ት Tergwame Greek · Coptic · Ethiopic · Syriac · Armenian · Georgian · Latin

Syriac · Other · mid-4th century

Nisibis 69

Ephrem the Syrian · syriac

BothSourceEnglish
JSON Dossier
machine-draft · no human review 3 passages · 701 words

Work dossier · summary and historical context

Summary

Nisibis 69 is a madrasha (teaching hymn) attributed to Ephrem the Syrian, likely composed in the mid-4th century during the siege of Nisibis (c. 350 CE). The poem alternates between direct address to God and reflection on Adam, body, and soul, incorporating a liturgical interjection by the Church. It survives in a single Syriac manuscript tradition with lacunae and possible later interpolations. The work was later incorporated into the East Syriac Rogation of the Ninevites, indicating its enduring use in communal penitential prayer. The text reflects Ephrem's typological exegesis and soteriology of restoration, with imagery of God forming Adam from earth and the serpent disrupting human unity.

Nisibis 69 is significant as a rare example of Ephrem's poetic response to historical events, blending liturgical, exegetical, and soteriological themes. It illustrates the development of Syriac hymnody and its integration into later East Syriac penitential practice. The poem's imagery of body and soul, and its emphasis on restoration rather than replacement, offers insight into Ephrem's theological anthropology and his influence on subsequent Syriac tradition.

Historical context

Nisibis 69 was composed in the mid-4th century in the city of Nisibis (modern Nusaybin, Turkey), a major center of Syriac Christianity. Ephrem the Syrian (c. 306–373) served as a deacon and teacher there until the city's cession to Persia in 363. The poem's internal references to the siege of Nisibis (c. 350 CE) by the Sasanian Empire provide a plausible historical anchor. The work belongs to the genre of madrasha, a stanzaic teaching hymn used in liturgical and catechetical settings. The Syriac text survives in a single manuscript tradition with lacunae, and some stanzas may be later interpolations. The poem was later incorporated into the East Syriac liturgical cycle for the Rogation of the Ninevites, a three-day fast of penitential prayer, indicating its adaptation beyond Ephrem's original context. The text reflects Syriac exegetical traditions, including the interpretation of the Fall as a disruption of the primordial unity of body and soul, and Ephrem's distinctive soteriology of restoration.

Apparatus · what the pipeline recorded

Annotation and terms

16 commentary units 3 structure3 term3 background2 scripture2 caution1 reception1 parallel1 sense 0 derived notes 6 open questions 3 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: 3 narrative.
  • sourceSource edition: syriac — CC BY 4.0

Term index

CopticRenderingCountFirst
no glossary terms recorded
dsc-323:1 · narrativehigh
Source
ܥܰܠ ܩܳܠܳܐ ܕܺܐܝܙܓܰܕܳܐ ܗܶܕܝܳܐܳܐ ܐܰܢ̱ܬ ܗ̱ܽܘ ܓܒܰܠܬܳܝܗ̱ܝ ܠܥܰܦܪܳܐ ܡܶܢ ܫܽܘܪܳܝܳܐ ܒܪ̈ܰܚܡܶܐ ܘܰܐܢ̱ܬ ܗܽܘ ܡܫܰܠܶܡ ܠܘܳܬܶܗ ܡܰܘܗܰܒܬܳܟ ܒܚܽܘܒܳܐ ܥܽܘܢܺܝܬܳܐ: ܬܶܫ̈ܒܚܳܢ ܠܡܳܪܽܘܬܳܟ ܐܰܢ̱ܬ ܗܽܘ ܛܳܒܳܐ ܒܪܰܝܬܳܝܗ̱ܝ ܠܳܐܕܳܡ ܟܰܕ ܓܠܶܐ ܠܳܟ ܕܰܛܠܰܡ ܠܳܟ ܘܰܛܥܳܐ ܓܒܰܠܬܳܝܗ̱ܝ ܐܰܝܟ ܕܬܶܙܟܶܝܘܗ̱ܝ ܒܦܰܓܪܳܐ ܚܳܪܶܬ ܟܰܕ ܐܰܒܺܝܠ ܒܢܰܦܫܳܐ ܟܰܕ ܟܡܺܝܪܳܐ ܕܡܶܙܓܰܬ ܐܶܢܽܘܢ ܒܚܽܘܒܳܐ ܘܰܥܢܰܕܘ̱ ܘܰܦܪܰܫܘ̱ ܒܚܰܫܳܐ ܓܒܺܝܠ ܦܰܓܪܳܐ ܒܚܶܟܡܳܐ ܢܦܺܝܚܳܐ ܢܰܦܫܳܐ ܒܛܰܝܒܽܘ ܡܙܺܝܓ ܚܽܘܒܳܐ ܒܰܫܠܶܡܘ̱ ܦܰܪܫܶܗ ܚܶܘܝܳܐ ܒܒܺܝܫܽܘ ܕܶܐܢ ܦܰܓܪܳܐ ܘܢܰܦܫܳܐ ܕܰܐܝܢܳܐ ܐܰܚܛܺܝ ܠܚܰܒܪܶܗ ܣܰܟܠܽܘܬܳܐ ܕܓܰܘܳܐ ܗ̱ܝ ܕܚܺܐܪܽܘܬܳܐ ܕܓܰܘܳܐ ܗ̱ܝ ܀܀܀ ܕܺܝܠܳܟ ܗ̱ܝ ܒܪܺܝܟܳܐ ܕܬܽܘܒ ܬܶܬܢܳܐ ܬܪܰܚܰܡ ܐܺܝܕܳܟ ܬܶܓܒܽܘܠ ܡܶܕܪܺܝܫ ܨܶܒܥܳܟ ܠܳܐܕܳܡ ܬܨܽܘܪܺܝܘܗ̱ܝ ܗܳܐ ܓܶܝܪ ܡܳܪܝ̱ ܡܶܢ ܡܬܽܘܡ ܠܳܐ ܓܳܙ ܡܶܢܶܗ ܚܢܳܢܳܟ ܫܶܪܝܰܬ ܥܰܡܶܗ ܒܚܽܘܒܳܐ ܫܠܶܡ ܥܰܡܶܗ ܒܪ̈ܰܚܡܶܐ ܘܶܐܢ ܓܶܝܪ ܟܰܕ ܠܰܝܬ ܗ̱ܘܳܐ ܕܢܶܗܘܶܐ ܐܺܝܬܰܘܗ̱ܝ ܒܪܰܝܬܳܝܗ̱ܝ ܗܳܫܳܐ ܕܺܐܝܬܰܘܗ̱ܝ ܠܥܰܦܪܶܗ ܒܳܟ ܢܶܬܚܰܕܰܬ ܗܰܝܟܠܶܗ ܙܳܕܶܩ ܗܽܘ ܠܡܰܠܟܳܐ ܕܰܚܙܳܐ ܨܰܠܡܶܗ ܕܰܐܥܬܶܩ ܕܰܒܣܰܡ̈ܳܡܢܶܐ ܓܒܰܝ̈ܳܐ ܢܶܦܨܰܚ ܨܰܠܡܳܐ ܟܡܺܝܪܳܐ ܚܙܳܬܳܐ ܗܘܳܬ ܕܬܶܗܪܳܐ ܕܰܪܟܶܢ ܪܽܘܡܳܟ ܫܒܺܝܚܳܐ ܠܘܳܬ ܥܰܦܪܳܐ ܫܚܺܝܡܳܐ ܕܰܢܨܽܘܪ ܨܰܠܡܳܐ ܗܕܺܝܪܳܐ ܛܳܒܳܐ ܗ̱ܝ ܗܳܕܶܐ ܐ̱ܚܪܺܝܬܳܐ ܡܶܢ ܗܳܝ ܕܰܗܘܳܬ ܒܪܺܝܫܺܝܬ ܕܠܰܘ ܡܒܪܐ ܒܪܰܝܬܳܝܗ̱ܝ ܐܶܠܳܐ ܡܰܠܒܶܫ ܠܒܶܫܬܳܝܗ̱ܝ ܀܀܀
English
On the melody of "The Messenger's Tidings" You are the one who formed him from the earth From the beginning with mercy, And you are the one who delivers to him Your gift with love. The Church: Praises to your Lordship. You are the good one in his creation. To Adam, when it was revealed to you That he wronged you and erred, You formed him so that you might conquer him: In the body, when he was in mourning, In the soul, when it was gloomy, That you might mingle the Church with love, And they prepared and separated in sorrow. The body was formed with wisdom, The soul was spread with goodness, Love was mixed with perfection, The serpent separated them with evil. So that the body and the soul Might know which one sinned against its companion. The folly of the interior is hers, The freedom of the interior is hers. Yours is the blessed one, That you might again err and have mercy. Your hand will form again, Your finger will paint Adam for you. For behold, my Lord, from the beginning, Your mercy does not pass away from him. You began with him in love, You completed with him in mercy. For even when there was no one To be his creator, Now that he is in his dust, In you his temple is renewed. It is fitting for the king Who sees his image that has grown old, That with choice pigments He might restore the gloomy image. It was a sight of wonder That your glorious height bowed down To the lowly dust, So that you might fashion the splendid image. This final end is better Than that which was at the beginning, For it is not the creation of his creator, But the clothing of his garment.
dsc-323:2 · narrativehigh
Source
ܝܳܕܰܥ ܪܳܡܳܐ ܕܳܐܕܳܡ ܐܰܠܳܗܳܐ ܨܒܳܐ ܕܢܶܗܘܶܐ ܫܰܕܰܪ ܠܰܒܪܶܗ ܘܠܰܒܫܶܗ ܕܢܶܬܶܠ ܠܶܗ ܪܶܓܬܶܗ ܟܡܺܝܪ ܒܺܝܫܳܐ ܕܰܚܼܙܳܐ ܕܰܟܡܳܐ ܕܣܰܚܦܶܗ ܠܳܐܕܳܡ ܝܰܬܺܝܪ ܕܰܪܓܳܐ ܣܠܶܩ ܗ̱ܘܳܐ ܕܢܶܒܗܰܬ ܡܶܢ ܕܣܰܚܦܶܗ ܠܦܰܓܪܳܐ ܚܕܳܝܗ̱ܝ ܒܢܰܦܫܳܐ ܠܢܰܦܫܳܐ ܦܰܢܳܗ̇ ܠܦܰܓܪܳܐ ܠܰܚܕ̈ܳܕܶܐ ܢܣܽܘܚܽܘܢ ܕܰܦܪܰܫܘ̱ ܘܰܦܢܰܘ ܘܶܐܬܡܰܙܰܓܘ̱ ܡܰܢܥܶܝܗ̇ ܠܢܰܦܫܳܐ ܘܬܶܥܽܘܠ ܠܳܗ̇ ܠܒܰܝܬܳܗ̇ ܢܶܫܬܶܝܢ ܡܰܫܟܢܳܗ̇ ܘܢܰܢܗܰܪ ܒܳܗ̇ ܫܪܳܓܶܗ ܢܶܫܪܳܐ ܢܽܘܗܪܳܐ ܒܥܰܝ̈ܢܰܘܗ̱ܝ ܢܶܥܒܰܪ ܩܳܠܳܐ ܒܶܐܕ̈ܢܰܘܗ̱ܝ ܪ̈ܶܓܫܰܘܗ̱ܝ ܕܰܚܪܶܒܘ̱ ܐܳܦ ܨܳܕܘ̱ ܨܽܘܬܳܐ ܘܫܰܝܢܳܐ ܢܶܬܡܰܠܽܘܢ ܣܰܝܒܽܘܬܳܐ ܣܢܺܝܬܳܐ ܥܠܰܝܗܽܘܢ ܠܳܐ ܡܕܺܝܩܳܐ ܐܳܦ ܠܳܐ ܟܺܐܒ̈ܶܐ ܘܚ̈ܰܫܶܐ ܕܰܫܠܰܚܘ̱ ܐܶܢܽܘܢ ܒܡܰܘܬܳܐ ܥܶܠܬܳܐ ܗܽܘ ܓܶܝܪ ܚܕܰܬܳܐ ܗ̱ܘܳܐ ܡܰܘܬܳܐ ܠܡܺܝ̈ܬܶܐ ܕܰܚܫܳܐ ܒܶܗ ܫܠܚܝܢ ܘܒܶܗ ܫܽܘܒܚܳܐ ܠܳܒܫܺܝܢ ܦܽܘܡܶܗ ܕܡܺܝܬܳܐ ܒܓܰܘ ܥܶܕܶܢ ܗܽܘ ܥܰܡ ܢܰܦܫܳܐ ܡܰܡܠܶܠ ܕܡܶܢ ܐܰܝܟܳܐ ܘܠܰܐܝܟܳܐ ܘܰܐܝܟܰܢ ܐܶܬܺܝܬ ܠܗܳܪܟܳܐ ܨܳܒܰܥ ܠܶܗ ܠܦܰܓܪܳܐ ܢܽܘܗܪܳܐ ܕܬܰܡܳܢ ܒܓܰܘ̈ܢܰܘܗ̱ܝ ܗܳܘܶܐ ܚܳܙܶܐ ܩܢܽܘܡܶܗ ܕܰܐܝܟ ܙܰܠܺܝ̈ܩܶܐ ܡܥܰܛܰܦ ܨܠܺܝܒ ܢܽܘܗܪܳܐ ܕܬܰܡܳܢ ܙܺܝܘܶܗ ܡܒܰܪܶܩ ܥܠܰܝܗܽܘܢ ܕܡܶܢ ܗܳܪܟܳܐ ܪܫܶܡܘ̱ ܗ̱ܘܰܘ ܐ̱ܪܳܙܶܗ ܪܰܒܳܐ ܥܠܰܝܗܽܘܢ ܩܳܪܒܺܝܢ ܥܺܝܪ̈ܶܐ ܕܢܽܘܪܳܐ ܠܘܳܬ ܐ̱ܢܳܫܳܐ ܕܒܶܣܪܳܐ ܒܚܽܘܒܳܐ ܠܗܽܘܢ ܣܰܘܚܺܝܢ ܕܰܥܡܰܠܘ̱ ܘܰܐܢܺܝܚܘ̱ ܢܰܦܫܗܽܘܢ ܩܳܪܒܺܝܢ ܥܺܝܪ̈ܶܐ ܠܡܰܬܢܳܐ ܠܙܰܕܺܝ̈ܩܶܐ ܪܳܗܛܗܽܘܢ ܢܶܨܚ̈ܳܢܰܝܗܽܘܢ ܡܕܰܟܪܺܝܢ ܒܕܺܝܠܗܽܘܢ ܠܗܽܘܢ ܡܰܘܪܒܺܝܢ ܪܺܝܫܺܝܬܳܐ ܕܫܽܘܒܚܳܐ ܕܫܳܪܽܘܬܶܝܢ ܣܶܠܩܳܐ ܡܶܢ ܦܽܘܡ̈ܶܐ ܣܟܺܝܪ̈ܶܐ ܕܒܰܫܝܽܘܠ ܗܳܐ ܚܒܺܝܫܺܝܢ ܫܡܰܥ ܡܰܘܬܳܐ ܨܰܠܰܠܬܳܐ ܨܰܠܳܐ ܐܶܕܢܶܗ ܒܕܶܚܠܳܐ
English
He knows the height of Adam. God desired that it be so: He sent his Son and clothed him, that he might give him his will. The evil one was envious when he saw how much he had overthrown Adam. More than was fitting he had ascended, so that he was ashamed when he overthrew him. The body rejoices in the soul, the soul is troubled for the body. For one another they are yoked, for they were separated, troubled, and mingled. The soul leads its senses, and it enters its house. It drinks its fill, and kindles its lamp within it. Light dwells in his eyes, sound passes through his ears. His senses were destroyed and ceased; silence and clamor were mingled. Old age, a worn-out thing, over them is not confined, nor pains and sufferings, which they sent forth and were buried in death. Death is a new cause, for it was death for the dead, by which suffering is sent forth, and by which praise is clothed. The mouth of the dead one within Eden— it is he who speaks with the soul: "From where and to where, and how have you come here?" He points to the body, the light of the image within his entrails. He sees his own form, how it is wrapped like a corpse. The light of the image is crucified; its radiance flashes upon them, for from here they were marked, its great mystery upon them. The watchers of the mountain draw near to the sign of flesh. In love they are yoked, for they labored and rested themselves. The watchers draw near to the feast, to the righteous their course. Their victories are recalled, their own are magnified for them. The beginning of praise, which ascends from their perfection, from sealed mouths, which are now bound in silence. Hear, Death, the trembling; prayer strikes his hand in fear.
dsc-323:3 · narrativemedium
Source
ܢܦܰܠ ܒܶܗ ܪܬܺܝܬܳܐ ܕܰܫܪܶܝܘ ܡܺܝ̈ܬܶܐ ܠܡܳܪܬܳܡ ܫܳܒܩܺܝܢ ܠܶܗ ܚܒܺܝܫ̈ܰܘܗ̱ܝ ܕܡܰܪܕܽܘ ܥܠܰܘܗ̱ܝ ܐܰܣܺܝܪ̈ܰܘܗ̱ܝ ܚܒܽܘܫܳܐ ܚܒܺܝܫܳܐ ܕܚܰܒܫܽܘܗ̱ܝ ܒܰܚܒܽܘܫܬܶܗ ܬܰܘܕܺܝܬܳܐ ܥܰܡܟܽܘܢ ܢܰܫܘܶܝܢ ܡܳܪܰܢ ܕܢܰܣܶܩ ܐܰܘ ܟܺܐܢ̈ܶܐ ܒܪ̈ܺܝܟܶܐ ܕܠܳܐ ܓܳܐܶܙ ܩܳܠܗܽܘܢ ܬܰܘܕܺܝ ܠܡܰܢ ܕܡܰܪܕܶܐ ܢܶܒܥܶܐ ܒܦܽܘܡܳܐ ܣܟܺܝܪܳܐ ܕܢܶܬܶܠ ܫܽܘܒܚܳܐ ܐܰܡܺܝܢܳܐ ܒܰܒܪܳܐ ܠܰܐܒܳܐ ܣܓܺܝܕܳܐ
English
He fell into the snare which the dead set for the Lord. They left his limbs bound, so that his captives might rebel against him. A bound binding, which bound him in his own binding. Confession with you. The Lord of the height is equal, or blessed pains, whose voice does not pass away. Confession to the one who rebels. He seeks with a closed mouth to give steadfast praise to the son for the father, the worshipped.
Citation. Tergwame, “Nisibis 69”, dsc-323:1, machine-draft, 2026. https://naxiai.com/christian/works/dsc-323#s1
Colophon. Source: syriac · licence: CC BY 4.0 · model: deepseek/deepseek-v4-flash:floor · provider: Relace · cost: $0.0023 · generated 2026-11-15.