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Syriac · Other · mid-4th century

Nisibis 50

Ephrem the Syrian · syriac

BothSourceEnglish
JSON Dossier
machine-draft · no human review 2 passages · 553 words

Work dossier · summary and historical context

Summary

The Nisibene hymns (Nisibis 50) are a collection of madrashe (teaching hymns) traditionally attributed to Ephrem the Syrian (d. 373) and associated with the Persian school in Nisibis. Composed in Syriac, they likely date to the mid-4th century, before Nisibis was ceded to Persia in 363. The hymns survive in multiple manuscripts, with earliest witnesses from the 5th–6th centuries, and were incorporated into the East Syriac liturgical tradition for the Office of the Dead and Lent. The English translation preserves the sense but cannot replicate the original's metrical and isosyllabic structure. The hymns explore themes of mortality, sin, and divine presence, influencing later Syriac poetry and exegesis.

The Nisibene hymns are a key witness to 4th-century Syriac Christianity, showcasing Ephrem's poetic theology and ascetic spirituality. They influenced the East Syriac liturgical tradition and later Syriac poetry, while their themes of mortality and sin resonate with broader Christian eschatological literature. The hymns also illuminate the historical context of Nisibis before its cession to Persia.

Historical context

The Nisibene hymns are set in the mid-4th century, a period of political and religious tension in the Roman-Persian borderlands. Nisibis, a key city in Roman Mesopotamia, was a center of Syriac Christianity and home to the Persian school, where Ephrem taught. The hymns reflect the community's ascetic and eschatological concerns, likely composed before the city's cession to Persia in 363, which forced Ephrem to relocate to Edessa. The Syriac text survives in multiple manuscript families, collated in Beck's critical edition (CSCO), with earliest witnesses from the 5th–6th centuries. The hymns were transmitted within the East Syriac tradition, used liturgically for the Office of the Dead and Lent, and influenced later Syriac poets and commentators. The precise date of individual hymns is uncertain, but the collection as a whole is traditionally assigned to Ephrem.

Apparatus · what the pipeline recorded

Annotation and terms

11 commentary units 2 term2 scripture2 structure2 background2 caution1 sense 0 derived notes 5 open questions 2 narrative
What the kinds mean

Pipeline notes

  • limitThe 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.
  • registerRegister: other in classical Syriac; the English keeps the liturgical formulae and the vocatives rather than normalising them.
  • structurePassages: 2 narrative.
  • sourceSource edition: syriac — CC BY 4.0

Term index

CopticRenderingCountFirst
no glossary terms recorded
dsc-304:1 · narrativemedium
Source
ܥܰܠ ܩܳܠܰܐ ܕܰܐܢ̱ܬ ܡܳܪܝ̱ ܐܰܟܬܰܒܬܶܗ ܐܰܘܕܶܐ ܥܰܕ ܐܰܝܬܺܝ ܠܳܐ ܐܶܗܘܶܐ ܐܰܝܟ ܠܰܝܬܰܝ ܐܰܘܕܶܐ ܒܚ̈ܰܝܰܝ ܠܳܐ ܐܶܗܘܶܐ ܡܺܝܬܳܐ ܒܚܰܝ̈ܰܝ ܕܳܐܦ ܒܰܛܝܠܐ ܡܝܬܰܐ ܗ̱ܘ ܕܰܬܪܶܝܢ ܕܰܐܪܥܐ ܕܟܳܡܰܬ ܠܰܐܟܳܪܳܗ̇ ܛܶܠܡܰܬ ܥܽܘܢܺܝܬܳܐ: ܒܳܟ ܡܳܪܝ̱ ܢܰܦܪܶܐ ܦܽܘܡܝ̱ ܬܶܫܒܽܘܚܬܳܐ ܡܩܰܒܰܠܬܳܐ ܀܀܀ ܒܳܟ ܡܳܪܝ ܢܶܬܶܠ ܦܽܘܡܝ̱ ܫܽܘܒܚܶܐ ܡܶܢ ܓܰܘ ܫܶܬܩܳܐ ܠܳܐ ܢܶܗܘܶܐ ܦܽܘܡܰܢ ܥܰܩܪܳܐ ܡܶܢ ܬܶܫܒܽܘܚܬܳܐ ܘܠܳܐ ܢܶܬ̥ܓܰܙ̈ܝܳܢ ܐܳܦ ܣܶܦܘ̈ܳܬܰܢ ܡܶܢ ܬܰܘܕܺܝܬܳܐ ܫܽܘܒܚܳܟ ܢܶܪܦܰܬ ܒܰܢ ܓܒܺܝ̈ܠܶܐ ܓܒܰܠܘ̱ ܥܰܦܪܳܐ ܘܰܐܪ̈ܥܳܢܶܐ ܬܥܶܫܘ̱ ܒܰܐܪܥܳܐ ܪܚܺܝܡ ܗ̱ܽܘ ܠܰܢ ܦܰܓܪܳܐ ܕܰܐܚܝܰܢ ܐܰܝܟ ܒܰܪ ܛܽܘܗܡܳܐ ܕܰܚܺܝܚܰܐ ܗ̱ܘ ܓܶܝܪ ܗܽܘ ܥܰܩܪܰܢ ܘܦܺܐܪ̈ܶܐ ܕܥܰܡ̈ܠܰܘܗ̱ܝ ܣܰܘ̈ܟܰܝܢ ܛܥܺܝ̈ܢܳܢ ܕܝܰܘܡܳܐ ܠܳܐ ܬܺܐܨܰܦ ܘܕܰܫܢܰܝ̈ܳܐ ܝܰܨܺܝܦܺܝܢܰܢ ܠܰܙܩܳܪ̈ܳܬܳܐ ܒܫܽܘܫܰܢ̈ܶܐ ܒܣܰܪ ܡܰܠܒܶܫ ܟܽܠ ܒܥܽܘܪ̈ܒܶܐ ܝܰܥܢ̈ܶܐ ܠܝܰܥܢܳܐ ܐܰܟܶܣ ܗܰܘ ܙܳܐܶܢ ܟܽܠ ܕܰܠܟܽܠ ܟܽܠ ܝܰܗ̱ܒ ܕܳܪܰܢ ܐܰܝܟ ܛܰܪܦܰܐ ܗ̱ܘ ܘܕܰܢܬ̥ܰܪ ܗܳܐ ܙܰܒܢܶܗ ܕܟܰܪܝܳܐ ܕܶܝܢ ܡܽܘܫܚܰܬ ܚܰܝܰܝ̈ܢ ܢܰܘܪܶܟ ܫܽܘܒܚܳܐ ܕܰܟܡܳܐ ܓܶܝܪ ܕܰܐܪܺܝܟ ܡܶܬܚܶܗ ܕܚܰܘܒܰܢ ܒܶܗ ܩܢܰܝܢ ܚ̱ܢܰܢ ܚܰܝ̈ܶܐ ܕܠܳܐ ܡܽܘܫܚܳܐ ܕܰܒܡܳܪܰܢ ܡܛܰܥܰܡ ܫܶܪܫܳܐ ܕܗܰܝܡܳܢܽܘܬܰܢ ܐܳܦܶܢ ܪܰܚܺܝܩ ܩܰܪܺܝܒ ܗ̱ܽܘ ܠܰܢ ܒܡܽܘܙܳܓ ܚܽܘܒܳܐ ܫܶܪ̈ܫܶܐ ܕܚܽܘܒܰܢ ܒܶܗ ܢܶܬܐܰܣܪܽܘܢ ܘܒܰܢ ܢܶܬܡܰܙܓܽܘܢ ܡܶܬܚ̈ܶܐ ܕܰܚܢܳܢܶܗ ܀܀܀
English
On the sound of “Come, my Lord,” I wrote it. I will confess while I exist, I will not be as if I were not. I will confess in my life, I will not be dead in my life. He knocks, the vain one is dead who doubts, For the earth that was dark to its farmer was deceived. The crooked woman: in you, my Lord, my mouth rejoices, receiving praise. In you, my Lord, my mouth will enter, Praises from within silence. My mouth will not be barren of praise, Nor will my lips be stripped of thanksgiving. Your praise fell upon me. The creators created dust, And the earth-dwellers shaped the earth. Loved was the body of the living to you, like a son of the race, For the root was firm, And the fruits of his labors are branches of wandering. That the day not be obscured, And that the hours be careful. For the memorials in the festivals, Flesh clothes all. In the locusts, the branches give to the branch, he covers, He who moves all, who gives to all, all. He trembles like a leaf, And his time is already past. For the short one, the length of life is prolonged in praise. For how long is the span of sin? In it, the life without length is cut short. That by the Lord it is tasted, The root of your faith. Even the distant is near to you, In the mixture of love. The roots of sin will be bound in him, And the spans of his sins will be mixed in you.
dsc-304:2 · narrativemedium
Source
ܗܰܝܟܠܳܐ ܡܳܪܝ ܢܶܗܘܶܐ ܗܽܘ ܦܰܓܪܳܐ ܠܒܰܢܳܝܶܗ ܠܰܐܪܕܺܝܟܠܳܗ̇ ܬܶܗܘܶܐ ܢܰܦܫܳܐ ܒܺܝܪܰܬ ܫܽܘܒܚܳܐ ܠܳܐ ܡܳܪܝ̱ ܢܶܗܘܶܐ ܦܰܓܪܰܢ ܢܶܩܥܳܐ ܐܳܦ ܠܳܐ ܢܰܦܫܰܢ ܠܡܺܐܢܳܐ ܕܚܽܘܣܪܳܢܳܐ ܘܰܕܛܰܦܛܶܦ ܢܽܘܗܪܳܐ ܕܗܳܕܶܐ ܢܶܫܡܰܬ ܙܰܒܢܳܐ ܫܪܳܓ̥ܳܐ ܕܰܕܥܶܟ ܡܶܢ ܪܰܡܫܳܐ ܒܫܰܦܪܳܐ ܢܗܰܪ ܐܶܬܳܐ ܫܶܡܫܳܐ ܒܪܰܬܚܳܐ ܕܕܶܢܚܶܗ ܡܩܺܝܡ ܩܰܪ̈ܺܝܪܶܐ ܘܡܰܢܗܰܪ ܕܰܥܺܝ̈ܟܶܐ ܙܳܕܶܩ ܗ̱ܽܘ ܕܢܰܘܕܶܐ ܠܗܰܘ ܢܽܘܗܪܳܐ ܡܰܢܗܰܪ ܟܽܠ ܕܰܒܫܰܦܪܳܐ ܫܪܳܓܳܐ ܕܳܥܶܟ ܕܣܳܠܶܩ ܫܶܡܫܳܐ ܫܶܡܫܳܐ ܚܰܕ̱ܬܳܐ ܚܰܕ̱ܬܳܐ ܥܳܒܶܕ ܕܒܰܫܝܽܘܠ ܡܰܢܗܰܪ ܕ̈ܰܥܝܟܶܐ ܫܪ̈ܳܓܶܐ ܚܠܳܦ ܡܰܘܬܳܐ ܕܰܒܟܽܠ ܐܰܦܺܝܚ ܪܺܝܚ ܡܺܝܬܽܘܬܶܗ ܪܺܝܚܳܐ ܚܰܝܳܐ ܡܳܚܶܐ ܟܽܠ ܒܰܫܝܽܘܠ ܦܳܐܰܚ ܡܺܝ̈ܬܶܐ ܣܳܝܩܺܝܢ ܡܶܢ ܚܰܝܽܘܬܶܗ ܚܰܝ̈ܶܐ ܚܰܕ̱̈ܬܶܐ ܕܡܰܘܬܳܐ ܒܗܽܘܢ ܡܳܐܶܬ ܛܽܘܦܣܰܐ ܗ̱ܘ ܕܰܠܡܺܝܬܳܐ ܡܳܚܶܐ ܪܺܝܚܶܗ ܕܰܩܒܺܝܪܳܐ ܡܺܝܬܳܐ ܕܝܰܘܡܳܐ ܣܳܩ ܚܰܝ̈ܶܐ ܡܶܢ ܥܰܬܺܝܩܳܐ ܪܺܝܚܳܐ ܚܰܝܳܐ ܦܳܚ ܡܶܢ ܓܰܪ̈ܡܶܐ ܘܥܰܠ ܒܰܫܠܰܕܳܐ ܐ̱ܪܳܙܶܗ ܕܡܰܚܶܐ ܟܽܠ ܝܶܫܽܘ̇ܥ ܬܰܪܓܶܡ ܠܰܢ ܐ̱ܪ̈ܳܙܶܐ ܕܰܗܘܰܘ ܒܰܫܝܽܘܠ ܕܡܶܢ ܗܰܘ ܕܰܥܺܝܟܳܐ ܫܪܳܓܳܐ ܫܪܳܓܳܐ ܢܳܗܰܪ ܗ̱ܘܳܐ ܘܟܰܕ ܗ̱ܽܘ ܐܰܪܡܺܝ ܗ̱ܘܳܐ ܐܰܩܺܝܡ ܡܰܦܽܘܠܬܳܐ ܦܳܫ ܘܫܰܕܰܪ ܣܳܗܕ̈ܶܐ ܠܡܶܐܬܺܝܬܶܗ ܟܡܳܐ ܡܳܪܝ ܕܶܐܡܽܘܫܳܟ ܠܰܘ ܠܳܟ ܗ̱ܽܘ ܓܳܐܶܫ ܐ̱ܢܳܐ ܡܶܕܶܡ ܓܶܝܪ ܠܳܐ ܓܰܫ ܡܰܕܰܥܝ̱ ܡܶܢ ܟܰܣܝܽܘܬܳܟ ܨܰܠܡܰܐ ܗ̱ܘ ܓܰܠܝܳܐ ܘܳܐܦ ܕܰܢܺܝܚܳܐ ܚܙܺܝܬ ܒܐ̱ܪܳܙܳܟ ܕܰܟܣܶܐ ܗ̱ܘ ܗܽܘ ܥܽܘܩܳܒܳܟ
English
The temple, my Lord, will be; that body to its seeker; to all its earth it will be; the soul, heir of glory. Not my Lord, will the body be, the cry; nor will the soul be for the stomach of the loss; and of the one who knocks, the light; of this, the name of the sacrifice. The lamp of your knowledge from evening in the morning shines; the sun comes in the warmth of its rising; it raises the cold and illuminates the dark. It is right that the one who confesses; to that light which illuminates all; that in the morning the lamp is extinguished; that the sun rises. The sun, new, new, makes; that in Sheol it illuminates the dark lamps; instead of death which is in all. It pours out the scent of its mortality; the living scent strikes all; in Sheol it blows; the dead rise from its life, new lives; that death in them dies. The type is that of the dead one; the scent of the buried one strikes; the dead of the day rise, lives from the ancient; a living scent blows from bones and enters the corpse. The mysteries of the one who enlivens all; Jesus interprets for me; the mysteries that were in Sheol; that from that dark lamp, a lamp shone; and when it cast, it set up the resurrection; it remained and sent witnesses to its coming. How, my Lord, your silence; not to you does the ear groan; for it does not touch anything; my mind from your concealment; the image is revealed and also clear; I have seen in your mystery that which is hidden, that is your reproach.
Citation. Tergwame, “Nisibis 50”, dsc-304:1, machine-draft, 2026. https://naxiai.com/christian/works/dsc-304#s1
Colophon. Source: syriac · licence: CC BY 4.0 · model: deepseek/deepseek-v4-flash:floor · provider: Relace · cost: $0.0020 · generated 2026-11-15.