{"slug":"dsc-500","id":"syriac:dsc:dsc-500","title":"Supplications in the First Tone","author":"Rabbula of Edessa","genre":"other","date":"Early 5th century CE","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":"2026-11-15T00:59:25Z","cost_usd":0.002627},"source":{"registry_id":"syriac:dsc:dsc-500","work_id":"dsc-500","edition":"syriac","language":"","license":"CC BY 4.0","url":"https://syriaccorpus.org/500"},"stats":{"passages":3,"english_words":951,"coptic_letters":0,"commentary_units":18,"commentary_kinds":7,"derived_notes":0,"ambiguities":6,"work_notes":5,"external_links":5,"timeline":4},"summary":{"work":"dsc-500","abstract":"The 'Supplications in the First Tone' is a Syriac liturgical collection traditionally attributed to Rabbula of Edessa (d. 435). It survives in a single manuscript tradition within a West Syriac liturgical collection, with no early independent witness. The work comprises supplications for the First Tone cycle, used in the Syriac Orthodox tradition. Its attribution to Rabbula is traditional but unproven, and the text may incorporate later material or be pseudepigraphical. The edition lacks a critical apparatus, limiting textual-critical analysis. The supplications feature Marian typology, such as the burning bush and Jacob's ladder, and references to Mary at Golgotha and the Harrowing of Hell, reflecting Syriac liturgical and devotional themes.","historical_context":"The work is traditionally dated to the early 5th century CE, associated with Rabbula of Edessa (d. 435), a bishop known for his liturgical reforms and promotion of Syriac Christianity. However, the date is uncertain; the text may reflect 5th-century liturgical practice but could be later, possibly incorporating material from subsequent centuries. It originates from the Syriac-speaking Christian communities of Edessa (modern Şanlıurfa, Turkey), a center of Syriac literature and theology. The text is transmitted in a single manuscript tradition, likely from a West Syriac liturgical collection, indicating its use in the Syriac Orthodox tradition. The genre is liturgical supplications, part of the 'First Tone' cycle, suggesting ongoing liturgical use beyond Rabbula's era. The attribution to Rabbula is traditional but not securely proven; the work may be pseudepigraphical or contain later additions. The lack of a critical apparatus and stemma limits understanding of its textual history and relationship to other Syriac liturgical works.","significance":"The 'Supplications in the First Tone' is significant for its insight into Syriac liturgical practice and Marian devotion in the early medieval period. It exemplifies the use of biblical typology (e.g., burning bush, Jacob's ladder) to honor Mary and reflects themes like Mary's co-suffering at Golgotha and the Harrowing of Hell. The work's traditional attribution to Rabbula of Edessa ties it to a key figure in Syriac church history, though its uncertain authorship highlights the challenges of studying liturgical texts. It remains in use in the Syriac Orthodox tradition, demonstrating continuity in liturgical practice.","timeline":[{"date":"5th c.","event":"Traditional date of composition attributed to Rabbula of Edessa (d. 435)."},{"date":"5th–6th c.","event":"Possible period of later additions or redaction within West Syriac liturgical tradition."},{"date":"Medieval period","event":"Transmission in a single manuscript tradition, likely within a West Syriac liturgical collection."},{"date":"Modern era","event":"Continued liturgical use in the Syriac Orthodox tradition as part of the First Tone cycle."}],"relations":[{"work":"Rabbula of Edessa","relation":"Traditional author","key":"wikipedia:Rabbula of Edessa","label":"Wikipedia: Rabbula","url":"https://en.wikipedia.org/wiki/Rabbula"},{"work":"Syriac Orthodox Church","relation":"Liturgical tradition","key":"wikipedia:Syriac Orthodox Church","label":"Wikipedia: Syriac Orthodox Church","url":"https://en.wikipedia.org/wiki/Syriac_Orthodox_Church"},{"work":"Exodus 3:2–3","relation":"Biblical allusion (burning bush)","key":"wikipedia:Burning bush","label":null,"url":null},{"work":"Genesis 28:12","relation":"Biblical allusion (Jacob's ladder)","key":"wikipedia:Jacob's Ladder","label":null,"url":null},{"work":"Harrowing of Hell","relation":"Theological theme","key":"wikipedia:Harrowing of Hell","label":null,"url":null}],"external_links":[{"key":"wikipedia:Rabbula of Edessa","label":"Rabbula of Edessa","url":"https://en.wikipedia.org/wiki/Rabbula","reason":"Traditional author of the work."},{"key":"wikipedia:Syriac Orthodox Church","label":"Syriac Orthodox Church","url":"https://en.wikipedia.org/wiki/Syriac_Orthodox_Church","reason":"Liturgical tradition that uses the work."},{"key":"wikipedia:Burning bush","label":"Burning bush","url":"https://en.wikipedia.org/wiki/Burning_bush","reason":"Biblical typology used in the text."},{"key":"wikipedia:Jacob's Ladder","label":"Jacob's Ladder","url":"https://en.wikipedia.org/wiki/Jacob%27s_Ladder","reason":"Biblical typology used in the text."},{"key":"wikipedia:Harrowing of Hell","label":"Harrowing of Hell","url":"https://en.wikipedia.org/wiki/Harrowing_of_Hell","reason":"Theological theme in the text."}],"cautions":["The attribution to Rabbula of Edessa is traditional but not securely proven; the work may be pseudepigraphical or incorporate later material.","The date is uncertain; it may reflect 5th-century practice but could be later.","The text survives in a single manuscript tradition with no early independent witness, limiting textual-critical analysis.","The edition lacks a critical apparatus or stemma, so the manuscript basis is not fully described."],"model":"deepseek/deepseek-v4-flash:floor","provider":"Relace","cost_usd":0.000508,"generated":"2026-11-15T00:34:04Z"},"checks":{"work":"dsc-500","status":"pass","blocking":[],"warnings":[],"stats":{"passages":3,"translated":3,"commentary_passages":3,"commentary_units":18,"english_words":951,"source_letters":2382,"commentary_kinds":7},"model":"deepseek/deepseek-v4-flash:floor"},"work_notes":[{"unit":"dating","kind":"chronology","basis":"background","lemma":"","severity":"info","text":"Rabbula of Edessa (d. 435) is the traditional author. The work's date is uncertain; it may reflect 5th-century liturgical practice but could be later.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"transmission","kind":"transmission","basis":"text","lemma":"","severity":"info","text":"The text survives in a single manuscript tradition, likely from a West Syriac liturgical collection. No early independent witness is known.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"background","lemma":"","severity":"info","text":"These supplications are used in the Syriac Orthodox tradition as part of the 'First Tone' cycle, indicating ongoing liturgical use beyond Rabbula's era.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"","severity":"caution","text":"The attribution to Rabbula is traditional but not securely proven; the work may incorporate later material or be pseudepigraphical.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"sense","kind":"sense","basis":"external","lemma":"","severity":"info","text":"This edition does not include a critical apparatus or stemma; the manuscript basis is not fully described, limiting textual-critical analysis.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"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":"source","severity":"info","text":"Source edition: syriac — CC BY 4.0"}],"derived_structure":{"narrative":3},"term_index":[],"citations":{"ed:dsc-500":{"label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}},"segments":[{"i":1,"ref":"p1","source":"ܬܘܒ ܟܿܬܒܝܢܢ ܬܟܫ̈ܦܬܐ ܕܟܠ ܓܢܣ ܒܬܡܢܐ ܐܟ̈ܕܝܐ ܡܢ ܩܕܡܝܐ ܠܬܡܝܢܝܐ\nܩܕ̄ ܛܟܣܐ ܩܕܡܝܐ ܩܕ̄ ܕܝܿܠܕܬܿ ܐܠܗܐ. ܫܿܠܡ ܠܟܝ ܡܢ ܟܠ ܩܕܝܫܬܐ. ܝܿܠܕܬܿ ܐܠܗܐ ܡܪܝܡ. ܓܙܐ ܫܒܝܼ̇ܐ ܘܝܩܝܪܐ ܕܟܠܗܿ ܡܬܥܿܡܪܢܝܬܐ. ܠܡܦܐܕܐ ܢܿܨܝܚ ܕܠܩܐ ܘܐܘܘܢܐ ܕܗܿܘ ܠܐ ܡܬܥܿܪܝܢܐ. ܢܘܣܐ ܕܟܝܐ ܕܒܪܘܝܐ ܕܟܠܗܿ ܒܪܝܬܐ. ܫܠܡܠܟܝ. ܕܒܐܝ̈ܕܝܟܝ ܐܫܬܿܡܗ ܗܘܐ. ܗܿܘ ܕܫܿܩܠ ܠܚܛܝܼܬܗ ܕܥܠܡܐ ܘܦܿܪܩ ܠܗ. ܐܚܪܬܐ ܥܠ ܛܘܪ̈ܝ ܚܘܪܝܒ ܚܼܙܟܝ ܡܘܫܐ ܢܒܝܐ ܕܬܗܪܐ ܒܬܘ̄ ܩܕܝ̄. ܢܘܪܐ ܟܕ ܫܿܪܝܐ ܒܓܘ ܣܢܝܐ ܘܡܬܓܿܘܙܠܐ ܒܗ ܘܣܢܝܐ ܠܐ ܝܿܩܕ. ܠܟܝ ܬܘܒ ܨܿܝܪܐ ܗܘܬ. ܣܒܠܼܬܐ ܕܚܼܙܐ ܝܥܩܘܒ ܟܐܢܐ ܒܓܘ ܕܒܪܐ. ܕܒܗܿ ܣܿܠܩܝܢ ܘܢܚܿܬܝܢ ܥܝܪ̈ܐ ܠܫܡܝܐ. ܘܗܟܘܬ ܘܒܪ ܐܝܫܝ. ܫܩܼܠ ܩܝܬܪܗ ܪܘܚܢܐ ܘܫܿܪܝ ܐܡܿܪ ܒܗ. ܕܐܝܟ ܡܛܪܐ ܢܝܼ̇ܐ ܕܢܚܿܬ ܥܠ ܐܪܥܐ. ܗܟܢܐ ܢܚܼـ ܐܠܗܐ ܘܫܼܪܐ ܒܒܬܘ̄. ܡܟܝܠ ܢܐܬܝ̈ܢ ܥ̈ܠܝܡܬܐ ܘܒܬܘ̈ܠܬܐ ܥܒܪ̈ܝܬܐ ܘܦ̈ܠܓܝܗܝܢ ܒܐܝ̈ܕܝܗܝܢ. ܘܢܩܼܫ̈ܢ ܒܪܘܚ ܩܘܕܫܐ. ܩܕܡ ܒܪ ܡܿܠܟܐ. ܘܢܐܡܼܪ̈ܢ ܠܟܝ. ܛܘܒܝܟܝ ܡܪܝܡ ܕܠܡܿܘܢ ܝܠܼܕܬܝ. ܕܣܗ̈ܕܐ ܣ̈ܓܘܠܐ ܡ̈ܠܠܐ. ܣܗ̈ܕܐ ܒܪ̈ܝܟܐ ܐܬܚܼܙܝܬܘܢ. ܘܡܢ ܚܿܡܪܐ ܕܝܠܟܘܢ ܥܕܬܐ ܐܬܒܣܼܡܬ܇ ܐܘ̃ ܢܗܝܪ̈ܐ ܫ̈ܒܝܚܐ ܘ̈ܐܠܗܝܐ. ܕܥܠ ܕܟܠ ܐܘ̈ܠܨܢܝܢ ܚܘܝܚܐܝܬ ܩܪܒܐ ܚܿܘܝܬܘܢ. ܘܠܛܪ̈ܘܢܐ ܚܪ̈ܡܐ ܒܝܕ ܐܬܛܠܝܟܘܬܟܘܢ ܙܟܝܼـܘܢ ܘܒܼܗܬܬܘܢ. ܫܘ̄. ܠܚܿܝܼܠܐ ܕܚܿܝܼܠܟܘܢ ܒܐܓ̈ܘܢܝܟܘܢ. ܐܠܗܐ ܕܐܬܐ ܠܦܪܘܩܢ ܒܪ̈ܝܬܗ ܪܚܿܡ ܥܠܝܢ܀ ܟܕ ܕܝܢ ܥܠܼܘ ܘܓܼܢܘ ܩ̈ܕܝܫܐ ܒܣܡܿܟܐ ܕܚ̈ܫܐ. ܡܢ ܡܪܝܬܐ ܗܝܿ ܕܥܼܨܪܘ ܥܡܐ ܒܓܓܘܠܬܐ. ܐܫܼܬܝܘ ܟܠܗܘܢ ܘܝܼܠܦܘ ܗܘܘ ܪ̈ܐܙܐ ܟܣ̈ܝܐ ܕܒܝܬ ܐܠܗܐ. ܘܥܠܗܿܝ ܒܬܫܒ̈ܚܬܐ ܡܙܡܪܝܢܢ ܘܐܡܿܪܝܢܢ. ܒܪܝܟ ܗܘ ܡܫܝܚܐ ܕܐܪܘܝ ܠܣܗ̈ܕܐ ܩ̈ܕܝ̄ ܒܕܡܐ ܕܡܢ ܕܦܢܗ.","english":"Again, Supplications in the First Tone — Rabbula of Edessa\n\nAgain, I write supplications of every kind in the first tone, from the first to the last.\n\nBefore the first canon, before the Mother of God: Hail to you with all the holy ones. Mother of God, Mary, hidden and precious treasure of the whole inhabited world, for the salvation of the just one who is without beginning and end, the pure vessel of the Creator of the whole creation. Hail to you, through whose hands was accomplished that which took away the sin of the world and redeemed it. Another: Upon the dry mountains Moses saw you, the prophet of wonder in your virginity, a fire that dwelt in the bush and was kindled in it, yet the bush did not burn. To you again she was a sign. The ladder that Jacob saw, the sorrowful one, in the wilderness, by which the watchers ascend and descend to heaven. And thus the son of Jesse took his cithara, spiritual, and began to play upon it, that like a gentle rain that fell upon the earth, so God descended and dwelt in virginity. Then the companies of young women and Hebrew virgins, with palms in their hands, and dancing in the Holy Spirit before the king's son, said to you: Blessed are you, Mary, whose like no mother bore. The chosen martyrs, eloquent ones, blessed martyrs, you were seen, and from your wine the Church was gladdened. O shining ones, glorious and divine, who openly made war on all afflictions, and by your exile you conquered the enemies of the curse and put them to shame. Hush! To the power of your strength in your contests. God came to save his creation; have mercy on us. When, then, the saints went up and entered into the furnace of pains, with the Lady who helped the people at Golgotha, they all drank and learned the hidden mysteries of the house of God. And concerning her they sing and say in praises: Blessed is the Christ who watered the holy martyrs with blood from his side.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"ܬܘܒ ܟܿܬܒܝܢܢ ܬܟܫ̈ܦܬܐ ܕܟܠ ܓܢܣ ܒܬܡܢܐ ܐܟ̈ܕܝܐ ܡܢ ܩܕܡܝܐ ܠܬܡܝܢܝܐ","severity":"info","text":"The opening rubric identifies the work as 'Supplications in the First Tone' and states it covers every kind, from first to last, indicating a comprehensive liturgical collection.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"ܬܟܫ̈ܦܬܐ","severity":"info","text":"The Syriac term 'tkshāpātā' (supplications) denotes a genre of liturgical prayers, often penitential or intercessory, used in the East Syriac tradition.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܢܘܪܐ ܟܕ ܫܿܪܝܐ ܒܓܘ ܣܢܝܐ","severity":"info","text":"The image of a fire in a bush that does not burn alludes to Exodus 3:2–3, where Moses sees the burning bush, a type of Mary's virginity.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܣܒܠܼܬܐ ܕܚܼܙܐ ܝܥܩܘܒ","severity":"info","text":"The ladder seen by Jacob refers to Genesis 28:12, where Jacob dreams of a ladder reaching to heaven, here reinterpreted as a type of Mary.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܡܢ ܡܪܝܬܐ ܗܝܿ ܕܥܼܨܪܘ ܥܡܐ ܒܓܓܘܠܬܐ","severity":"info","text":"The reference to 'the Lady who helped the people at Golgotha' identifies Mary as a co-sufferer at the crucifixion, a theme in Syriac Marian devotion.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܒܪܝܟ ܗܘ ܡܫܝܚܐ ܕܐܪܘܝ ܠܣܗ̈ܕܐ","severity":"info","text":"The closing blessing of Christ who 'watered the martyrs with blood from his side' reflects a liturgical acclamation linking Christ's passion to martyrdom, common in Syriac hymnography.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The Syriac text contains several uncertain readings (e.g., ܟܿܬܒܝܢܢ, ܓܢܣ, ܒܬܡܢܐ) that may be scribal errors or variant spellings; the translation follows the edition's emendations.","The phrase 'ܫܘ̄' (Hush!) is ambiguous—it may be a rubric or an interjection, possibly indicating a pause or a change in speaker."],"confidence":"medium","notes":[]},{"i":2,"ref":"p2","source":"ܕܬܝܒܘܬܐ ܐܘ̃ ܣܿܓܝ ܪ̈ܚܡܐ ܘܚܼܢܢܐ. ܐܘ̃ ܡܕܟܝܢܐ ܕܟܘܬܡ̈ܬܐ ܕܟܠ ܚ̈ܛܝܐ. ܚܿܠܼܠܝܢܝ ܒܙܘܦܟ ܕܟܝܐ ܘܪܚܿܡܥܠܝ. ܘܐܝܟ ܡܟܣܐ ܘܗܿܝ ܚܿܛܝܬܐ ܚܘܢܝܢܝ ܒܪ̈ܚܡܼܝܟ. ܡܫܝܚܐ ܚܿܐܢ ܠܚ̈ܛܝܐ ܡܢ ܚܘ̈ܒܝܗܘܢ. ܕܐܢܬ ܗܘ ܐܝܬܝܟ ܡܩܿܒܠܢܐ ܕܟܠ ܬܝ̈ܒܐ. ܦܪܘܩܐ ܕܓܢܣܐ ܕܐܢܫܘܬܢ ܦܪܘܩܝܢܝ ܒܪ̈ܚܡܼܝܟ܀ ܐܢܗܘܼ ܕܙܕܝܩܐ ܠܡܚܼܣܢ ܡܬܦܼܪܩ. ܐܢܿܐ ܓܝܪ ܡܢܐ ܐܥܿܒܕ ܐܝܿܬܝ ܚܿܛܝܐ. ܝܘܩܪܗ ܓܝܪ ܕܐܝܡܡܐ ܘܝܩܕܢܗ ܕܫܡܼܫܐ ܠܐ ܣܿܝܒܪܬ. ܐܠܐ ܥܡ ܦܥ̈ܠܐ ܗܿܢܘܢ ܕܚܕܥܣܪ̈ܐ ܫ̈ܥܝܢ ܡܢܼܝܢ ܦܪܘ̄ ܘܐܬܪܚܿܡ ܥܠܝ.܀ ܚ̈ܛܗܝ ܣܚܦܘܢܝ. ܘܡܢ ܗܿܘ ܪܘܡܐ ܕܒܗ ܩܿܐܡ ܗܘܝܿܬ ܐܚܬܼܘܢܝ. ܘܐܝܟ ܕܒܓܘܡܨܐ ܠܘܬ ܚܒܿܠܐ ܐܫܿܘܫܛܬ. ܘܡܿܢܼܘ ܗܿܘ. ܕܡܢܕܪܝܫ ܫܘܦܪ̈ܐ ܗܕܝܪ̈ܐ ܢܩܢܼܝܢܝ. ܐܠܐ ܐܢ ܐܢܬ ܒܿܪܘܝܐ ܡܗܝܪܐ ܕܡܢ ܫܘܪܝܐ ܒܨܠܡܟ ܘܒܕܡܘܬܟ ܐܬܩܢܼܬܢܝ. ܘܐܢܿܐ ܒܨܒܝܢܝ ܚܒܪܐ ܠܣܛܢܐ ܗܘܿܝܬ ܘܥܒܕܐ ܠܚܛܝܼـܐ. ܒܪ̈ܚܡܼܝܟ ܡܪܝ ܚܿܪܪܝܢܝ ܘܐܬܪܚܿܡ ܥܠܝ. ܕܥ̈ܢܝܕܐ. ܥ̈ܢܝܕܐ ܕܠܒܼܫܘܟ ܡܢ ܡܥܡܘܕܝܬܐ ܡܪܝܐ. ܐܠܒܼܫ ܦܓܪ̈ܝܗܘܢ ܐܣܛܠ ܫܘ̄ ܡܐ ܕܐܬܿܐ ܐܢܬ. ܡܐ ܕܒܩܠܐ ܕܩܪܢܐ ܘܕܫܝܦܘܪܐ. ܥܬܝܕ ܐܢܬ ܕܬܢܿܚܡ ܘܬܚܿܕܬ ܠܟܠܗ ܓܢܣܢ. ܚܿܣܐ ܡܪܝ ܚܘ̈ܒܝܗܘܢ ܘܚ̈ܛܝܗ̄ܝ ܐܥܼܒܪ ܒܣܘܓܐܐ ܕܛܝܒܘܬܟ. ܫܘ̄ ܠܚܿܝܼܠܐ ܕܐܝܬܘܬܟ ܡܪܐ ܡܪ̈ܘܬܐ. ܐܠܗܐ ܕܐܬܼܐ ܠܦܪܘܩܢ ܒܪ̈ܝܬܗ ܐܚ̈ܝܼ ܠܥܒ̈ܕܝܟ.܀ ܟܕ ܕܝܢ ܥܠܼ ܠܡܕܝܢܬ ܡ̈ܝܼܬܐ ܝܫܘܥ ܦܪܘܩܢ. ܪܒܒܬܐ ܐܫܬܡܥܼܬܿ ܒܫܝܘܠ ܘܪ̈ܥܠܼܝ ܫ̈ܬܐܣܝܗܿ. ܘܣܘܼܚܘ ܠܗ ܥܿܡܪ̈ܝ ܩܒܪ̈ܐ ܕܚܼܙܘ ܢܘܗܪܗ ܕܐܙܠܓ ܥܠܝܗܘܢ. ܘܒܬܫܒܘ̄ ܐܬܢܚܡ ܘܐܩܝܼܡ ܠܢ ܥܡܗ. ܘܥܠܗ݀ܝ ܒ̈ܬܫܒ̄ ܡܙܡܪܝܢܢ ܘܐܡܿܪܝܢܢ. ܒܪܝܟ ܕܡܢܿܚܡ. ܘܡܚܿܕܬ ܬܘܒ ܡܢ ܚܒܿܠܐ ܠܓܢܣܐ ܕܡ̈ܝܘܬܐ܀ ܥܠ ܓܝ̈ܓܠܝ ܢܘܪܐ ܥܬܝܕ ܕܢܐܬܼܐ ܒܫܘ̄ ܪܒܐ ܝܫܘܥ ܦܪܘܩܢ.","english":"of repentance, O God of abundant mercy and compassion. O pure one, the cleansing of all sinners. Purify me by your pure and merciful victory. And like a covering, O sinful one, show me mercy in your compassion. Christ died for sinners from their debts, for you are the receiver of all repentance. Savior of the race of humanity, save me by your mercy. O righteous one, to be saved is fitting. For what shall I do, I who am a sinner? The weight of the sea and the heat of the sun I could not bear. But with the works of the eleven hours, save me and have mercy on me. My sins have overwhelmed me, and from the height where I stood, I fell. And as if into a pit, I was cast toward destruction. And from that, again, adorned beauties have surrounded me. But you, the swift Creator, from the beginning, in your image and likeness, you formed me. And by my own will, I became a companion to error and a servant to sin. By your mercy, my Lord, free me and have mercy on me. Of the departed, the departed who put on your garment from baptism, O Lord. They clothed their bodies with the stole of the departed. When you come, when you come with the sound of the trumpet and the shofar, you are ready to renew and restore the entire race. Spare, my Lord, their debts and their sins, and let them pass in the abundance of your grace. The departed, to the power of your being, Lord of lords, God who came to save his creation, have mercy on your servants. When, then, Jesus the Savior entered the city of the dead, a multitude was heard in Sheol, and the foundations of the earth trembled. And the inhabitants of the graves rejoiced, for they saw the light that shone upon them. And with praise, he renewed and raised up the departed with him. And upon them, with praises, hymns, and songs. Blessed is he who renews and again restores from destruction the race of the dead. On the chariots of glory, he is ready to come in great glory, Jesus the Savior.","structure":"narrative","commentary":[{"unit":"term","kind":"term","basis":"text","lemma":"ܫܝܘܠ","severity":"info","text":"Sheol (Syriac ܫܝܘܠ) is the Hebrew-derived term for the underworld or realm of the dead, used here to evoke the Harrowing of Hell tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܒܨܠܡܟ ܘܒܕܡܘܬܟ","severity":"info","text":"The phrase 'in your image and likeness' echoes Genesis 1:26–27 (Peshitta), a foundational text for Syriac theological anthropology.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܫܝܦܘܪܐ","severity":"info","text":"The shofar (Syriac ܫܝܦܘܪܐ) is a ram's horn trumpet, here associated with eschatological resurrection, reflecting Jewish liturgical influence on Syriac Christianity.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"structure","kind":"structure","basis":"text","lemma":"narrative","severity":"info","text":"The passage shifts from penitential prayer to a narrative of Christ's descent into Sheol and the resurrection of the dead, a common structural move in Syriac liturgical poetry.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"parallel","kind":"parallel","basis":"text","lemma":"ܡܕܝܢܬ ܡ̈ܝܼܬܐ","severity":"info","text":"The 'city of the dead' and Christ's entry recall the Odes of Solomon and Ephrem's hymns on the Harrowing of Hell, a widespread motif in Syriac tradition.","cites":[],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܕܚܕܥܣܪ̈ܐ ܫ̈ܥܝܢ","severity":"caution","text":"The phrase 'eleven hours' is obscure; it may refer to a specific liturgical hour or a symbolic period of suffering. The reading is uncertain.","cites":[],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The phrase 'eleven hours' (ܕܚܕܥܣܪ̈ܐ ܫ̈ܥܝܢ) is ambiguous: it could denote a specific time in the daily office or a symbolic number for incompleteness or penitential duration.","The identity of 'the departed who put on your garment from baptism' is ambiguous: it may refer to the baptized dead awaiting resurrection, or to a specific group of martyrs or ascetics."],"confidence":"high","notes":[]},{"i":3,"ref":"p3","source":"ܟܕ ܐܬܿܐ ܕܢܥܒܸܕ ܩܝܡܼـܐ ܚܕܬܐ ܕܥ̈ܢܝܕܐ ܕܫܟܼܒܘ ܥܠ ܣܒܗ. ܘܝܿܬܒ ܕܝܿܢܐ ܘܥ̈ܐܠܢ ܩܘܕܡܘܗܝ ܫܪ̈ܒܬܐ ܠܕܝܼܢܐ ܕܟܐܢܘܬܐ. ܬܘܒ ܕܝܢ ܦܿܬܚ ܣܼܦܪ̈ܘܗܝ. ܛܒ̈ܐ ܚܿܕܝܢ ܘܡܬܿܒܣܡܝܢ ܒܚ̈ܝܐ ܡܬܘ̈ܡܝܐ. ܕܠܗܘܢ ܡܪܝ ܐܫܼܘܐ ܠܥܒܼܕ̈ܝܟ ܕܫܟܼܒܘ ܥܠ ܣܒܪܟ ܒܝܘܡܐ ܕܡܐܬܝܬܟ. ܘܠܐ ܢܗܼܘܘܢ ܛܪ̈ܝܕܐ ܡܢ ܚܼܙܬܟ ܐܠܗܝܬܐ. ܐܘ̃ ܣܿܓܝ ܪ̈ܚܡܼܐ. ܐܠܐ ܢܿܣܼܩܘܢ ܠܟ ܫܘ̄ ܚܕܬܐ ܡܐ ܕܐܿܬܐ ܐܢܬ. ܪܚܿܡ ܐܢܫܐ. ܕܩܝܡܬܐ ܐܬܩܒܼܥܬ ܡܪܝ ܒܨܠܝܒܐ ܡܢ ܥܿܘ̈ܠܐ. ܘܒܦܛܐ ܕܬܪ̈ܬܝܢ ܐܝ̈ܕܝܟ. ܐܚܼܕܬ ܠܐܪ̈ܒܥ ܦܢܝ̈ܬܐ. ܫܡܼܫܐ ܚܼܫܟ ܗܘܐ ܒܪܩܝܥܐ. ܕܚܼܙܟ ܡܪܝ ܕܥܧܪܛܠܝ ܐܢܬ. ܒܡܼܨܥܬܿ ܛܗܪܐ ܒܐܝܡܡܐ. ܥܠܼ ܩܼܡ ܠܠܝܐ ܒܫܘܠܛܢܗ. ܩܠܐ ܕܩܼܥܝܬ ܥܠ ܩܝܣܐ܆ ܐܙܝܥܼܬ ܠܐܪܥܐ ܘܠܫܡܝܐ. ܒܡ̈ܝܼܬܐ ܐܬܡܢܼܝܬ ܒܪ̈ܚܡܼܝܟ. ܘܩܡܼܬ ܡܢ ܩܒܪܐ ܕܨܒܼܝܬ. ܘܐܩܼܝܡܬܝܗܝ ܥܡܟ ܠܐܕܡ ܘܐܦܢܼܝܬܝܗܝ ܠܥܕܝܢ. ܗܝܿ ܕܢܦܩܼ ܗܘܐ ܡܢܗܿ. ܛܒܐ ܡܪܝܐ ܛܝܒܘܬܟ. ܡܪܐ ܟܠ ܫܘ̄ ܠܟ܀\n܀ ܫܠܡ ܩܕ̄ ܕܪܒܘܠܐ ܐܦܝܣ̄ ܀","english":"When he comes to make a new covenant of the penitents who lie in hope of him. And he sits in judgment, and the supplications are placed before him, the branches of the cleansing of repentance. Again, he opens his books. The good ones rejoice and are gladdened in eternal life. That they may be, my Lord Jesus, for your servants who lie in hope of your coming on the day of your advent. And that they may not be cast out from your divine vision. O abundant mercy. But that they may ascend to you, a new praise, when you come. Have mercy on humanity. For the resurrection was established, my Lord, on the cross with the wicked. And with the palm of your two hands, you grasped the four extremities. The sun became dark in the firmament, because it saw you, my Lord, who were stripped. At midday, in the daytime, night arose in its dominion. The sound of your cry upon the wood shook the earth and the heavens. Among the dead you were moved by your mercy, and you rose from the tomb as you willed. And you raised up Adam with you, and you redeemed Eve. That which had gone out from her. Good is your grace, O Lord of all. Praise to you.\n\nEnd of the first of Rabbula, bishop.","structure":"narrative","commentary":[{"unit":"structure","kind":"structure","basis":"text","lemma":"ܟܕ ܐܬܿܐ ܕܢܥܒܸܕ ܩܝܡܼـܐ ܚܕܬܐ","severity":"info","text":"The passage shifts from direct petition to a narrative of Christ's eschatological judgment and resurrection, marked by the temporal clause 'When he comes to make a new covenant'.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"term","kind":"term","basis":"glossary","lemma":"ܩܝܡܼـܐ ܚܕܬܐ","severity":"info","text":"The phrase 'new covenant' (ܩܝܡܼـܐ ܚܕܬܐ) echoes Pauline and Syriac liturgical language for Christ's redemptive act, distinct from the Mosaic covenant.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"scripture","kind":"scripture","basis":"text","lemma":"ܘܒܦܛܐ ܕܬܪ̈ܬܝܢ ܐܝ̈ܕܝܟ. ܐܚܼܕܬ ܠܐܪ̈ܒܥ ܦܢܝ̈ܬܐ","severity":"info","text":"The image of Christ grasping the four extremities with his two hands alludes to the cross as a cosmic axis, recalling patristic exegesis of the crucifixion as spanning the four directions.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"background","kind":"background","basis":"text","lemma":"ܫܡܼܫܐ ܚܼܫܟ ܗܘܐ ܒܪܩܝܥܐ","severity":"info","text":"The darkening of the sun at midday is a standard topos in Syriac crucifixion narratives, derived from Gospel accounts (Mark 15:33) and elaborated in liturgical poetry.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"reception","kind":"reception","basis":"text","lemma":"ܘܐܩܼܝܡܬܝܗܝ ܥܡܟ ܠܐܕܡ ܘܐܦܢܼܝܬܝܗܝ ܠܥܕܝܢ","severity":"info","text":"The raising of Adam and redemption of Eve reflects a widespread Syriac tradition that Christ's resurrection reversed the Fall, a theme also found in Ephrem and later liturgical texts.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]},{"unit":"caution","kind":"caution","basis":"text","lemma":"ܕܥܧܪܛܠܝ ܐܢܬ","severity":"caution","text":"The phrase 'who were stripped' (ܕܥܧܪܛܠܝ) is ambiguous: it may refer to Christ's disrobing before crucifixion or metaphorically to his vulnerability; the Syriac allows both readings.","cites":[{"key":"ed:dsc-500","label":"source edition: Supplications in the First Tone","url":"https://syriaccorpus.org/500"}],"named_sources":[],"dropped_cites":[]}],"ambiguities":["The identity of 'he' in the opening clause is ambiguous: it could be Christ or a penitent; the reading takes it as Christ based on the subsequent resurrection narrative.","The phrase 'the branches of the cleansing of repentance' may be a metaphor for the supplications or for the penitents themselves; the translation opts for the former."],"confidence":"medium","notes":[]}]}