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Work dossier · summary and historical context
Summary
Nisibis 74 is a memrā (metrical homily) attributed to Ephrem the Syrian, likely composed in the late 4th century during his time in Nisibis. The work reflects the liturgical and theological concerns of the Syriac-speaking church, focusing on themes of divine agency, human mortality, and the paradox of Adam's greatness and lowliness. The Syriac text survives in a single 6th–7th century manuscript with marginal corrections, and the edition notes several lacunae and uncertain readings. The memrā was later incorporated into the East Syriac liturgical cycle for the Feast of the Martyrs, indicating its enduring authority in the Church of the East. The edition lacks a full critical apparatus, and variant readings from other manuscripts are not collated.
Nisibis 74 is significant as a witness to Ephrem's theological poetry, particularly his use of antithesis and paradox to explore themes of divine agency and human mortality. Its inclusion in the East Syriac liturgy underscores its enduring authority. The work relates to other Syriac memrē and madrāšē attributed to Ephrem, as well as broader traditions of Syriac hymnody and patristic exegesis.
Historical context
The memrā is attributed to Ephrem the Syrian (c. 306–373 CE), a prominent theologian and poet of the Syriac tradition. It is traditionally dated to his Nisibene period (before 363 CE), when he served as a deacon and teacher in Nisibis (modern Nusaybin, Turkey). However, this dating is not securely established; the manuscript tradition is late, with the sole surviving witness from the 6th–7th century, and some passages may reflect later editorial additions. The work belongs to the genre of memrā, a metrical homily used in liturgical settings, and was composed in Syriac, the liturgical language of the Syriac-speaking church. Its incorporation into the East Syriac liturgical cycle for the Feast of the Martyrs suggests its authority in the Church of the East. The text's transmission is fragmentary, with lacunae and uncertain readings noted in the edition.
term — a Coptic word and the rendering chosen for it
structure — the passage's function in the work
caution — uncertainty or a contested reading
background — historical or institutional context the text presupposes
parallel — a parallel in another text or tradition
scripture — a biblical quotation or allusion
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.
Oh how great is Adam,
and glorious in his creation;
oh how great is his lowliness
at the time of his death.
Your coming magnifies him,
a new creation; your coming renews him,
by its mystery a picture
of the wisdom of his Creator.
In his destruction he is signed
with the evil of his entirety;
he is ashamed in his unity,
chooses and grows in his work,
and is contemptible in his servitude.
In his life like something,
in his death like nothing.
Again, my Lord, you magnify him,
judging and condemning,
detaining and acquitting.
The silence of God
and the death of living beings:
your image is mixed in you.
Behold, his word is great,
and over all it is spread.
In the world he is a speaker,
and in Sheol he is silenced.
He renews his nets
and sinks in the sea,
and brings up his treasures;
and what sinks in Sheol,
death stands over it.
In you, my Lord, he is suspended,
the swift one of the sea,
subduing also the dry land;
in the grave he is laid low,
and becomes a fugitive.
Turn, my Lord, your mercies:
living beings are subdued,
his yoke is pious,
and his yoke is of death,
lowering his freedom.
In you, my Lord, he is freed:
he arranges by commands,
the bridle of the chariot;
death halts him,
and in Sheol binds him.
Release him, the loosed one of all:
he sits on a throne,
with crown and garland,
and death casts him down,
his form and breaks him.
In you, my Lord, he is honored:
he writes and reads,
and disputes and interprets,
and cannot persuade
death with his wisdoms.
In you, my Lord, he is adorned:
when he binds a lion,
and imprisons a wild beast,
and not in the pit of Sheol
does death imprison him.
His voice issues from the womb,
cuts off trees,
and changes and increases,
and for him death sets a limit.
From all his beloved ones
in your glory he sees the sign
to the healers he is physician
with the medicines he found
and for the healing of death
no remedy avails
but life heals him
with its oil and its chrism
and the abundance of his spices
cannot turn away his odor
when it passes
in your salt he is purified
and the free ones divide
the hours and the times
and the hour of his burial
where it is he does not know
glory knows all
he wanders on the earth
and seeks the heavens
and when death reaches him
it leads him astray and he is troubled
in you, my Lord, he is adorned
the great threshold
and adds to the frost
follows the winter after it
and drives away the summer
your grace enriches him
it makes dwellings
for summer and for winter
and one grave for summer
and for winter suffices him
for the feast he rejoices
divides and takes
asks for more
death anoints and gives him
three hundred measures in weight
for your path, my Lord, he flies
he shakes the wine cups
and increases the pleasures
death hires him
for his mouth from his mind
his chosen ones your table
he pressed and increased the cry
the treasures do not suffice him
death brings them out
and in weight he pressed him
and your command brought him out
he guides in the paths
and turns in the ways
one way he went
that he might return in it he did not turn
he enters your paradise
the bearers bring
and call the erring ones
and instead of his bridal chambers
the bridal chamber of the departed
your command made them fly
he is troubled in the halls
the spirits that surrounded him
and his body filled the grave
and his dust filled the skull
again anew