Work dossier · summary and historical context
The Malkǝʾ-hymn to Nob is an anonymous Geʿez poetic encomium praising the martyr Nob through a series of stanzas, each beginning with a body part or attribute. Preserved in a single manuscript (BnF Éth. 154) digitized by Beta maṣāḥǝft, the hymn follows the standard structure of the malkǝʾ genre. It is undated but conventionally placed in the later Solomonic period (15th–17th c.) based on genre and script. The text blends hagiographic and doxological language, referencing biblical figures (Saul, Apollo) and toponyms (Kenyā/Cenchreae), and names Yolyos (Julius) as Nob's burier. Its limited manuscript survival suggests local or private devotional use, and it is not known in current Ethiopian Orthodox liturgy.
The hymn provides rare evidence of a malkǝʾ dedicated to a little-known martyr, Nob, illustrating the diversity of Ethiopic hagiography beyond major saints. Its adaptation of biblical motifs (e.g., 'Saul, Saul' from Acts) and toponyms (Cenchreae) suggests creative engagement with apostolic traditions, while the naming of Yolyos as burier hints at lost local lore. The text's survival in a single manuscript underscores the fragility of such devotional works and the importance of digitization for preserving marginal Christian literatures.
The hymn is preserved in a single Ethiopic manuscript (BnF Éth. 154) from an unknown date, conventionally assigned to the later Solomonic period (15th–17th c.) based on script and genre, though firm evidence is lacking. It was likely composed in the Ethiopian Orthodox Tewahedo tradition, possibly in the northern highlands (Tigray or Amhara), where Geʿez remained a liturgical language. The malkǝʾ genre flourished in this period as a form of private or local devotion, often for saints not widely venerated. Nob is a martyr of uncertain origin, possibly linked to the Coptic saint Noba; the hymn's references to Kenyā (Cenchreae) and Apollo suggest a Greco-Roman setting, perhaps reflecting imported traditions. The text's survival in a single witness and absence from liturgical use indicate it was a local composition, possibly for a monastic or noble patron. Transmission likely occurred through scribal copying in a limited circle, with no evidence of wider dissemination.
Apparatus · what the pipeline recorded
| Coptic | Rendering | Count | First |
|---|---|---|---|
| no glossary terms recorded | |||