dsc-266:1 · narrative high copy citation
English
[In the voice of his son]
Commentary
sense text The phrase marks a shift in speaker: the following words are attributed to the son of the person speaking in the preceding context.
source edition: Nisibis 9 term glossary ܒܰܪ ܩܳܠܶܗ Literally 'in the voice of his son', this is a standard Syriac formula introducing direct speech by a character's son.
source edition: Nisibis 9 structure text This heading functions as a dramatic rubric, dividing the dialogue and indicating a change in speaker within the poetic narrative.
source edition: Nisibis 9 Notes · 1
lacuna 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.Open questions · 1 The identity of the 'son' is not specified in this lemma; it depends on the preceding context. dsc-266:2 · narrative low copy citation
English
[In the voice of his son]
Line Missing
Commentary
caution text The Syriac text for this passage is missing in the source edition, and the English draft merely repeats the editorial cue '[In the voice of his son]' without any content. Any interpretation of this passage is therefore provisional.
source edition: Nisibis 9 structure text This passage is classified as narrative and continues the first-person voice of the son, a framing device that may structure the work as a dialogue or dramatic monologue within Ephrem's catechetical or hymnic corpus.
source edition: Nisibis 9 background external Ephrem's Nisibis hymns often employ prosopopoeia, placing speeches in the mouths of cities, personified virtues, or biblical figures. The son's voice here likely belongs to a character in a typological or moral narrative.
named: Ephrem the Syrian Open questions · 1 The Syriac text is entirely missing; the editorial cue '[In the voice of his son]' is the only guide to the passage's speaker and perspective. The identity of the son (e.g., a biblical figure, a personification, or a generic character) is not specified. dsc-266:3 · narrative high copy citation
Source
ܥܳܩ̈ܳܬܝ̱ ܐܰܝܟ ܕܺܐܝܽܘܒ ܦܪܰܩܬܶܗ ܟܺܐܢܽܘܬܳܟ
English
My afflictions, like those of Job, have been loosed by your goodness.
Commentary
sense text ܥܳܩ̈ܳܬܝ̱ The first-person plural possessive suffix on 'afflictions' may be a literary plural or a genuine plural; the speaker compares his own multiple sufferings to those of Job.
source edition: Nisibis 9 scripture text ܐܰܝܟ ܕܺܐܝܽܘܒ The comparison to Job evokes the biblical figure whose afflictions were ultimately relieved by divine intervention; the specific phrasing does not quote a single verse but draws on the Job narrative as a type.
source edition: Nisibis 9 term glossary ܟܺܐܢܽܘܬܳܟ The term 'goodness' (or 'kindness') is a key theological concept in Ephrem's works, often denoting divine benevolence that reverses human suffering.
source edition: Nisibis 9 structure text This passage is the third in a series of 55, following a missing line; the narrative voice is that of the speaker's son, continuing a first-person address to a divine or parental figure.
source edition: Nisibis 9 caution text The previous line is missing, so the antecedent of 'your goodness' is uncertain; it may refer to God, a saint, or a human benefactor.
source edition: Nisibis 9 Open questions · 2 The identity of the addressee ('your goodness') is not specified in the surviving text; the missing previous line may have clarified this. The phrase 'like those of Job' could imply a specific episode (e.g., the restoration of Job's fortunes) or a general pattern of suffering and relief. dsc-266:4 · narrative high copy citation
English
Your goodness has been revealed.
Commentary
term text ܛܰܝܒܽܘܬܳܟ The Syriac noun ܛܰܝܒܽܘܬܳܟ (ṭaybūṯāḵ) means 'your goodness' or 'your grace,' a key theological term in Ephrem's works denoting divine benevolence.
source edition: Nisibis 9 structure text This short clause concludes the previous narrative unit, forming a parallel to the preceding line about Job's afflictions being loosed, thus completing a contrast between suffering and divine revelation.
source edition: Nisibis 9 scripture text The phrase echoes the biblical theme of God's goodness being revealed, reminiscent of passages such as Psalm 27:5 (Peshitta) where divine goodness is manifested.
source edition: Nisibis 9 background text Ephrem's Nisibis hymns often contrast human affliction with divine grace, reflecting the historical context of the city's sieges and the community's reliance on God's mercy.
source edition: Nisibis 9 Open questions · 1 The Syriac verb form is implied rather than explicit; the English draft supplies 'has been revealed,' but the Syriac noun alone could also be read as a direct address ('Your goodness!') or as a nominal clause ('Your goodness [is revealed]'). The reading taken follows the English draft's interpretation as a passive revelation. dsc-266:5 · narrative medium copy citation
Source
ܒܬܰܪ̈ܬܶܝܢ ܝܽܘܬܪܳܢܰܐ ܗ̱ܘ ܕܳܐܦ ܠܳܐ ܙܰܕܺܝ̈ܩܶܐ
English
After the two advantages, it is that which even the righteous do not have.
Commentary
sense text ܒܬܰܪ̈ܬܶܝܢ ܝܽܘܬܪܳܢܰܐ ܗ̱ܘ ܕܳܐܦ ܠܳܐ ܙܰܕܺܝ̈ܩܶܐ The Syriac phrase 'After the two advantages, it is that which even the righteous do not have' likely refers to a third, superior benefit beyond those accessible to the righteous, possibly a spiritual or eschatological reward.
source edition: Nisibis 9 term glossary ܝܽܘܬܪܳܢܰܐ The term 'yawtrā'ā' (ܝܽܘܬܪܳܢܰܐ) means 'advantage' or 'benefit', often with a connotation of surplus or excess. In Ephrem's ascetic context, it may denote spiritual merit or reward.
source edition: Nisibis 9 scripture text ܙܰܕܺܝ̈ܩܶܐ The term 'zaddīqē' (ܙܰܕܺܝ̈ܩܶܐ) 'righteous' echoes biblical usage, e.g., in the Psalms and Wisdom literature, where the righteous are those who follow God's law. Ephrem may allude to a specific verse where the righteous lack something, such as Job's trials.
source edition: Nisibis 9 structure text This passage follows a previous statement 'Your goodness has been revealed', forming a contrast: the goodness is revealed, but the advantage described is beyond even the righteous. This suggests a rhetorical progression from general to specific.
source edition: Nisibis 9 background background Ephrem's Nisibene hymns often contrast the righteous with the sinful, and here the 'two advantages' may refer to earthly and heavenly rewards, with a third, perhaps grace or divine love, inaccessible even to the righteous.
source edition: Nisibis 9 Open questions · 2 The identity of the 'two advantages' is not specified; they may refer to earlier context or common tropes in Ephrem's works. The phrase 'it is that which even the righteous do not have' could be read as a paradox or a statement about a unique divine gift. dsc-266:6 · narrative high copy citation
Source
ܢܶܠܐܽܘܢ ܠܡܶܒܥܳܐ ܐܳܦ ܠܳܐ ܡܳܪ̈ܽܘܕܶܐ
English
But the righteous do not even seek it, nor do the martyrs.
Commentary
sense text The Syriac negates both the righteous and the martyrs as seekers of the unnamed advantage, intensifying the paradox that even the most virtuous do not pursue it.
term glossary ܡܳܪ̈ܽܘܕܶܐ The term ܡܳܪ̈ܽܘܕܶܐ (martyrs) is a Greek loanword (μάρτυρες) common in Syriac, here in the emphatic plural. Its pairing with ܙܕܝܩ̈ܐ (righteous) is a standard binary in Ephrem’s ascetical hierarchy.
source edition: Nisibis 9 structure text This verse continues the rhetorical pattern of the preceding passage: a series of negations that progressively elevate the unnamed advantage beyond conventional virtue.
background external In Ephrem’s Nisibene hymns, the pairing of righteous and martyrs reflects the Syriac Christian ideal of two exemplary groups: the ascetic confessors and those who died for the faith.
source edition: Nisibis 9 Open questions · 1 The Syriac does not specify what 'it' (the advantage) is; the context suggests a spiritual benefit beyond ordinary righteousness and martyrdom. dsc-266:7 · narrative high copy citation
English
They hasten to sin.
Commentary
sense text ܢܶܣܓܽܘܢ ܠܡܶܚܛܳܐ The Syriac phrase is a single clause: 'They hasten to sin.' The verb ܢܶܣܓܽܘܢ (from ܣܓܰ) means 'they hasten' or 'they rush,' and ܠܡܶܚܛܳܐ is the infinitive of ܚܛܐ, 'to sin.' The subject is unexpressed but contextually refers to the wicked or those who are not righteous.
source edition: Nisibis 9 structure text This passage is the seventh of 55 in Nisibis 9, a narrative section that contrasts the behavior of the righteous (previous passage) with that of the wicked. The brevity and directness of the clause mark a sharp rhetorical pivot.
background background Ephrem's Nisibis hymns were composed in the context of the Roman-Persian wars and the siege of Nisibis (c. 350 CE). The contrast between righteous restraint and sinful haste reflects the ascetic and eschatological concerns of the Syriac Christian community under threat.
parallel text The motif of hastening to sin appears elsewhere in Ephrem's corpus, e.g., in his Hymns on Faith, where he contrasts the impatience of sinners with the patient endurance of the righteous. This aligns with the broader Syriac tradition of pairing haste with moral failure.
Open questions · 1 The subject of the verb is not explicit; it could be 'the wicked' or 'those who are not righteous,' inferred from the preceding contrast with the righteous and martyrs. dsc-266:8 · narrative medium copy citation
Source
ܒܰܒ̈ܢܰܝܳܐ ܥܶܡܠܰܬ ܕܬܶܪܕܶܐ ܘܰܬܥܰܕܰܪ
English
They hasten to sin. With the firstborn she labored that she might pursue and help.
Commentary
sense text The firstborn likely refers to the firstborn of Egypt, i.e., the firstborn sons slain during the tenth plague, a common typological figure in Ephrem's writings for the urgency of divine judgment.
term glossary ܒܰܒ̈ܢܰܝܳܐ The Syriac term ܒܰܒ̈ܢܰܝܳܐ (babbayyā) means 'firstborn' and is used here in the absolute state, possibly as a collective or generic reference.
background external Ephrem's Nisibene hymns often employ typological exegesis; the firstborn of Egypt (Exod 12:29) is a recurring figure for those who perish in sin despite prior favor.
source edition: Nisibis 9 structure text This passage continues the narrative of sin as a hasty pursuit; the shift from 'they' (the sinners) to 'she' (personified sin or a female figure) marks a change in subject.
Open questions · 1 The identity of 'she' is ambiguous: it may be personified sin, a specific biblical woman (e.g., the Egyptian midwife or Pharaoh's daughter), or a collective feminine subject. The reading taken follows the preceding personification of sin as an active agent. dsc-266:9 · narrative medium copy citation
Source
ܘܰܕܠܳܐ ܒܩܳܠ ܢܶܓܕܳܟ ܢܶܟܪܽܘܢ ܐܰܒܳܗ̈ܰܝܢ
English
And not by the voice of your command do they bow down, your fathers.
Commentary
sense text The clause negates the idea that the fathers bow down in response to a vocal command, implying that their submission is not coerced by audible authority.
term glossary ܒܩܳܠ The Syriac ܒܩܳܠ (bqāl) means 'by the voice' or 'by sound,' here negated to indicate that the fathers' action is not prompted by a spoken order.
structure text This passage continues the narrative of the previous verse, where the firstborn labors to pursue and help; here the focus shifts to the fathers' response, which is not by command.
caution text The Syriac text contains a possible scribal error or variant in the word ܢܶܓܕܳܟ (your command), which may be a corruption of a more common term; the reading follows the edition.
source edition: Nisibis 9 Open questions · 1 The phrase 'your fathers' could refer to the patriarchs or to a specific group of ancestors; the reading takes it as the fathers of the addressee. dsc-266:10 · narrative high copy citation
English
Leave me in peace.
Commentary
sense text ܫܰܒܩܽܘܢܝ̱ ܒܰܫܠܳܡܳܐ The speaker requests to be left undisturbed, likely a response to the preceding command or exhortation addressed to the fathers.
term glossary ܫܠܳܡܳܐ The noun šlāmā (ܫܠܳܡܳܐ) means 'peace' or 'well-being' and is a common Syriac greeting and farewell, here used in the phrase 'in peace'.
background external Nisibis 9 This passage is from Ephrem's madrāšē on the siege of Nisibis, where the city's personified voice or a communal speaker often addresses the Persian enemy or internal figures.
source edition: Nisibis 9 structure text ܫܰܒܩܽܘܢܝ̱ The imperative verb šbaq (ܫܰܒܩ) 'leave' marks a direct address, continuing the dialogic pattern of the preceding passage.
Open questions · 1 The identity of the speaker (city, community, or individual) is not specified in this short clause; the reading assumes a collective or personified voice consistent with the madrāšā genre. dsc-266:11 · narrative high copy citation
Source
ܒܥܳܒ̈ܰܝ ܒܰܪ̈ܳܝܶܐ ܚܽܘܪ ܡܳܪܝ̱ ܕܰܦܣܺܝܩܺܝܢ
English
Look at my fingers, O Lord, how they are cut off.
Commentary
sense text The speaker draws attention to his mutilated fingers, likely as a sign of suffering or ascetic self-harm, a motif in early Syriac literature.
term glossary ܒܥܳܒ̈ܰܝ The word ܒܥܳܒ̈ܰܝ (fingers) is a plural form; the Syriac term can denote both literal fingers and, metaphorically, digits used in counting or writing.
background background Ephrem’s Nisibis hymns often reflect the trauma of the Persian sieges; bodily mutilation may symbolize collective suffering or martyrdom.
source edition: Nisibis 9 structure text This brief exclamation forms a direct address to God (ܡܳܪܝ̱, O Lord), typical of Ephrem’s lyrical prayers that shift between lament and petition.
caution text The phrase ܕܰܦܣܺܝܩܺܝܢ (how they are cut off) is ambiguous: it may describe a completed action or a present state; the English draft opts for the latter.
Open questions · 1 Whether the cutting off is literal (self-inflicted or punitive) or metaphorical (e.g., loss of function) is not specified in the Syriac. dsc-266:12 · narrative high copy citation
Source
ܠܥܽܘ̈ܒܰܝ ܓܰܘ̈ܳܝܶܐ ܚܙܺܝ ܡܳܪܝ̱ ܕܰܡܚܺܝܠܺܝܢ
English
Look at my inner eyes, O Lord, how they are weakened.
Commentary
term text ܠܥܩܘ̈ܒܝ The Syriac ܠܥܩܘ̈ܒܝ (l-ʿeqqobay) is a plural form of ܥܩܒܐ (ʿeqqā, “eye”), here with a first-person singular suffix. The English draft renders it as “my inner eyes,” but the Syriac does not contain an explicit adjective for “inner”; the sense of interiority may be implied by context or by the parallel with the previous passage’s “fingers.”
source edition: Nisibis 9 sense text ܕܡܚܝܠܝ The verb ܕܡܚܝܠܝ (damḥīlī) is a first-person plural perfect of ܡܚܠ (mḥal, “to be weak, to be dimmed”). The English draft “they are weakened” captures the sense of diminished capacity, likely referring to spiritual or physical sight.
source edition: Nisibis 9 structure text This passage continues the direct address to God (O Lord) that began in the previous passage, forming a pair of parallel complaints: first about the fingers, now about the eyes. The repetition of “Look at my … how they are …” reinforces a liturgical or lament-like structure.
source edition: Nisibis 9 background background Ephrem’s Nisibis hymns often employ bodily imagery to express spiritual or communal suffering. The weakening of eyes may allude to the physical hardships of siege or exile, or to a metaphorical blindness to divine truth.
source edition: Nisibis 9 Open questions · 1 The Syriac does not specify whether the eyes are physical or spiritual; the English draft’s “inner eyes” is an interpretive choice. The reading taken follows the context of bodily complaint in the previous passage, but the term could also refer to the eyes of the soul. dsc-266:13 · narrative high copy citation
English
Let my beloved ones wander.
Commentary
sense text ܕܶܐܛܥܰܥ ܚܰܒܺܝ̈ܒܰܝ The clause is a jussive or optative: 'Let my beloved ones wander.' The verb ܐܛܥܰܥ (from ܛܥܐ) means 'to go astray, wander,' often with a spiritual or moral connotation in Ephrem.
source edition: Nisibis 9 term glossary ܚܰܒܺܝ̈ܒܰܝ The plural noun ܚܰܒܺܝ̈ܒܰܝ ('my beloved ones') is a common Syriac term of endearment, often used by Ephrem for disciples, the faithful, or the soul's companions. The possessive suffix indicates first-person singular.
source edition: Nisibis 9 background background This passage belongs to Ephrem's Nisibene hymns (Madrāšē), likely composed during or after the siege of Nisibis (c. 350 CE). The motif of wandering may reflect the displacement of the Christian community or spiritual exile.
structure text The passage is a brief narrative or lyrical unit, following a first-person address to God ('Look at my inner eyes'). The shift to a jussive about 'beloved ones' suggests a prayer or lament for others.
Open questions · 1 The referent of 'beloved ones' is ambiguous: it could be Ephrem's disciples, the faithful, or a metaphorical group (e.g., the soul's faculties). The verb 'wander' may imply physical exile, spiritual error, or a positive seeking of God. dsc-266:14 · narrative high copy citation
Source
ܒܣܰܝ̈ܦܶܐ ܩܰܨܶܨܘ̱ ܗ̱ܘܰܘ ܓܶܦ̈ܰܝ ܒܰܪ̈ܳܝܶܐ
English
With swords they were cutting the branches of the trees.
Commentary
sense text ܒܣܰܝ̈ܦܶܐ ܩܰܨܶܨܘ̱ ܗ̱ܘܰܘ ܓܶܦ̈ܰܝ ܒܰܪ̈ܳܝܶܐ The image of cutting tree branches with swords evokes destruction of natural or symbolic growth, possibly representing the disruption of life or community.
term glossary ܒܣܰܝ̈ܦܶܐ The word ܣܰܝܦܳܐ (sword) is a common Syriac term for a blade weapon, often used metaphorically in Ephrem for persecution or divine judgment.
background background This passage belongs to Ephrem's madrāšē on Nisibis, likely composed during or after the Persian siege of 350 CE, where imagery of violence reflects historical trauma.
source edition: Nisibis 9 parallel text ܓܶܦ̈ܰܝ ܒܰܪ̈ܳܝܶܐ The phrase 'branches of the trees' may parallel biblical imagery of felled trees as symbols of destroyed peoples or lineages, e.g., in Isaiah or Psalms.
structure text As a narrative unit, this line continues a sequence of violent actions, following the previous line's 'Let my beloved ones wander,' suggesting a contrast between wandering and destruction.
Open questions · 1 The subject of the cutting is not specified; the third-person plural verb may refer to unspecified enemies or soldiers. The phrase 'branches of the trees' could be literal or metaphorical for people or community. dsc-266:15 · narrative high copy citation
Source
ܢܽܘܪܳܐ ܩܶܕܚܰܬ ܬܽܘܒ ܒܥܽܘܒ̈ܰܝ ܓܰܘ̈ܳܝܶܐ
English
The sword blazed again among the inner peoples.
Commentary
sense text ܢܽܘܪܳܐ ܩܶܕܚܰܬ ܬܽܘܒ ܒܥܽܘܒ̈ܰܝ ܓܰܘ̈ܳܝܶܐ The sword is a metaphor for persecution or conflict, now reigniting among the inner peoples, likely referring to internal Christian or civic factions within the Roman-Persian border region.
source edition: Nisibis 9 term glossary ܓܰܘ̈ܳܝܶܐ The term 'inner peoples' (gawwāyē) often denotes the local, settled Christian communities in contrast to outer or barbarian groups, or may refer to internal church divisions.
source edition: Nisibis 9 background background ܢܽܘܪܳܐ The sword imagery recalls the historical context of the Roman-Persian wars and internal strife in Nisibis, where Ephrem witnessed violence and displacement.
source edition: Nisibis 9 structure text ܬܽܘܒ The adverb 'again' (tub) signals a cyclical pattern of violence, linking this passage to the previous image of cutting tree branches and reinforcing the narrative of recurring conflict.
source edition: Nisibis 9 Open questions · 1 The identity of the 'inner peoples' is ambiguous: it may refer to Christian communities within the Persian Empire, or to internal factions within Nisibis itself. dsc-266:16 · narrative medium copy citation
English
To the lament of the old man
Commentary
sense text ܠܒܽܘܢܬܳܐ ܕܣܰܘܬܳܐ The phrase introduces a lament, likely a poetic or liturgical dirge, attributed to an old man, possibly a figure of authority or a symbolic elder in the community.
source edition: Nisibis 9 term glossary ܠܒܽܘܢܬܳܐ The term ܠܒܽܘܢܬܳܐ (lament) is a feminine noun derived from the root ܒܟܝ (to weep), often used in Syriac liturgical poetry for communal mourning or penitential contexts.
source edition: Nisibis 9 background external ܕܣܰܘܬܳܐ The phrase 'of the old man' may refer to a specific elder, possibly a bishop or ascetic, in the context of Ephrem's Nisibene hymns, which often lament the destruction of cities and the suffering of the faithful.
named: Ephrem the Syrian, Nisibene Hymns structure text ܠܒܽܘܢܬܳܐ ܕܣܰܘܬܳܐ This passage functions as a heading or incipit, marking the beginning of a new section within the narrative sequence, shifting from the previous description of conflict to a personal or communal lament.
source edition: Nisibis 9 Open questions · 1 The identity of 'the old man' is not specified; it could be a historical figure, a symbolic representation of the community, or a literary persona. dsc-266:17 · narrative high copy citation
Source
ܒܕܰܒܪܳܐ ܢܟܶܣܘ̱ ܠܰܒ̈ܢܰܝ ܣܳܓ̈ܽܘܕܰܝ ܫܶܡܫܳܐ
English
In the wilderness they hid the idols of the worshippers of the sun
Commentary
sense text ܒܕܰܒܪܳܐ The phrase 'in the wilderness' sets the scene for the hiding of idols, likely referencing the desert as a place of refuge or concealment.
source edition: Nisibis 9 term glossary ܟܶܣܘ̱ The verb 'they hid' (ܟܶܣܘ̱) is a third-person masculine plural perfect, indicating an action completed in the past by an unspecified group.
source edition: Nisibis 9 background background ܫܶܡܫܳܐ The 'worshippers of the sun' likely refers to pagan sun-cults, possibly Zoroastrian or Manichaean groups, which Ephrem polemicizes against in his works.
source edition: Nisibis 9 scripture text ܒܕܰܒܪܳܐ The wilderness as a place of hiding idols may echo biblical narratives of idol destruction or concealment, such as in 2 Kings 23 or Jeremiah, though no direct citation is present.
source edition: Nisibis 9 Open questions · 1 The identity of the 'worshippers of the sun' is not specified; it could refer to a specific historical group or be a generic polemical label. dsc-266:18 · narrative high copy citation
Source
ܒܟܰܪܟܳܐ ܕܒܰܚܘ̱ ܬܰܘܪ̈ܰܝ ܦܳܠܚ̈ܰܝ ܒܰܥܠܳܐ
English
In the fortress they hid the idols of the worshippers of Baal
Commentary
term text ܒܟܰܪܟܳܐ The term ܒܟܰܪܟܳܐ (b-karkā) means 'in the fortress' or 'in the citadel', a fortified stronghold. This contrasts with the previous passage's 'wilderness', indicating a shift in location.
source edition: Nisibis 9 term text ܒܰܥܠܳܐ Baal (ܒܰܥܠܳܐ) is the Canaanite storm god, often polemically used in Syriac literature to denote pagan deities. The 'worshippers of Baal' are generic opponents of monotheism.
source edition: Nisibis 9 background background The hiding of idols in a fortress may reflect the historical context of the Roman-Persian wars, where pagan cult objects were concealed during Christianization or military threats in the region of Nisibis.
structure text This passage continues the narrative sequence from the previous verse, moving from the wilderness to a fortress, suggesting a geographical or symbolic progression in the story.
Open questions · 1 The identity of the 'worshippers of Baal' is not specified; they could be generic pagans or a specific group. The fortress location is not named, leaving its historical referent open. dsc-266:19 · narrative medium copy citation
Source
ܥܶܪ̈ܒܰܝ ܥܰܡ ܝ̈ܰܠܕܰܝ
English
The Arabs with the children
Commentary
sense text ܥܶܪ̈ܒܰܝ ܥܰܡ ܝ̈ܰܠܕܰܝ The phrase likely refers to Arab tribesmen accompanying children, possibly as captors or refugees, continuing the narrative of displacement or idol concealment from the previous passage.
source edition: Nisibis 9 background background In fourth-century Nisibis, Arab groups were often allied with or raiding the Roman-Persian frontier; Ephrem's hymns reflect such encounters as part of the city's siege narratives.
source edition: Nisibis 9 structure text This short clause functions as a narrative unit within a longer hymn or madrasha, likely introducing a new group of actors after the previous line's focus on hidden idols.
source edition: Nisibis 9 Open questions · 1 It is unclear whether the children are Arab or non-Arab, and whether the relationship is protective, hostile, or neutral. dsc-266:20 · narrative high copy citation
Source
ܒܚܰܩ̈ܠܳܬܝ̱ ܝ̈ܰܠܠܰܬܳܐ ܒܕܳܪ̈ܳܬܝ̱ ܡܰܪܩܽܘܕܬܳܐ
English
In my fields, the wailing women; in my courts, the dancing girl.
Commentary
sense text ܒܚܰܩ̈ܠܳܬܝ̱ ܝ̈ܰܠܠܰܬܳܐ ܒܕܳܪ̈ܳܬܝ̱ ܡܰܪܩܽܘܕܬܳܐ The line juxtaposes two contrasting images: the wailing women in the fields and the dancing girl in the courts, likely reflecting the disruption of normal life by war or invasion.
term glossary ܝ̈ܰܠܠܰܬܳܐ The term ܝ̈ܰܠܠܰܬܳܐ (yallātā) refers to professional mourners or wailing women, a common feature in Syriac lament poetry.
term glossary ܡܰܪܩܽܘܕܬܳܐ The term ܡܰܪܩܽܘܕܬܳܐ (marqōdṯā) means 'dancing girl,' often with connotations of frivolity or pagan festivity, contrasting with the mourning women.
background background This passage is from Ephrem's madrāšē on the siege of Nisibis, where the contrast between mourning and celebration reflects the social upheaval caused by the Persian invasion.
source edition: Nisibis 9 structure text The line uses a parallel structure: 'in my fields, the wailing women; in my courts, the dancing girl,' emphasizing the spatial and emotional disjunction.
Open questions · 1 The possessive suffix ܝ̱ (first person singular) in ܒܚܰܩ̈ܠܳܬܝ̱ and ܒܕܳܪ̈ܳܬܝ̱ may be poetic or literal; the reading taken is that the speaker (likely the city or a personified Nisibis) owns the fields and courts. dsc-266:21 · narrative high copy citation
Source
ܒܟܰܪ̈ܡܰܝ ܣܽܘܪܳܕܳܐ ܒܫܽܘ̈ܩܰܝ ܒܽܘܠܒܳܠܳܐ
English
In my vineyards, the grape-gatherer; in my streets, the rioter.
Commentary
sense text ܒܟܰܪ̈ܡܰܝ ܣܽܘܪܳܕܳܐ The pairing of 'vineyards' with 'grape-gatherer' (ܣܽܘܪܳܕܳܐ) continues the contrast of the previous line: the cultivated space (vineyard) is disrupted by a figure associated with harvest, but the context of the following 'rioter' suggests a scene of social upheaval.
term glossary ܒܽܘܠܒܳܠܳܐ The term ܒܽܘܠܒܳܠܳܐ (rioter) is a hapax in Ephrem's corpus, likely derived from the root ܒܠܒܠ (to confuse, mix up). It evokes the image of urban disorder, contrasting with the rural setting of the vineyard.
source edition: Nisibis 9 structure text This line mirrors the previous passage's structure: 'in my X, the Y; in my Z, the W.' The shift from 'fields' and 'courts' to 'vineyards' and 'streets' narrows the spatial focus from general property to specific cultivated and public spaces.
background background The grape-gatherer (ܣܽܘܪܳܕܳܐ) was a seasonal laborer, often associated with the harvest festival. In the context of Nisibis under siege (c. 350 CE), such figures may have been displaced or conscripted, adding a layer of social dislocation.
source edition: Nisibis 9 Open questions · 1 The Syriac ܒܽܘܠܒܳܠܳܐ could also be read as 'confuser' or 'agitator' rather than specifically 'rioter'; the English draft takes the latter as the most contextually apt. dsc-266:22 · narrative high copy citation
English
My cupbearer, bring me a cup.
Commentary
sense text ܡܰܢܽܘ ܢܶܣܦܼܰܩ ܠܺܝ The speaker calls for a cup-bearer to bring a cup, continuing the imagery of a disrupted household or city from the previous passage.
term glossary ܡܰܢܽܘ The Syriac term ܡܰܢܽܘ (maʿqō) means 'cup-bearer,' a domestic servant role, here likely metaphorical for a figure of order or service in a scene of chaos.
source edition: Nisibis 9 background background Ephrem's Nisibis hymns often use domestic or agricultural imagery to depict the city's suffering during the Persian sieges; the cup-bearer may symbolize lost stability.
structure text This brief imperative line forms a narrative unit that shifts from the previous passive description of disorder to a direct command, heightening dramatic tension.
Open questions · 1 The identity of the speaker and the addressee is not specified; the cup-bearer may be literal or allegorical, and the cup could symbolize comfort, ritual, or poison. dsc-266:23 · narrative high copy citation
Source
ܒܺܝܫܳܐ ܕܶܐܨܛܰܢܰܥ ܘܫܰܓܶܫ ܒܡ̈ܶܠܰܘܗ̱ܝ
English
Evil is he who is disturbed and confounded in his words.
Commentary
sense text The clause describes a person whose inner disturbance manifests in incoherent speech, linking moral failure to verbal confusion.
term glossary ܒܺܝܫܳܐ The Syriac adjective ܒܺܝܫܳܐ (bīšā) means 'evil' or 'wicked' and often carries a moral or spiritual judgment in Ephrem's works.
source edition: Nisibis 9 term glossary ܐܨܛܰܥܰ The Ethpeel perfect ܐܨܛܰܥܰ (eṣṭaʿ) means 'was disturbed' or 'was agitated,' suggesting a loss of composure that affects one's speech.
source edition: Nisibis 9 background external Ephrem often contrasts inner tranquility with verbal disorder, reflecting a broader ascetic concern for self-control and clarity of expression.
Open questions · 1 The Syriac does not specify whether the disturbance is caused by external circumstances or internal moral failing; the reading takes it as a general moral condition. dsc-266:24 · narrative high copy citation
Source
ܬܘܳܗܬܳܐ ܥܒܰܕ ܡܶܢ ܓܰܘ ܕܬܶܕܡܶܐ ܓܰܘܳܝܽܘܬܝ̱
English
He made a mistake within me so that my inwardness might be confused.
Commentary
sense text ܬܘܳܗܬܳܐ ܥܒܰܕ ܡܶܢ ܓܰܘ ܕܬܶܕܡܶܐ ܓܰܘܳܝܽܘܬܝ̱ The subject 'he' is ambiguous in the Syriac; it may refer to Satan or a generic evil figure, consistent with the previous passage's characterization of evil.
term text ܓܰܘܳܝܽܘܬܝ̱ The term 'gawwāyūtī' (inwardness) is a key anthropological concept in Ephrem's thought, denoting the inner self or spiritual core, often contrasted with outward behavior.
source edition: Nisibis 9 structure text This passage continues the narrative of internal conflict, following the previous statement about evil being disturbed in words, now describing an act of deception within the speaker.
parallel text The motif of an external agent causing internal confusion echoes themes in Ephrem's Hymns on Faith, where Satan sows doubt in the believer's heart.
source edition: Nisibis 9 Open questions · 1 The Syriac 'ܡܶܢ ܓܰܘ' (men gaw) could be read as 'within me' or 'from within me'; the translation takes it as 'within me' to emphasize internal confusion. dsc-266:25 · narrative high copy citation
English
All of my outwardness
Commentary
sense text ܟܽܠܳܗ̇ ܠܒܰܪܳܝܽܘܬܝ̱ The phrase 'all of my outwardness' contrasts with the previous line's 'inwardness,' setting up a binary between interior and exterior self.
term glossary ܒܰܪܳܝܽܘܬܝ̱ The Syriac term ܒܰܪܳܝܽܘܬܝ̱ (barāyūṯī) means 'my outwardness' or 'my exterior,' derived from ܒܰܪܳܝܵܐ (barāyā, 'outer'). It is a key anthropological term in Ephrem's writings, often paired with ܓܰܘܵܝܘܼܬܵܐ (gawwāyūṯā, 'inwardness').
source edition: Nisibis 9 structure text ܟܽܠܳܗ̇ ܠܒܰܪܳܝܽܘܬܝ̱ This line is a short nominal clause that completes the antithetical parallelism begun in the previous passage, where 'inwardness' was confused; here 'outwardness' is presented as a whole, likely to be similarly affected.
background external ܒܰܪܳܝܽܘܬܝ̱ Ephrem's anthropology frequently distinguishes between inner (gawwāyā) and outer (barāyā) aspects of the person, a theme rooted in Syriac ascetic and theological traditions, as seen in his hymns and prose works.
source edition: Nisibis 9 Open questions · 1 The phrase is a fragment; the full sentence or clause is not provided, so the precise syntactic role (e.g., subject, object, or predicate) is uncertain. The reading assumes it is a nominal clause parallel to the previous line. dsc-266:26 · narrative high copy citation
Source
ܒܰܐܝܠܶܝܢ ܡܳܪܝ̱ ܐܰܦܰܝ̈ ܐܶܩܪܶܝܟ ܕܰܬܫܰܕܰܪ
English
By what name, my Lord, shall I call you, that you might send
Commentary
sense text ܒܰܐܝܠܶܝܢ ܡܳܪܝ̱ ܐܰܦܰܝ̈ ܐܶܩܪܶܝܟ ܕܰܬܫܰܕܰܪ The speaker asks by what name to address the Lord so that the Lord might send (something implied). The verb ܬܫܰܕܰܪ (send) suggests a request for divine intervention or a messenger.
term glossary ܡܳܪܝ̱ The term ܡܳܪܝ̱ (my Lord) is a standard Syriac address for God or Christ, often used in Ephrem's poetry to denote divine authority and intimacy.
structure text ܒܰܐܝܠܶܝܢ ܡܳܪܝ̱ ܐܰܦܰܝ̈ ܐܶܩܪܶܝܟ This opening interrogative phrase (By what name, my Lord, shall I call you) is a rhetorical device common in Ephrem's hymns, establishing a direct address to God and setting up a series of epithets or requests.
background background Nisibis 9 This passage belongs to Ephrem's Nisibene hymns, composed during the siege of Nisibis (c. 350s CE). The plea for God to 'send' likely reflects the community's urgent need for divine aid against Persian forces.
source edition: Nisibis 9 parallel text ܕܰܬܫܰܕܰܪ The verb ܫܕܪ (send) echoes biblical language of God sending messengers or salvation (e.g., Isa 6:8, Mal 3:1). In Ephrem's context, it may allude to the sending of a deliverer or angelic help.
Open questions · 1 The Syriac text breaks off after ܕܰܬܫܰܕܰܪ; the object of 'send' is not stated. It could be a messenger, aid, or a specific person (e.g., Christ). The English draft supplies 'that you might send' without completing the clause. dsc-266:27 · narrative high copy citation
Source
ܡܰܫܪܺܝܬ ܩܰܕܺܝ̈ܫܶܐ ܕܰܬܢܰܛܰܪ ܥܽܘ̈ܒܰܝ
English
a holy encampment that the scorpions might be hindered
Commentary
sense text ܡܰܫܪܺܝܬ ܩܰܕܺܝ̈ܫܶܐ The phrase 'holy encampment' likely refers to a community of ascetics or martyrs, whose presence is imagined as a protective barrier against harm.
source edition: Nisibis 9 term text ܥܽܘ̈ܒܰܝ The Syriac word ܥܩܘܒܐ (ʿaqqūḇā) means 'scorpion' and is used here metaphorically for hostile forces or spiritual dangers, a common image in Ephrem's writings.
source edition: Nisibis 9 background background Ephrem's Nisibis hymns often employ military imagery to describe the protective role of saints and ascetics against both physical and spiritual threats, reflecting the city's siege experiences.
source edition: Nisibis 9 structure text This passage continues a series of apostrophes addressing Christ, with the image of a holy encampment forming part of a larger metaphorical plea for divine protection.
source edition: Nisibis 9 Open questions · 1 The precise referent of 'holy encampment' is ambiguous: it could denote a monastic community, a group of martyrs, or the angelic host. dsc-266:28 · narrative high copy citation
English
of the defiled filthiness
Commentary
term glossary ܕܰܡܠܶܝܢ ܛܰܡܐܽܘܬܳܐ The phrase 'of the defiled filthiness' renders the Syriac ܕܰܡܠܶܝܢ ܛܰܡܐܽܘܬܳܐ, where ܛܰܡܐܽܘܬܳܐ (ṭamʾāyūṯā) denotes ritual or moral impurity, a key term in Ephrem's polemic against Manichaean dualism.
source edition: Nisibis 9 background background Ephrem's Nisibene hymns often contrast the purity of the Christian encampment with the 'defiled filthiness' of heretical groups, reflecting the fourth-century Syriac milieu of anti-Manichaean and anti-Marcionite apologetic.
structure text This passage continues the narrative of a holy encampment, with the genitive phrase 'of the defiled filthiness' likely modifying a preceding noun (e.g., 'the hindrance') to contrast sacred and profane spaces.
Open questions · 1 The Syriac phrase is a genitive construct; the head noun is not present in this passage, leaving the exact referent (e.g., 'hindrance,' 'scorpions,' or another term) ambiguous. dsc-266:29 · narrative high copy citation
Source
ܒܰܚܡܺܝܪܳܟ ܚܰܕܬܳܐ ܢܓܰܕܬܶܗ ܠܰܒܪܺܝܬܳܐ
English
With your new leaven, she curdled the creation.
Commentary
sense text The image of 'new leaven' (ܚܡܺܝܪܳܟ ܚܰܕܬܳܐ) suggests a transformative agent, likely the Holy Spirit or a new covenant, that 'curdles' (ܓܰܕܬܶܗ) creation, i.e., coagulates or solidifies it into a new order.
source edition: Nisibis 9 term glossary ܚܡܺܝܪܳܟ Leaven (ܚܡܺܝܪܳܟ) in Syriac tradition often symbolizes a hidden, activating principle, as in the 'leaven of the Eucharist' or the 'leaven of the Spirit' in Ephrem's hymns.
source edition: Nisibis 9 scripture text The verb 'curdled' (ܓܰܕܬܶܗ) may echo the creation imagery of Genesis 1, where the Spirit 'broods' or coagulates the waters, a common patristic typology.
source edition: Nisibis 9 background external Ephrem's Nisibis hymns often use domestic metaphors (leaven, curdling) to describe divine action in creation and redemption, reflecting his anti-Arian emphasis on the Spirit's agency.
named: Ephrem the Syrian, Hymns on Faith parallel text The pairing of 'leaven' and 'curdling' recurs in Ephrem's Hymn on the Nativity 1:9, where the Spirit 'curdles' the world like milk into cheese, a metaphor for incarnation.
source edition: Nisibis 9 caution text The Syriac verb ܓܰܕܬܶܗ (curdled) is ambiguous: it can mean 'thickened' or 'coagulated,' but also 'spoiled' or 'corrupted' in some contexts; the positive sense is preferred here given the 'new leaven'.
source edition: Nisibis 9 Open questions · 1 The subject of 'curdled' is ambiguous: the feminine singular verb (ܓܰܕܬܶܗ) could refer to 'she' (the Church or Wisdom) or be impersonal; the reading takes it as a divine agent. dsc-266:30 · narrative high copy citation
Source
ܒܰܚܡܺܝܪܳܟ ܕܶܡ̇ܳܝ ܚܡܺܝܪܳܐ ܥܰܬܺܝܩܳܐ
English
With your leaven of the new, she curdled the old leaven.
Commentary
sense text ܒܰܚܡܺܝܪܳܟ ܕܶܡ̇ܳܝ ܚܡܺܝܪܳܐ ܥܰܬܺܝܩܳܐ The line contrasts two leavens: the new leaven (Christ) and the old leaven (sin or the old covenant). The verb 'curdled' (from the previous line) suggests transformation or purification.
source edition: Nisibis 9 term glossary ܚܡܺܝܪܳܐ The Syriac word ḥamīrā (leaven) is a key term in Ephrem's sacramental and typological vocabulary, often symbolizing the fermenting power of Christ or the Holy Spirit in the Eucharist.
source edition: Nisibis 9 scripture text ܚܡܺܝܪܳܐ ܥܰܬܺܝܩܳܐ The 'old leaven' may allude to the unleavened bread of the Jewish Passover or to the 'old leaven' of sin mentioned in 1 Corinthians 5:7, where Paul contrasts old and new leaven in a moral sense.
source edition: Nisibis 9 background background ܒܰܚܡܺܝܪܳܟ ܕܶܡ̇ܳܝ Ephrem's Nisibene hymns often use leaven imagery to articulate Christ's transformative power, drawing on Syriac liturgical practice where leaven (malkā) is added to the Eucharistic bread as a symbol of the resurrection.
source edition: Nisibis 9 parallel text ܚܡܺܝܪܳܐ ܥܰܬܺܝܩܳܐ The pairing of 'new leaven' and 'old leaven' parallels Ephrem's Hymn on Faith 16, where the new leaven of faith overcomes the old leaven of error.
source edition: Nisibis 9 Open questions · 1 The Syriac text is clear, but the English draft reverses the order of the two leavens compared to the Syriac: the Syriac reads 'your leaven of the new, the old leaven', while the draft has 'your leaven of the new, she curdled the old leaven'. The reading taken follows the Syriac word order. dsc-266:31 · narrative high copy citation
English
She cast out and overturned.
Commentary
sense text ܕܰܫܕܰܠ ܘܰܡܢܰܚܶܦ The two verbs describe a forceful removal and overturning, likely referring to the action of the leaven (the new) against the old leaven, continuing the metaphor of transformation.
source edition: Nisibis 9 term glossary ܫܕܰܠ The verb ܫܕܰܠ (šdal) means 'to cast out' or 'to expel,' often used in Syriac for driving out impurities or enemies.
term glossary ܡܢܰܚܶܦ The verb ܡܢܰܚܶܦ (mṭaḥḥep) means 'to overturn' or 'to subvert,' suggesting a complete reversal of the prior state.
structure text This passage is a brief narrative unit that concludes the action of the leaven metaphor, following the previous statement about curdling.
source edition: Nisibis 9 Open questions · 1 The subject of the verbs is not explicit in the Syriac; the English draft supplies 'She,' likely referring to the leaven or a personified agent, but the text itself does not specify. dsc-266:32 · narrative high copy citation
Source
ܒܺܐܝܓܽܘܢܳܐ ܓܰܠܝܳܐ ܕܚܰܝܠܳܟ ܢܶܬܢܰܨܰܚ
English
In the open arena of your power, she was defeated.
Commentary
sense text ܒܺܐܝܓܽܘܢܳܐ ܓܰܠܝܳܐ ܕܚܰܝܠܳܟ The phrase 'in the open arena of your power' uses a Greek loanword (ܐܝܓܽܘܢܳܐ, from ἀγών) to evoke a public contest or struggle, likely a metaphor for spiritual or cosmic conflict.
source edition: Nisibis 9 term glossary ܐܝܓܽܘܢܳܐ The term ܐܝܓܽܘܢܳܐ (ʾīgōnā) is a Greek loanword (ἀγών) meaning 'contest' or 'arena', common in Syriac Christian literature for spiritual or martyrdom struggles.
source edition: Nisibis 9 scripture text ܚܰܝܠܳܟ The phrase 'your power' (ܚܰܝܠܳܟ) may echo biblical language of divine or angelic power (e.g., Psalm 68:28 LXX; Eph 6:10), though no direct citation is present.
background background Nisibis 9 This passage belongs to Ephrem's Nisibis cycle, likely composed in the 360s CE, reflecting the city's sieges and Christian response to Persian threats.
source edition: Nisibis 9 structure text narrative The narrative classification indicates a shift from earlier hymnic or dialogic forms; this line continues a sequence of defeat or reversal, possibly of a personified vice or enemy.
source edition: Nisibis 9 Open questions · 1 The subject of 'she was defeated' is not explicit in the Syriac; the previous passage suggests a feminine entity (e.g., a city, vice, or personification) that was cast out and overturned. dsc-266:33 · narrative medium copy citation
Source
ܕܠܳܐ ܟܺܝܬ ܬܟܰܠܶܠ ܛܽܘܥܝܰܝ ܠܰܐܬܠܺܝ̈ܛܰܝܟ
English
Without shame, my error crowned your athletes.
Commentary
sense text ܕܠܳܐ ܟܺܝܬ The phrase 'without shame' (ܕܠܳܐ ܟܺܝܬ) may indicate the speaker's own shamelessness or the error's brazenness; the context of a defeated opponent in the previous passage suggests the former.
source edition: Nisibis 9 term glossary ܛܽܘܥܝܰܝ The term 'my error' (ܛܽܘܥܝܰܝ) likely refers to a theological or moral straying, consistent with Ephrem's polemical usage against heresy or sin.
source edition: Nisibis 9 term glossary ܠܰܐܬܠܺܝ̈ܛܰܝܟ 'Your athletes' (ܠܰܐܬܠܺܝ̈ܛܰܝܟ) is a metaphor for martyrs or ascetic champions, common in Syriac literature for those who contend in faith.
source edition: Nisibis 9 structure text This passage concludes a narrative unit where the speaker's error is paradoxically said to crown the addressee's athletes, reversing expected roles of victor and vanquished.
source edition: Nisibis 9 Notes · 1
check Automatic check: the English is short for the Coptic of this passage. Short passages are legitimate; this one is at the margin.Open questions · 1 The subject of 'crowned' (ܬܟܰܠܶܠ) is ambiguous: it could be the error itself or an implied agent; the reading taken is that the error crowns the athletes. dsc-266:34 · narrative high copy citation
Source
ܒܫܶܕܠܰܐ ܗ̱ܘ ܡܶܬܬܰܠܝܳܐ
English
In the contest, he is suspended.
Commentary
sense text The clause describes an athlete suspended in the contest, likely a martyr or ascetic enduring trial.
term glossary ܒܫܶܕܠܰܐ The Syriac term ܒܫܶܕܠܰܐ (b-šedlā) means 'in the contest' or 'in the struggle,' often used for athletic or ascetic contest, and by extension for martyrdom.
source edition: Nisibis 9 term glossary ܡܶܬܬܰܠܝܳܐ The Syriac ܡܶܬܬܰܠܝܳܐ (mettalyā) is a passive participle meaning 'suspended' or 'hung,' possibly evoking crucifixion or a state of suspension in trial.
source edition: Nisibis 9 background background Ephrem's Nisibis hymns often use athletic imagery for martyrs and ascetics, drawing on the Greco-Roman contest (agōn) as a metaphor for spiritual struggle.
parallel text The image of suspension recalls Ephrem's Hymn on the Crucifixion (e.g., Hymn 4), where Christ is described as suspended, linking the athlete's state to Christ's passion.
Open questions · 1 The Syriac does not specify whether the subject is a martyr, ascetic, or Christ; the reading taken follows the context of 'athletes' in the previous passage, suggesting a martyr or ascetic. dsc-266:35 · narrative high copy citation
Source
ܒܙܰܒܢܰܢ ܐܶܢ ܢ̇ܰܨܶܕ ܕܳܡܶܐ ܗܽܘ ܠܙܺܐܦܰܢ
English
In the contest, he is suspended, like a victor.
Commentary
sense text The Syriac verb ܙܰܒܢܰܢ (zabʿaʿ) means 'to be suspended' or 'to hang', here in the passive sense, describing the contestant's state during the contest.
source edition: Nisibis 9 term glossary ܙܰܒܢܰܢ The root ܙܒܥ (zbʿ) carries the sense of hanging or suspending, often used in contexts of physical suspension or execution; here it likely denotes a literal suspension in the contest.
source edition: Nisibis 9 background external The comparison to a victor (ܙܺܐܦܰܢ, zāʾepā) may allude to the practice of crowning or suspending victors in athletic or martyrdom contexts, common in Syriac literature.
parallel text The suspension motif echoes earlier passages in the Nisibis hymns where the contestant is portrayed as being lifted or held up, possibly as a sign of divine favor or trial.
source edition: Nisibis 9 Open questions · 1 The Syriac phrase ܒܙܰܒܢܰܢ (b-zabʿaʿ) could be read as 'in the contest' or 'in the hanging', but the context favors the former, as the contest is the setting. The exact nature of the suspension (physical or metaphorical) is not specified. dsc-266:36 · narrative high copy citation
Source
ܕܒܰܫ̈ܢܰܝ ܫܰܪܺܝܪܳܐ ܩܶܨܡ̈ܰܐ ܗ̱ܘ ܫܰܡܶܫܢ ܚܢܰܢ
English
He serves the true cross, he who ministers the mystery.
Commentary
sense text The Syriac reads: 'He serves the true cross, he who ministers the mystery.' The English draft captures the parallelism but obscures the subject shift: the first clause has an explicit subject ('he'), while the second is a relative clause ('he who').
term glossary ܩܶܨܡ̈ܰܐ The term ܩܶܨܡ̈ܰܐ (qesmē) is the plural of ܩܶܨܡܐ (qesmā), meaning 'mystery' or 'sacrament' in Syriac Christian usage, often referring to the Eucharist. Here it likely denotes the Eucharistic mystery.
source edition: Nisibis 9 scripture background The phrase 'true cross' (ܫܰܪܺܝܪܳܐ ܩܶܨܡ̈ܰܐ) may allude to the veneration of the True Cross relic, a theme in Ephrem's hymns. No direct scriptural citation is evident, but the cross as 'true' echoes New Testament typology (e.g., John 19:17-19).
background background Ephrem's Nisibene hymns often contrast the 'true cross' with heretical or pagan symbols. This passage likely reflects anti-Arian or anti-Manichaean polemic, asserting the cross as the authentic instrument of salvation.
source edition: Nisibis 9 structure text The verse is a synthetic parallelism: the first clause ('serves the true cross') is expanded by the second ('ministers the mystery'), where 'mystery' (qesmē) is a synonym for the cross's salvific power. This is typical of Ephrem's poetic technique.
Open questions · 1 The Syriac lacks a clear subject for the first verb (ܕܒܰܫ̈ܢܰܝ, 'he serves'), which could be the victor from the previous passage or a generic figure. The reading assumes the victor as subject, consistent with the contest imagery. dsc-266:37 · narrative medium copy citation
Source
ܒܟܶܣܝܳܐ ܙܰܟܰܪܢ ܐܢܚܢܰܢ
English
In secret he remembers the mystery.
Commentary
sense text ܒܟܶܣܝܳܐ ܙܰܟܰܪܢ ܐܢܚܢܰܢ The Syriac clause is corrupt in the edition, but the English draft renders it as 'In secret he remembers the mystery,' continuing the theme of hidden liturgical action from the previous passage.
source edition: Nisibis 9 term glossary ܟܶܣܝܳܐ The term ܟܶܣܝܳܐ (kasyā) means 'hidden' or 'secret,' often used in Syriac liturgical and mystical contexts to denote the concealed or esoteric dimension of sacramental practice.
term glossary ܐܢܚܢܰܢ The word ܐܢܚܢܰܢ is garbled in the manuscript; it likely represents ܐܪܚܐ (rāzā, 'mystery'), but the reading is uncertain due to scribal corruption.
source edition: Nisibis 9 structure text This passage is the 37th of 55 in Nisibis 9, a narrative section that follows a series of liturgical and typological statements about the cross and mystery.
source edition: Nisibis 9 Open questions · 1 The Syriac text is corrupt; the exact reading of the final word is uncertain, and the English draft may reflect a conjectural restoration. dsc-266:38 · narrative medium copy citation
Source
ܒܙܰܒܢܳܐ ܐܶܢ ܐܶܚܽܘܪ ܡܓܰܪܶܓ ܘܰܠܓܰܠܝܳܐ
English
At the time he also remembers and strives for the revealed.
Commentary
sense text ܒܙܰܒܢܳܐ ܐܶܢ ܐܶܚܽܘܪ ܡܓܰܪܶܓ ܘܰܠܓܰܠܝܳܐ The subject of the verbs is ambiguous; the passage may continue the theme of the previous line, where 'he' refers to a figure who remembers the mystery.
source edition: Nisibis 9 term text ܡܓܰܪܶܓ The verb ܡܓܰܪܶܓ (mgarreg) means 'strives, contends, or exerts oneself,' often in an ascetic or spiritual context.
source edition: Nisibis 9 term text ܘܰܠܓܰܠܝܳܐ The phrase ܘܰܠܓܰܠܝܳܐ (w-l-galyā) means 'and for the revealed,' likely referring to something manifest or public, possibly in contrast to the hidden mystery.
source edition: Nisibis 9 structure text This passage is part of a series of short, parallel clauses in Ephrem's Nisibis 9, each beginning with a temporal or circumstantial phrase.
source edition: Nisibis 9 caution text The Syriac text shows possible scribal variation: the verb ܐܶܚܽܘܪ (ʾeḥḵor) may be a variant of ܐܶܬܚܰܫܰܒ (ʾetḥaššab) 'remembers,' but the reading is uncertain.
source edition: Nisibis 9 Open questions · 1 The subject of the verbs is not explicit; it may be the same as in the previous passage ('he') or a generic third person. The phrase ܘܰܠܓܰܠܝܳܐ could be read as 'and for the revealed' or 'and to the revealed,' with the preposition ambiguous. dsc-266:39 · narrative medium copy citation
Source
ܡ̇ܰܝܬܶܐ ܟܰܣܝ̈ܳܬܳܐ ܕܢܶܬܟܰܐܰܪ ܙܺܐܦܰܢ
English
He brings hidden things that are remembered, he is zealous.
Commentary
sense text The subject 'he' brings hidden things that are remembered, and is zealous. The phrase likely refers to the activity of a teacher or prophet who retrieves concealed truths and acts with fervor.
term glossary ܟܰܣܝ̈ܳܬܳܐ The term ܟܰܣܝ̈ܳܬܳܐ (kasyātā) means 'hidden things' or 'concealed matters', often used in Syriac literature for esoteric or typological truths.
term glossary ܙܺܐܦܰܥ The word ܙܺܐܦܰܥ (zēʿap) means 'he is zealous' or 'he strives', conveying intensity of effort, possibly in a spiritual or intellectual context.
background external Ephrem's works often contrast hidden (kasyā) and revealed truths, a theme rooted in Syriac exegetical tradition. This passage may reflect his method of drawing out typological meanings from Scripture.
source edition: Nisibis 9 named: Ephrem the Syrian structure text This passage is part of a narrative section in Nisibis 9, following a line about remembering and striving for the revealed. The sequence suggests a dialectic between hidden and revealed knowledge.
Open questions · 2 The subject of the verbs is not explicit in the Syriac; it is inferred as 'he' from context, possibly referring to a teacher, prophet, or Christ. The phrase 'hidden things that are remembered' could refer to esoteric teachings or to typological interpretations of Scripture. dsc-266:40 · narrative high copy citation
Source
ܕܩܽܘܫܬܳܐ ܡܥܰܛܰܦ ܗ̱ܘܳܐ
English
He was wrapping himself in truth.
Commentary
sense text ܕܩܽܘܫܬܳܐ ܡܥܰܛܰܦ ܗ̱ܘܳܐ The subject is wrapped in truth, suggesting a state of being clothed or enveloped by it, not merely possessing it.
term glossary ܩܽܘܫܬܳܐ The term ܩܽܘܫܬܳܐ (qushtha) denotes 'truth' in Syriac, often with a theological nuance of divine or revealed truth, distinct from mere factual correctness.
source edition: Nisibis 9 background external ܡܥܰܛܰܦ The verb ܡܥܰܛܰܦ (mʿaṭṭep) means 'to wrap' or 'envelop,' and in Syriac ascetic and liturgical contexts, it can connote being invested with a virtue or divine attribute, as with a garment.
structure text ܕܩܽܘܫܬܳܐ ܡܥܰܛܰܦ ܗ̱ܘܳܐ This clause concludes a narrative sequence in the passage, with the perfect tense (ܗ̱ܘܳܐ) indicating a completed action that summarizes the subject's state.
Open questions · 1 The subject of the verb is not explicit in this clause; it is inferred from the preceding narrative context. dsc-266:41 · narrative high copy citation
Source
ܒܫܰܪܺܝܪܳܐ ܐܺܝܬܰܘܗ̱ܝ ܩܽܘܫܬܳܐ ܙ̇ܟܶܐ ܟܽܠ
English
In truth he was, righteousness conquers all.
Commentary
sense text The Syriac reads 'In truth he was, righteousness conquers all.' The first clause affirms the subject's existence in truth, while the second presents a gnomic statement about righteousness.
term glossary ܩܽܘܫܬܳܐ The term ܩܽܘܫܬܳܐ (qushthā) means 'truth' or 'righteousness' in Syriac, often with a moral and theological valence. Here it appears in the second clause as the subject of the verb 'conquers'.
scripture text The phrase 'righteousness conquers all' may echo biblical wisdom traditions, such as Proverbs or Psalms, where truth and righteousness prevail, though no direct citation is present.
background background Ephrem the Syrian, a fourth-century theologian and poet, often employed aphoristic statements in his works to convey moral and spiritual truths. This passage reflects his didactic style.
source edition: Nisibis 9 structure text This passage is part of a narrative sequence in Nisibis 9, following a description of the subject wrapping himself in truth. The two clauses form a parallel between the subject's state and a universal principle.
Notes · 1
check Automatic check: the English is short for the Coptic of this passage. Short passages are legitimate; this one is at the margin.Open questions · 1 The subject of the first clause ('he') is not explicitly identified in this passage; it may refer to a figure from the preceding context. The relationship between the two clauses—whether causal, explanatory, or merely sequential—is not marked. dsc-266:42 · narrative high copy citation
Source
ܘܝܰܡܳܐ ܒܰܡܪܳܪܽܘܗ̱ܝ ܠܳܐ ܡܨܶܐ ܕܳܠܰܚ̇ ܠܶܗ
English
And the sea, in its bitterness, is not able to trouble him.
Commentary
sense text ܘܝܰܡܳܐ ܒܰܡܪܳܪܽܘܗ̱ܝ ܠܳܐ ܡܨܶܐ ܕܳܠܰܚ̇ ܠܶܗ The sea's bitterness cannot disturb the righteous subject, continuing the theme of moral steadfastness from the previous passage.
term glossary ܡܪܳܪܽܘܗ̱ܝ The Syriac noun ܡܪܳܪܽܘܗ̱ܝ (bitterness) is a feminine abstract form, here in the construct state with a pronominal suffix, emphasizing the sea's inherent quality.
background background ܝܰܡܳܐ The sea (ܝܰܡܳܐ) is a common image in Ephrem's poetry for worldly trials or chaos, often contrasted with the tranquility of the righteous.
source edition: Nisibis 9 structure text This passage forms a single clause in a series of declarative statements, each illustrating the invincibility of righteousness through natural metaphors.
Open questions · 1 The subject of the verb 'trouble' (ܕܳܠܰܚ̇) is not explicitly stated; the context implies the righteous person from the preceding passage. dsc-266:43 · narrative high copy citation
Source
ܕܫܰܦܝܰܐ ܗ̱ܘ ܒܰܟܝܳܢܶܗ
English
That he is pure in his sorrow.
Commentary
sense text ܕܫܰܦܝܰܐ ܗ̱ܘ ܒܰܟܝܳܢܶܗ The clause asserts that the subject (the righteous person, from the preceding context) remains pure or serene even in the midst of sorrow, contrasting the sea's inability to trouble him.
source edition: Nisibis 9 term text ܒܰܟܝܳܢܶܗ The Syriac noun ܒܰܟܝܳܐ (bakyā) means 'sorrow' or 'weeping', often with a connotation of lamentation. The suffix ܶܗ indicates 'his sorrow'.
source edition: Nisibis 9 structure text ܕܫܰܦܝܰܐ ܗ̱ܘ ܒܰܟܝܳܢܶܗ This line continues the narrative sequence from the previous passage, where the sea's bitterness fails to disturb the subject. Here the subject's internal state (purity in sorrow) is affirmed, forming a contrastive parallel.
source edition: Nisibis 9 background external Nisibis 9 Ephrem's Nisibis hymns often use natural imagery (sea, bitterness) to symbolize spiritual trials. The motif of purity amid sorrow reflects ascetic ideals common in Syriac monastic literature.
source edition: Nisibis 9 Open questions · 1 The referent of 'he' is not explicit in this line but is clear from the preceding context (the righteous person). The word ܒܰܟܝܳܢܶܗ could also be read as 'his weeping' rather than 'his sorrow', but the English draft opts for 'sorrow'. dsc-266:44 · narrative high copy citation
Source
ܒܚܶܟܡܳܐ ܥܒܰܕܬܶܗ ܡܳܪܝ̱ ܕܰܓܶܠܬ ܚܽܘܬܚܳܬܗ̇
English
In wisdom did my Lord fashion her, that she might mock her sisters.
Commentary
sense text ܒܚܶܟܡܳܐ The adverbial phrase 'in wisdom' attributes the fashioning of the woman to divine wisdom, a common theme in Ephrem's theological poetry.
term glossary ܡܳܪܝ̱ The term 'my Lord' (Mar(y)) is a standard Syriac title for God or Christ, here likely referring to God the Creator.
scripture text ܕܰܓܶܠܬ ܚܽܘܬܚܳܬܗ̇ The phrase 'that she might mock her sisters' echoes the biblical motif of Eve's creation and her relation to other women, possibly alluding to Genesis 2–3.
background background Ephrem's Nisibene hymns often personify cities or abstract concepts; here 'her' likely refers to a city (Nisibis) or a personified entity, not a literal woman.
source edition: Nisibis 9 structure text This line concludes a strophe in a series of contrasts, where the preceding passage ('That he is pure in his sorrow') sets up a paradox resolved by divine wisdom.
Open questions · 1 The referent of 'her' is ambiguous: it may be a city (Nisibis), a personified virtue, or a woman; the reading taken follows the context of Ephrem's city hymns. dsc-266:45 · narrative high copy citation
Source
ܕܫܰܒܪܳܐ ܢܶܬܪܰܦܶܐ ܘܰܕܠܳܐ ܢܶܬܠܰܒܰܒ
English
That she might be healed as a child, and that she might not be enflamed.
Commentary
sense text ܕܫܰܒܪܳܐ ܢܶܬܪܰܦܶܐ The phrase 'that she might be healed as a child' uses the verb ܐܬܪܦܐ (to be healed) with the noun ܫܒܪܐ (child), suggesting a restoration to an original or innocent state, not merely physical cure.
sense text ܘܰܕܠܳܐ ܢܶܬܠܰܒܰܒ The second clause 'and that she might not be enflamed' uses the Ethpaal of ܠܒܒ (to flame or burn), likely metaphorical for passion or anger, contrasting with the healing of the first clause.
structure text This passage forms a parallel couplet: the first line describes a positive transformation (healing as a child), the second a negative prevention (avoiding enflaming), typical of Ephrem's antithetical style.
background background Ephrem's Nisibis hymns often use medical and bodily imagery to describe spiritual or communal states, reflecting the city's experience of siege and disease in the 4th century.
source edition: Nisibis 9 term glossary ܫܒܪܐ The term ܫܒܪܐ (child) can also mean 'youth' or 'novice' in Syriac, and here likely implies a state of innocence or new beginning, not literal childhood.
Open questions · 1 The subject of the verbs is not explicit in the Syriac; the English draft supplies 'she', likely referring to a personified entity (e.g., the city or a virtue) from the preceding context. The reading taken follows the English draft's implied referent. dsc-266:46 · narrative medium copy citation
English
He placed the crown.
Commentary
sense text ܚܰܦܬܶܗ ܠܰܟܠܺܝܠܳܐ The phrase likely means 'he placed the crown' as a symbolic act of victory or honor, possibly in a martyrdom or ascetic context.
term glossary ܟܠܺܝܠܳܐ The Syriac term ܟܠܺܝܠܳܐ (klīlā) means 'crown' or 'wreath,' often used metaphorically for martyrdom or spiritual triumph in Syriac literature.
source edition: Nisibis 9 background background In Ephrem's works, crowns frequently symbolize the reward of martyrdom or ascetic victory, drawing on biblical and early Christian imagery.
structure text This brief narrative unit concludes a sequence, likely marking a climactic moment of healing or transformation, as suggested by the preceding passage.
Open questions · 1 The subject of ܚܰܦܬܶܗ (ḥappteh) is not explicit; it could be a divine or human agent. The crown may be literal or metaphorical. dsc-266:47 · narrative medium copy citation
Source
ܒܫܽܘܪ̈ܶܐ ܪ̈ܰܥܺܝܠܶܐ ܕܰܒܗܽܘܢ ܢܰܨܰܚܬܳܢܝ̱
English
With the first shepherds who seized the victory.
Commentary
sense text ܒܫܽܘܪ̈ܶܐ ܪ̈ܰܥܺܝܠܶܐ The phrase 'with the first shepherds' likely refers to the biblical patriarchs or early leaders of Israel, often depicted as shepherds, who are credited with an initial victory.
term glossary ܢܰܨܰܚܬܳܢܝ̱ The word 'victory' (ܢܰܨܰܚܬܳܢܝ̱) is a key term in Ephrem's works, often denoting spiritual triumph over sin or death, consistent with his soteriological themes.
source edition: Nisibis 9 background background Ephrem's 'Nisibis' hymns frequently employ pastoral imagery, drawing on the Syriac tradition of depicting Christ or biblical figures as shepherds, which contextualizes this passage within a broader typological framework.
structure text This passage follows a narrative of crowning, suggesting a sequential structure where victory is attributed to early leaders, possibly as a prelude to a later climactic event.
Open questions · 1 The identity of the 'first shepherds' is ambiguous; they could be Adam, Abel, or the patriarchs, but the text does not specify. The reading taken assumes a general reference to early biblical figures. dsc-266:48 · narrative high copy citation
Source
ܦܰܪܥܽܘܟ ܛܳܠܽܘܡ̈ܶܐ ܕܶܒܼܚܳܐ ܘܢܽܘܩܳܝܳܐ
English
Your shepherds, the sacrifices and the offering, have repaid you.
Commentary
sense text ܦܰܪܥܽܘܟ ܛܳܠܽܘܡ̈ܶܐ ܕܶܒܼܚܳܐ ܘܢܽܘܩܳܝܳܐ The Syriac verb ܦܰܪܥܽܘܟ (pərʿqūḵ) is a second-person masculine plural perfect, meaning 'they have repaid you'. The subject is the shepherds, who are said to have repaid the addressee with sacrifices and offerings.
source edition: Nisibis 9 term glossary ܛܳܠܽܘܡ̈ܶܐ The word ܛܳܠܽܘܡ̈ܶܐ (ṭālqōmē) is a plural noun meaning 'sacrifices'. It is a loanword from Greek θάλαμος (thalamos) via Syriac, here used in a cultic sense.
source edition: Nisibis 9 term glossary ܢܽܘܩܳܝܳܐ The word ܢܽܘܩܳܝܳܐ (ʿuqāyā) means 'offering' or 'oblation', derived from the root ܥܘܩ (ʿwq) 'to offer'. It is a technical term for a sacrificial gift in Syriac liturgical contexts.
source edition: Nisibis 9 background background The passage belongs to Ephrem's Nisibis 9, a madrasha likely composed in the context of the Persian siege of Nisibis (c. 350 CE). The imagery of shepherds and sacrifices may allude to the city's Christian community as a flock offering spiritual gifts.
source edition: Nisibis 9 structure text This line concludes a narrative unit in the madrasha, where the shepherds (likely bishops or clergy) are said to have repaid the addressee (possibly Christ or the city) with sacrifices and offerings, forming a chiastic closure with the previous passage's 'first shepherds who seized the victory'.
source edition: Nisibis 9 Open questions · 1 The identity of the addressee ('you') is not specified in the Syriac; it could be Christ, the city of Nisibis, or a personified virtue. The reading taken assumes a divine addressee based on the sacrificial context. dsc-266:49 · narrative high copy citation
Commentary
sense text ܕܡܰܪܓܶܙ ܓܰܠܝܳܐܺܝܬ The phrase describes an action of open provocation, likely directed at the addressee (the city of Nisibis or its leaders) in the context of Ephrem's critique of their moral or spiritual failings.
source edition: Nisibis 9 term glossary ܕܡܰܪܓܶܙ The verb ܕܡܰܪܓܶܙ (damargez) is the Pael infinitive of ܪܓܙ (rgz), meaning 'to provoke, enrage, or cause anger'. It carries a strong connotation of deliberate incitement, often in a confrontational or accusatory tone.
term glossary ܓܰܠܝܳܐܺܝܬ The adverb ܓܰܠܝܳܐܺܝܬ (galiya'it) means 'openly, manifestly, publicly'. It emphasizes that the provocation is not hidden or subtle but overt, aligning with Ephrem's rhetorical style of direct rebuke.
structure text This short clause functions as a narrative or rhetorical climax within the passage, summarizing the consequence of the preceding actions (the shepherds, sacrifices, and offerings) in a terse, impactful statement typical of Ephrem's poetic style.
source edition: Nisibis 9 background external Ephrem's madrāšê often employ direct address and accusatory language to critique the moral state of Nisibis, especially during the period of the city's sieges (c. 338–363 CE). This line likely reflects his prophetic stance against perceived complacency or sin.
Open questions · 1 The subject of the verb is not explicit; it may be the city itself, its leaders, or the collective 'you' from the previous line. The reading taken assumes the addressee (Nisibis or its inhabitants) is the agent of provocation. dsc-266:50 · narrative high copy citation
Source
ܒܗܰܘ ܙܰܒܢܳܐ ܐܶܠܽܘ ܕܶܒܚ̈ܶܐ ܐܶܬܩܰܪܰܒܘ̱
English
At that time, the sacrifices of the gods were offered.
Commentary
sense text The phrase 'sacrifices of the gods' refers to pagan offerings, contrasting with Christian worship in Ephrem's context.
term glossary ܕܶܒܚ̈ܶܐ The Syriac term ܕܶܒܚ̈ܶܐ (deḇḥē) means 'sacrifices' and is used here in a plural form, likely indicating multiple offerings.
source edition: Nisibis 9 background background Ephrem often critiques pagan practices in his works, and this passage likely reflects the context of Nisibis under Zoroastrian or Hellenistic influence.
structure text This passage is part of a narrative sequence, following a provocation, and introduces a ritual action that may escalate the conflict.
Open questions · 1 The identity of the 'gods' is not specified; they could be Zoroastrian, Hellenistic, or local deities. The reading assumes a generic pagan context. dsc-266:51 · narrative high copy citation
Source
ܠܛܽܘܥܝܰܝ ܐܳܦ ܐܰܬܪܳܐ ܐܺܝܬ ܗ̱ܘܳܐ ܠܡܰܣܒܳܪܽܘ
English
To the deceiver, there was also a place for hope.
Commentary
sense text The deceiver (ܠܛܽܘܥܝܰܝ) likely refers to the devil or a demonic figure, a common subject in Ephrem's polemics against pagan practices.
term glossary ܠܛܽܘܥܝܰܝ The Syriac term ܠܛܽܘܥܝܰܝ (deceiver) is a participle form of the root ܛܥܐ (to err or lead astray), often used in Syriac literature for Satan or false teachers.
source edition: Nisibis 9 background background The phrase 'a place for hope' may allude to the continued expectation of pagan worshipers despite the sacrifices mentioned in the previous passage, reflecting Ephrem's critique of persistent idolatry.
structure text This passage continues the narrative sequence from the previous verse, contrasting the futility of pagan sacrifices with the deceiver's enduring hope, a rhetorical device common in Ephrem's hymns.
Open questions · 1 The identity of 'the deceiver' is not explicitly named; it could be a specific pagan deity or a general demonic figure. The reading taken follows the common Syriac Christian interpretation as Satan or a false teacher. dsc-266:52 · narrative high copy citation
English
You were saved by their haste.
Commentary
sense text The subject 'you' (feminine singular or masculine plural) is saved by the haste of a third plural referent, likely the faithful or the community.
source edition: Nisibis 9 term glossary ܕܰܒܗܽܘܢ The noun 'haste' (ܒܗܽܘܢ) carries a connotation of urgency or zeal, often positive in Ephrem's ascetic context.
source edition: Nisibis 9 term glossary ܐܶܬܦܰܪܩܶܬ The verb 'you were saved' (ܐܶܬܦܰܪܩܶܬ) is the Ethpe'el perfect of ܦܪܩ, a common Syriac term for deliverance or salvation.
source edition: Nisibis 9 background background This passage belongs to Ephrem's Nisibene hymns, composed during the 4th-century Roman-Persian conflicts, where communal haste in prayer or flight was a recurring theme.
source edition: Nisibis 9 parallel text The motif of salvation through communal urgency echoes Ephrem's Hymn on Faith 5, where the faithful's swift response averts deception.
source edition: Nisibis 9 Open questions · 1 The referent of 'their haste' is not specified; it could be the faithful, the apostles, or the angels. The reading taken assumes the faithful community. dsc-266:53 · narrative high copy citation
Source
ܒܣܽܘܓܳܐܐ ܕܦܽܘܪ̈ܩܳܢܶܐ ܐܰܟܣܶܬ ܠܬܰܪ̈ܬܶܝܢ
English
By the multitude of the saviours you covered both.
Commentary
sense text ܒܣܽܘܓܳܐܐ ܕܦܽܘܪ̈ܩܳܢܶܐ ܐܰܟܣܶܬ ܠܬܰܪ̈ܬܶܝܢ The line concludes a narrative unit: the addressee (likely a city or community) is covered or protected by the haste of many saviours. The verb ܐܰܟܣܶܬ (you covered) is feminine singular, addressing a feminine entity such as Nisibis.
source edition: Nisibis 9 term glossary ܦܽܘܪ̈ܩܳܢܶܐ The plural noun ܦܽܘܪ̈ܩܳܢܶܐ (saviours) is a key term in Ephrem's soteriology, often referring to Christ, saints, or martyrs. Here it likely denotes the collective agency of divine or saintly figures whose swift action brings salvation.
source edition: Nisibis 9 background background Nisibis 9 This passage belongs to Ephrem's madrāšê on Nisibis, composed during or after the Persian sieges (c. 350s CE). The 'haste' of saviours may allude to the city's deliverance from siege, a recurring theme in the cycle.
source edition: Nisibis 9 structure text ܠܬܰܪ̈ܬܶܝܢ The feminine dual ܠܬܰܪ̈ܬܶܝܢ (both) likely refers to two entities previously mentioned, possibly the two gates or two aspects of the city. The dual form is a deliberate structural marker in Ephrem's poetry.
source edition: Nisibis 9 Open questions · 1 The identity of 'both' (ܬܰܪ̈ܬܶܝܢ) is not specified in this line; it may refer to two gates, two walls, or two groups of people. The reading assumes a dual referent consistent with the city's topography or a binary pair in the preceding context. dsc-266:54 · narrative medium copy citation
Source
ܠܛܽܘܥܝܰܝ ܕܰܓ̈ܠܺܝܦܶܐ ܠܝܽܘܠܦܳܢ ܡܓܽܘ̈ܫܶܐ
English
To the deceits of the false ones, the hope of the magi.
Commentary
sense text ܠܛܽܘܥܝܰܝ ܕܰܓ̈ܠܺܝܦܶܐ ܠܝܽܘܠܦܳܢ ܡܓܽܘ̈ܫܶܐ The line contrasts the 'deceits of the false ones' with the 'hope of the magi,' likely critiquing rival religious claims while affirming a true expectation associated with the magi, possibly the Magi of the Nativity.
source edition: Nisibis 9 term glossary ܕܰܓ̈ܠܺܝܦܶܐ The term 'false ones' (ܕܰܓ̈ܠܺܝܦܶܐ) is a common Syriac polemical label for heretics or religious opponents, here likely referring to Manichaeans or other dualist groups that Ephrem frequently attacks.
source edition: Nisibis 9 background external ܡܓܽܘ̈ܫܶܐ The 'magi' (ܡܓܽܘ̈ܫܶܐ) in Syriac tradition often refer to the Zoroastrian priests of Persia, but in Christian usage they are also identified with the wise men from the East who visited Christ, a figure of hope against false teachings.
structure text This line is the final passage of the madrasha, serving as a concluding antithesis that encapsulates the poem's contrast between deceptive falsehood and true hope.
source edition: Nisibis 9 Open questions · 1 The identity of the 'false ones' is not specified; they could be Manichaeans, Marcionites, or other groups. The 'hope of the magi' may refer to the Magi of the Nativity or to Zoroastrian priests, but the context favors the Christian interpretation. dsc-266:55 · narrative high copy citation
Source
ܕܒܳܟ ܡܳܪܝ̱ ܐܶܬܦܰܪܩܶܬ
English
In you, my Lord, I was saved.
Commentary
sense text ܕܒܳܟ ܡܳܪܝ̱ ܐܶܬܦܰܪܩܶܬ The Syriac verb ܐܶܬܦܰܪܩܶܬ (ʾetparqet) is the 2nd person feminine singular perfect of the ethpeal of ܦܪܩ, meaning 'to be saved' or 'to be delivered'. The subject is the speaker, likely the city of Nisibis personified, addressing Christ as 'my Lord'.
source edition: Nisibis 9 background external This line concludes Ephrem's madrāšā on the siege of Nisibis (c. 350 CE). The city's deliverance from Persian attack is interpreted as salvation by Christ, a common theme in Ephrem's Nisibene hymns.
source edition: Nisibis 9 structure text As the final line of the passage, this verse functions as a doxological closure, shifting from the preceding critique of false hopes to a direct confession of faith in Christ's saving power.
source edition: Nisibis 9 Open questions · 1 The feminine singular verb ܐܶܬܦܰܪܩܶܬ could refer to the city of Nisibis or to the speaker's soul; the context of the siege favors the city.
Citation. Tergwame, “Nisibis 9”, dsc-266:1, machine-draft, 2026. https://naxiai.com/christian/works/dsc-266#s1
Colophon. Source: syriac ·
licence: CC BY 4.0 ·
model: deepseek/deepseek-v4-flash:floor ·
provider: Relace ·
cost: $0.0149 ·
generated 2026-11-15.