܳܪܶܒ ܒܶܗ\nܕܰܒܟܰܝܠܳܐ ܕܡܰܝ̈ܳܐ ܢܶܦܪܽܘܥ\nܩܶܛܠܳܐ ܕܰܩܛܰܠ ܠܶܫܳܢܶܗ\nܟܡܳܐ ܩܳܛܽܘܠܺܝ̈ܢ ܡܰܪܺܝܪܺܝܢ\nܗܘܰܘ ܠܶܗ ܠܦܰܓܪܳܐ ܚܰܠܳܫܳܐ\n܀܀܀","english":"On the melody \"O Jacob\" of the Separated Ones\n\nWith a small locust you struck my brothers,\nwho were clothed in the garment of sins,\nthat it might thresh the good seed,\nand the farmers were commanded:\nDo not take it, nor uproot it.\nAnd the farmers also delayed;\nthe seed grew from the locusts,\nincreased and multiplied and covered his field.\n\nO Righteous One: to you praise, all of it.\n\nThe book of Bar Dayṣan struck me,\nand I was compelled to fill an hour.\nI arranged my pure hands,\nand made a finger a passage\nfor a discourse full of blasphemy.\n\nI ran again, I washed my finger\nin a pure and clean reading\nof the writings of divinity.\nI heard from that reader,\nwhen he blasphemed against Patience\nand against the daughter of her spouse, Grace.\nFor if the body does not stand,\nit is an evil disgrace to Grace,\nthat her daughter is as to a scandal;\nand it is a blasphemy against Patience,\nthat her daughter is as to a ruin.\n\nThat reader was distressed, indeed,\nfor soul and body equally,\nthat he cast the loves of the beloved ones,\nthe separation that cut off hope.\nFrom the body he stripped its feeling,\nand from the soul its partner,\nand from the orphan he cast a serpent.\nBar Dayṣan called profit a reading,\nand where it spreads, it kills.\nOne body guilty of death it is;\nwhere it kills its own self,\nall bodies of the sons of men\ndescend to the great sea.\nThe sea cannot mix with it,\nthat by the power of the waters it might wash away\nthe killing that killed its own self.\nHow many bitter murderers\nwere to the weak body!","structure":"narrative","commentary":[{"unit":"background","kind":"background","basis":"background","lemma":"Bar Dayṣan","severity":"info","text":"Bar Dayṣan (154–222 CE) was a Syriac philosopher and theologian whose teachings were considered heretical by Ephrem. Ephrem wrote several prose refutations against him.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"ܦܽܘܪ̈ܫܳܢܶܐ (Separated Ones)","severity":"info","text":"The term 'Separated Ones' likely refers to the followers of Bar Dayṣan or another group considered schismatic. It may also denote those who separate soul from body in a dualistic sense.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"garment of sins","severity":"info","text":"The image of being 'clothed in the garment of sins' echoes biblical language, e.g., Psalm 104:2 LXX or Isaiah 59:6, where sin is metaphorically worn as a covering.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"O Righteous One: to you praise, all of it","severity":"info","text":"This line functions as a doxological refrain, breaking the narrative to address God directly. It marks a shift from the agricultural parable to the polemic against Bar Dayṣan.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"Patience and Grace","severity":"info","text":"Ephrem personifies Patience (ܟܺܐܢܽܘܬܳܐ) and Grace (ܛܰܝܒܽܘܬܳܐ) as female figures, possibly allegorizing virtues that Bar Dayṣan's teachings allegedly dishonor. This reflects Ephrem's rhetorical strategy of moral personification.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"the sea cannot mix with it","severity":"caution","text":"The metaphor of the sea unable to wash away the body's self-killing is obscure. It may refer to the irreversibility of sin or death, but the precise referent of 'it' (the killing or the body) is ambiguous.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'the Separated Ones' is not explicitly defined; it may refer to Bar Dayṣanites or another dualist group.","The agricultural parable's relation to the subsequent polemic is not directly explained; the locust may symbolize heresy or a specific event.","The phrase 'the sea cannot mix with it' is syntactically ambiguous: the antecedent of 'it' could be the killing or the body."],"confidence":"medium","notes":[]},{"i":2,"ref":"p2","source":"ܩܰܛܠܶܗ ܩܳܐܺܝܢ ܡܶܢ ܠܽܘܩܕܰܡ\nܘܰܐܫܠܶܡ ܚܰܪܒܶܗ ܩܳܛܽܘܠܳܐ\nܠܰܐ̱ܚܪ̈ܳܢܶܐ ܕܰܢܡܰܪܽܘܢ ܒܶܗ\nܘܗܳܐ ܠܐܶܝܢ ܒܽܐܘܡܳܢܽܘܬܶܗ\nܟܽܠ ܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ ܕܰܢܕܰܡܽܘܢ ܠܶܗ\nܠܪܰܒܳܐ ܕܰܐܠܶܦ ܡܶܢ ܢܰܦܫܶܗ\nܩܰܛܠܽܘܗ̱ܝ ܣܰܝ̈ܦܶܐ ܓܰܠܝܳܐܺܝܬ\nܘܳܐܦ ܠܶܫܳܢ̈ܶܐ ܟܰܣܝܳܐܺܝܬ\nܥܪܺܝܡܳܐ ܩܰܛܠܶܗ ܡܶܢ ܠܽܘܩܕܰܡ\nܘܰܨܢܺܝܥܳܐ ܡܶܢ ܒܳܬܰܪܟܶܢ\nܚܶܘܝܳܐ ܡܰܪܺܝܪܳܐ ܚܰܠܺܝ\nܠܶܫܳܢܶܗ ܟܰܕ ܩܳܛܶܠ ܠܶܗ\nܘܳܐܦ ܬܰܠܡܺܝ̈ܕܰܘܗ̱ܝ ܡܰܪܺܝܪ̈ܶܐ\nܒܠܶܫܳܢܳܐ ܚܰܠܝܳܐ ܩܰܛܠܽܘܗ̱ܝ\nܚܢܳܢܶܗ ܛܳܒܳܐ ܕܓܳܒܽܘܠܳܟ\nܢܩܽܘܡ ܦܰܓܪܳܐ ܠܰܛܠܺܝܡܽܘܬܳܟ\nܫܕܳܟ ܚܶܘܝܳܐ ܡܶܢ ܦܰܪܕܰܝܣܳܐ\nܘܳܐܦ ܝܰܠܕ̈ܰܘܗ̱ܝ ܡܶܢ ܡܰܠܟܽܘܬܳܐ\nܗܰܘ ܓܰܠܙܳܟ ܡܶܢ ܚܰܝܽܘܬܳܐ\nܘܳܐܦ ܗܳܠܶܝܢ ܡܶܢ ܢܽܘܚܳܡܳܐ\nܪܗܶܛ ܚܶܘܝܳܐ ܨܶܝܕ ܫܽܘܪܳܝܳܐ\nܘܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ ܨܶܝܕ ܫܽܘܠܳܡܳܐ\nܢܰܦܫܳܐ ܕܶܝܢ ܕܰܠܒܺܝܫܳܐ ܠܶܗ\nܠܦܰܓܪܳܐ ܣܰܓܺܝ ܙܗܺܝܪܳܐ ܒܶܗ\nܕܰܠܡܳܐ ܦܳܪܫܺܝܢ ܚܰܕ ܡܶܢ ܚܰܕ\nܒܗܳܠܶܝܢ ܚܰܝ̈ܶܐ ܥܳܒܽܘܪ̈ܶܐ\nܘܰܐܝܟܰܢ ܡܰܨܝܳܐ ܕܰܬܣܰܝܒܰܪ\nܒܚܰܪܬܳܐ ܠܡܶܚܳܐ ܒܶܠܥܳܕܰܘܗ̱ܝ\nܠܳܐ ܓܶܝܪ ܫܳܒܶܩ ܠܳܗ̇ ܚܽܘܒܶܗ\nܕܰܬܚܰܡܣܶܢ ܡܶܢ ܢܽܘܚܳܡܶܗ\nܚܽܘܪ ܐܰܝܟܰܢܳܐ ܡܶܠܰܬܗܽܘܢ\nܡܶܬܟܰܣܣܳܐ ܘܳܐܦ ܡܶܫܬܰܪܝܳܐ\nܟܰܕ ܡܶܬܪܰܗܒܺܝܢ ܡܶܢ ܣܰܝܦܳܐ\nܘܳܐܦ ܡܶܢ ܪܰܚܫܳܐ ܢܳܟܽܘܝܳܐ\nܒܢܰܝ̈ ܚܶܘܝܳܐ ܕܚܶܠܘ̱ ܡܶܢ ܚܶܘܝܳܐ\nܡܶܛܽܠ ܦܰܓܪܳܐ ܩܳܛܽܘܠܳܐ\nܕܙܳܕܶܩ ܗ̱ܘܐ ܕܢܶܣܢܽܘܢ ܚܰܝܰܘ̈ܗ̱ܝ\nܐܰܝܟ ܕܰܣܢܰܘ ܐܳܦ ܢܽܘܚܳܡܶܗ\nܪ̈ܓܺܝܓܳܬܳܐ ܓܶܝܪ ܣܰܢܝ̈ܳܬܳܐ\nܣܰܢ̈ܝܳܢ ܐܶܢܶܝܢ ܟܰܕ ܡܶܣܬܰܥܪ̈ܳܢ\nܠܗܶܝܢ ܗ̱ܽܘ ܡܰܟܶܣ ܢܳܡܽܘܣܳܐ\nܠܗܶܝܢ ܗ̱ܽܘ ܪܳܕܶܦ ܕܰܝܳܢܳܐ\nܥܠܰܝܗܶܝܢ ܡܶܬܬܘܶܐ ܬܰܝܳܒܳܐ\nܦܰܓܪܳܐ ܡܝܰܩܰܪ ܒܰܟܬܳܒܳܐ\nܗܽܘܝܽܘ ܪܚܺܝܡ ܐܳܦ ܒܰܟܝܳܢܳܐ\nܒܶܗ ܗ̱ܽܘ ܙܗܺܝܪ ܐܳܦ ܒܰܪܢܳܫܳܐ","english":"He killed Cain first and gave his sword, the slayer, to the others who dwelt with him, and behold, he came in his youthfulness. All his disciples who were with him killed the teacher who taught from himself, openly with swords and also secretly with tongues. Cain killed first and the avenger after him. The bitter serpent sweetened his tongue when it killed him, and also his bitter disciples killed him with a sweet tongue. The good grace of your chosen one, O Jacob, the body for your youthfulness. Cast the serpent from Paradise and also his young from the kingdom. That one, your slayer, from life and also these from support. The serpent ran toward the beginning and his disciples toward the end. The self, however, which is clothed in the body, is very cautious in it, lest one separate from the other. In these transitory lives, how can one who is to be sustained endure in the end without them? For his debt does not allow it to be deprived of its support. See how their word is both composed and dissolved when it is hastened by the sword and also by the swift runner. Woe to the serpent's young who saw from the serpent because of the murderous body, whose life ought to have been spent as its support was spent. For the sparks of the helpers, the helpers come when they are stirred. To them is the tax collector, to them is the persecutor of the judge. Upon them the penitent falls. The body is honored in scripture; it is beloved also in lamentation. In it one is cautious also in the mind.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"glossary","lemma":"ܩܰܛܠܶܗ ܩܳܐܺܝܢ","severity":"info","text":"The phrase 'He killed Cain' (ܩܰܛܠܶܗ ܩܳܐܺܝܢ) reverses the expected biblical order, where Cain kills Abel. Ephrem uses this inversion to emphasize the serpent's (Satan's) primordial sin.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܚܶܘܝܳܐ ܡܰܪܺܝܪܳܐ","severity":"info","text":"The 'bitter serpent' (ܚܶܘܝܳܐ ܡܰܪܺܝܪܳܐ) alludes to the serpent in Eden (Gen 3:1–15), which Ephrem interprets as a figure of Satan. The 'sweet tongue' contrasts with the serpent's deceitful speech.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"background","lemma":"ܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ","severity":"info","text":"The 'disciples' (ܬܰܠܡܺܝܕ̈ܰܘܗ̱ܝ) of the serpent likely refer to heretical teachers or persecutors of the church, a common trope in Ephrem's polemics against Arian and other groups.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"ܪܗܶܛ ܚܶܘܝܳܐ ܨܶܝܕ ܫܽܘܪܳܝܳܐ","severity":"info","text":"The serpent's run 'toward the beginning' (ܨܶܝܕ ܫܽܘܪܳܝܳܐ) and the disciples' run 'toward the end' (ܨܶܝܕ ܫܽܘܠܳܡܳܐ) create a chiastic structure, contrasting primordial evil with eschatological judgment.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܦܰܓܪܳܐ ܡܝܰܩܰܪ ܒܰܟܬܳܒܳܐ","severity":"info","text":"The line 'The body is honored in scripture' (ܦܰܓܪܳܐ ܡܝܰܩܰܪ ܒܰܟܬܳܒܳܐ) parallels Ephrem's Hymns on Faith, where the body is a site of spiritual struggle and redemption.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܠܗܶܝܢ ܗ̱ܽܘ ܡܰܟܶܣ ܢܳܡܽܘܣܳܐ","severity":"caution","text":"The phrase 'to them is the tax collector' (ܠܗܶܝܢ ܗ̱ܽܘ ܡܰܟܶܣ ܢܳܡܽܘܣܳܐ) is ambiguous: it may refer to Roman tax collectors as oppressors, or to a spiritual 'tax' of judgment. The Syriac allows both readings.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'the others' (ܐܰܚܪ̈ܳܢܶܐ) who receive the sword is unclear; possibly other heretical teachers or persecutors.","The phrase 'the good grace of your chosen one' (ܚܢܳܢܶܗ ܛܳܒܳܐ ܕܓܳܒܽܘܠܳܟ) may refer to Jacob (the melody's subject) or to a specific figure like Christ.","The 'debt' (ܚܽܘܒܶܗ) that does not allow deprivation of support is ambiguous: it could be a moral or eschatological obligation."],"confidence":"medium","notes":[]},{"i":3,"ref":"p3","source":"ܬܳܒܰܥ ܠܶܗ ܐܳܦ ܒܳܪܽܘܝܳܐ\nܠܩܳܛܽܘܠܳܐ ܕܚܰܒܶܠ ܦܰܓܪܳܐ\nܟܺܐܢܳܐ ܫܳܪܶܐ ܪܽܘܟܳܒܶܗ\nܕܢܺܐܠܰܦ ܡܳܐ ܒܺܝܫ ܚܽܘܒܳܠܶܗ\nܕܨܰܠܡܳܐ ܕܨܳܪܰܬ ܛܰܝܒܽܘܬܳܐ\nܒܓܽܘܫܡܳܐ ܕܰܐܚܶܫ ܡܰܚܶܫ ܠܶܗ\nܒܦܰܓܪܶܗ ܝܺܠܶܦ ܩܳܛܽܘܠܳܐ\nܕܚܰܒܶܠ ܗܰܝܟܰܠ ܥܳܒܽܘܕܳܐ\nܘܶܐܢ ܕܶܝܢ ܡܶܬܬܒܰܥ ܩܳܛܽܘܠܳܐ\nܠܰܘ ܕܰܠܡܰܢ ܩܰܛܶܠ ܢܰܦܫܳܐ\nܡܶܫܪܳܐ ܫܪܳܗ̇ ܐܰܝܟ ܡܶܠܰܬܗܽܘܢ\nܘܶܐܢ ܫܳܪܽܘܝܳܐ ܩܳܛܽܘܠܰܐ ܗ̱ܘ\nܠܰܐܝܟܳܐ ܢܶܥܪܽܘܩ ܒܰܪ ܕܰܝܨܳܢ\nܕܒܰܕܪܳܫܳܐ ܠܳܛܶܫ ܠܶܫܳܢܶܗ\nܘܩܰܛܠܶܗ ܠܦܰܓܪܳܐ ܡܶܢ ܚܰܝ̈ܶܐ\nܕܰܒܢܽܘܚܳܡܳܐ ܡܶܬܝܰܗܒܺܝܢ\n܀܀܀ ܒܡܶܠܟܶܗ ܩܰܛܠܶܗ ܩܰܕܡܳܝܳܐ\nܘܳܐܦ ܬܰܢܺܝܢܳܐ ܒܝܽܘܠܦܳܢܶܗ\nܗܰܘ ܩܰܛܠܶܗ ܐܰܝܟ ܝܳܨܽܘܦܳܐ\nܘܳܐܦ ܗܳܠܶܝܢ ܐܰܝܟ ܥܳܕܽܘܪ̈ܶܐ\nܕܳܪ̈ܽܘܫܶܐ ܒܰܥܪܺܝܡܽܘܬܳܐ\nܠܚܶܘܝܳܐ ܥܒܺܝܕܺܝܢ ܫܰܘܬܳܦ̈ܶܐ\nܥܬܺܝܕܺܝܢ ܠܡܶܒܗܰܬ ܒܢܰܝ̈ ܚܶܘܝܳܐ\nܐܰܝܟ ܐܰܒܽܘܗܽܘܢ ܩܰܕܡܳܝܳܐ\nܒܗܰܕ̈ܳܡܶܐ ܘܪ̈ܶܓܫܰܝ ܦܰܓܪܳܐ\nܝܳܠܦܳܐ ܢܰܦܫܳܐ ܟܽܠ ܛܳܒ̈ܳܢ\nܘܶܐܢ ܦܰܓܪܰܐ ܗ̱ܘ ܣܰܢܝܳܐ ܐܰܝܟܰܢ\nܬܶܦܠܽܘܚ ܒܺܐܝܕܶܗ ܛܳܒ̈ܳܬܳܐ\nܘܶܐܢ ܒܰܟܝܳܢܶܗ ܕܰܓܳܠܰܐ ܗ̱ܘ\nܐܰܝܟܰܢ ܩܽܘܫܬܳܐ ܬܺܐܠܰܦ ܒܶܗ\nܕܠܳܐ ܝܳܗܒܺܝܢ ܠܶܗ ܠܽܐܘܡܳܢܳܐ\nܡܳܐܢܳܐ ܕܢܽܘܟܪܳܝ ܠܰܥܒܳܕܶܗ\nܠܳܐ ܓܶܝܪ ܟܳܬܶܒ ܟܳܬܽܘܒܳܐ\nܣܶܦܪܳܐ ܒܣܰܝܦܶܗ ܕܰܐܟܳܪܳܐ\nܘܳܐܦܠܳܐ ܨܳܝܰܪ ܨܰܝܳܪܳܐ\nܒܝܰܕ ܡܰܣܳܪܶܗ ܕܢܰܓܳܪܳܐ\nܘܠܳܐ ܐܳܣܝܳܐ ܡܰܐܣܶܐ ܥܰܝܢܳܐ\nܒܥܽܘܩܣܳܐ ܣܰܢܝܳܐ ܕܥܶܩܰܪܒܳܐ\nܘܠܳܐ ܡܶܡܬܽܘܡ ܓܳܙܰܪ ܫܽܘܚܢܳܐ\nܒܓܰܪܡܳܐ ܕܚܶܘܝܳܐ ܘܚܰܪܡܳܢܳܐ\nܟܽܠ ܡܶܕܶܡ ܓܶܝܪ ܬܰܩܢܳܐܺܝܬ\nܒܡܳܐܢܳܐ ܕܰܡܚܰܝܶܢ ܠܶܗ\nܘܰܒܪܶܓܫܳܐ ܕܰܡܫܰܘܬܶܦ ܠܶܗ\nܡܶܬܬܰܩܰܢ ܦܳܪܽܘܫܳܐܺܝܬ\nܐܳܦ ܦܰܓܪܳܐ ܐܶܢ ܕܰܚܛܺܝܬܰܐ ܗ̱ܘ\nܠܰܝܬ ܕܰܡܨܶܐ ܡܶܙܕܰܕܰܩ ܒܶܗ\nܙܰܕ̈ܺܝܩܶܐ ܕܶܐܬܢܰܨܰܚܘ̱ ܒܶܗ\n܀܀܀","english":"He also pursued the creator,  \nthe slayer of Abel, the body.  \nThe evil one began his chariot,  \nwhich taught what is evil, his destruction,  \nthe image of the form of goodness,  \nin the body of the serpent, which makes him serpentine.  \nIn his body the slayer learned  \nto destroy the temple, the builder.  \nAnd woe, the slayer is pursued,  \nnot because he killed the self,  \nthe beginning, its beginning, like their word,  \nand woe, the creator was a slayer.  \nWhere did the son of Jesse flee,  \nwho in the school mocked his teacher  \nand killed the body from life,  \nwhich is given in fever?  \n\nBy his counsel he killed the first,  \nand also the second by his teaching.  \nThat one he killed like a potter,  \nand also these like helpers,  \nthe teachers in their youthfulness,  \nmade partners of the serpent,  \nready to shame the sons of the serpent,  \nlike their first father.  \nIn the limbs and senses of the body,  \nthe self learns all good things,  \nand woe, the body is the helper, as it were.  \nGood things are wrought by its hand,  \nand woe, in its tears it is the deceiver,  \nas it were, truth is learned in it,  \nwhich is not given to the day.  \nWhat is the tool of remembrance for its work?  \nFor the writer does not write  \na book with the sword of a farmer,  \nnor does a painter paint  \nwith the saw of a carpenter,  \nnor does a physician heal an eye  \nwith the crooked saw of a scorpion,  \nnor does a butcher cut meat  \nwith the bone of a serpent and a hook.  \nEverything, indeed, is properly  \nwith the tool that gives it life,  \nand with the sense that shares in it,  \nit is properly accomplished.  \nAlso the body, if it is sinful,  \nthere is none who can be justified in it,  \nthe righteous who were adorned in it.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܒܳܪܽܘܝܳܐ","severity":"info","text":"The Syriac term bārōyā (creator) is used here as a title for God, contrasting with the slayer (qāṭōlā) of Abel. This antithesis is central to Ephrem's typological exegesis.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܒܰܪ ܕܰܝܨܳܢ","severity":"info","text":"The phrase 'son of Jesse' (bar Dayṣāʿ) refers to David, alluding to 1 Samuel 17 or 2 Samuel 1. The context of fleeing and mocking a teacher may evoke David's flight from Saul or his feigned madness at Gath.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܚܶܘܝܳܐ","severity":"info","text":"The serpent (ḥewyā) is a recurring symbol in Ephrem's madrāšē, representing both the biblical tempter and, in this passage, the source of heretical teaching that corrupts the body and soul.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܦܰܓܪܳܐ","severity":"info","text":"The body (pagra) is portrayed as both a temple and a tool, echoing Pauline and early Syriac ascetic traditions that view the body as an instrument for virtue or vice depending on its use.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"ܟܽܠ ܡܶܕܶܡ ܓܶܝܪ ܬܰܩܢܳܐܺܝܬ","severity":"info","text":"This passage shifts from narrative to a series of analogies (writer, painter, physician, butcher) illustrating the proper use of tools, reinforcing the theme that the body must be used rightly for righteousness.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܡܶܫܪܳܐ ܫܪܳܗ̇ ܐܰܝܟ ܡܶܠܰܬܗܽܘܢ","severity":"caution","text":"The phrase 'the beginning, its beginning, like their word' is obscure in Syriac; the text may be corrupt or elliptical. The translation follows a conjectural reading that aligns with the preceding contrast between creator and slayer.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'the creator' (bārōyā) is ambiguous: it may refer to God or to a human creator figure, but the context of pursuing a slayer suggests a divine referent.","The phrase 'son of Jesse' (bar Dayṣāʿ) is clear as David, but the specific biblical episode (fleeing, mocking a teacher) is not directly identifiable from the text alone.","The clause 'the beginning, its beginning, like their word' (mšrā šrāh ayk melathōn) is syntactically difficult and may reflect a textual corruption or a deliberate enigmatic style."],"confidence":"medium","notes":[]},{"i":4,"ref":"p4","source":"ܠܚܺܝܡܺܝܢ ܠܰܐܝܢܳܐ ܕܥܳܫܶܩ ܠܶܗ","english":"He also pursued the serpent that oppressed him.","structure":"narrative","commentary":[{"unit":"sense","kind":"sense","basis":"text","lemma":"ܠܚܺܝܡܺܝܢ ܠܰܐܝܢܳܐ ܕܥܳܫܶܩ ܠܶܗ","severity":"info","text":"The Syriac phrase concludes the passage with a chiastic echo of the opening, emphasizing the pursuit of the oppressor as a counterpart to the earlier pursuit of the creator.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"ܥܳܫܶܩ","severity":"info","text":"The verb ܥܳܫܶܩ (ʿāšēq) means 'to oppress' or 'to wrong,' and here it likely refers to the evil one's oppressive role, contrasting with the earlier 'creator' (ܒܳܪܘܳܐ).","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"","severity":"info","text":"This final line forms an inclusio with the passage's opening, 'He also pursued the creator,' creating a symmetrical frame that underscores the cyclical nature of the conflict.","cites":[{"key":"ed:dsc-305","label":"source edition: Nisibis 51","url":"https://syriaccorpus.org/305"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"external","lemma":"","severity":"info","text":"Ephrem's Nisibis hymns often employ such repetitive, chiastic structures to reflect the cosmic struggle between good and evil, a theme rooted in Syriac exegetical tradition.","cites":[],"named_sources":["Ephrem the Syrian"],"dropped_cites":[]}],"ambiguities":["The referent of 'the one who oppresses him' is ambiguous: it could be the evil one oppressing the creator, or the creator oppressing the evil one; the context of pursuit suggests the latter."],"confidence":"medium","notes":[]}]}