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Syriac · Other · mid-4th century

Nativity 13

Ephrem the Syrian · syriac

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machine-draft · no human review 3 passages · 697 words

Work dossier · summary and historical context

Summary

Nativity 13 is a madrāšâ (teaching hymn) by Ephrem the Syrian (ca. 306–373 CE) for the Feast of the Nativity. The hymn employs typological exegesis, comparing Old Testament figures such as Isaac, Samson, and Samuel to Christ. It opens with the phrase 'Son of His Voice,' likely referring to Christ as the Word, and includes references to Jeremiah and the daughters of the Hebrews. The text reflects Ephrem's anti-Arian emphasis on Christ's dual nature, contrasting the 'great mystery' of Christ's divinity in heaven with his manifest body in Mary's womb. The Syriac text survives in multiple manuscripts, the earliest from the 5th–6th centuries, and entered the East Syriac liturgical tradition.

Nativity 13 exemplifies Ephrem's typological exegesis and his anti-Arian Christology, emphasizing Christ's dual nature. It is a key witness to the development of Syriac liturgical poetry and the celebration of the Nativity in the East Syriac tradition. The hymn's survival in multiple early manuscripts attests to its enduring importance in Syriac Christianity.

Historical context

Ephrem the Syrian (ca. 306–373 CE) composed this madrāšâ in Nisibis or Edessa, likely in the mid-4th century, though no external evidence fixes it more precisely within his career. The hymn belongs to the Syriac Christian tradition, which developed in the eastern Roman Empire and Sasanian Persia. Ephrem's works were transmitted in Syriac, a dialect of Aramaic, and this hymn entered the East Syriac liturgical tradition for the Feast of the Nativity. The earliest surviving manuscripts date from the 5th–6th centuries, indicating a relatively early transmission. The edition used (ed:dsc-561) collates several witnesses but provides no apparatus for variant readings or manuscript sigla, limiting textual criticism. The hymn is also cited in later Syriac exegetical works, though no specific medieval commentary is identified in the source edition.

Apparatus · what the pipeline recorded

Annotation and terms

17 commentary units 3 structure3 scripture3 background2 parallel2 caution2 sense1 reception1 term 1 derived notes 5 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.
  • caution1 passage(s) are fragmentary in the source; the English bridges each break and says so in the note.
  • sourceSource edition: syriac — CC BY 4.0

Term index

CopticRenderingCountFirst
no glossary terms recorded
dsc-561:1 · narrativemedium
Source
ܒܰܪ ܩܳܠܶܗ ܒܢ̈ܳܬ ܥܶܒܪ̈ܳܝܶܐ ܕܰܒܐܽܘܠܝ̈ܳܬܶܗ ܩܪ̈ܰܝ ܕܐܶܪܰܡܝܳܐ ܚܠܳܦ ܐܽܘܠܝ̈ܳܬܳܐ ܕܰܟܬܳܒܰܝ̈ܗܶܝܢ ܬܢܰܝ̈ ܢܽܘܨܪ̈ܳܬܳܐ ܡܶܢ ܣܶܦܪ̈ܰܝܗܶܝܢ ܚܰܝܠܳܐ ܟܰܣܝܳܐ ܒܓܰܘ ܡܶܠܰܝ̈ܗܶܝܢ ܡܶܬܢܰܒܶܐ ܗܘܳܐ ܥܽܘܢܺܝܬܳܐ : ܡܶܢ ܟܽܠ ܕܰܒܪܰܝܬ ܠܳܟ ܬܶܫܒܽܘܚܬܳܐ ܒܗܳܢ ܥܰܕܥܺܕܳܟ ܥܢܰܝ̈ ܓܶܝܪ ܘܐܶܡܰܪ ܬܶܚܕܶܐ ܝܰܘܡܳܢ ܚܰܘܳܐ ܒܰܫܝܽܘܠ ܕܗܳܐ ܒܰܪ ܒܰܪܬܳܗܿ ܐܰܝܟ ܣܰܡ ܚ̈ܰܝܶܐ ܢܚܶܬ ܕܰܢܢܰܚܶܡ ܐܶܡܳܐ ܕܐܶܡܶܗ ܥܽܘܠܳܐ ܒܪܺܝܟܳܐ ܪܳܐܶܨ ܪܺܫܶܗ ܕܚܶܘܝܳܐ ܕܰܡܚܳܗܿ ܛܽܘܦܣܳܟ ܐܰܕܺܝܩ ܡܶܢ ܛܰܠܝܽܘܬܶܗ ܕܐܺܝܣܚܳܩ ܦܰܐܝܳܐ ܒܳܟ ܢܰܨܰܪܬܶܗ ܣܰܪܳܐ ܕܰܚܙܳܬ ܕܐܪ̈ܳܙܰܝܟ ܫܰܪ̈ܝܳܢ ܥܰܠ ܫܰܒܪܽܘܬܶܗ ܐܳܘ ܒܰܪ ܢܶܕܪ̈ܰܝ ܕܰܟܣܶܐ ܒܓܰܘܶܗ ܡܳܪܶܐ ܢܶܕܪ̈ܶܐ ܢܙܺܝܪܳܐ ܫܶܡܫܽܘܢ ܨܳܪ ܗܘܳܐ ܛܽܘܦܣܳܗܿ ܕܰܚܠܺܝܨܽܘܬܳܟ ܦܳܫܰܚ ܠܐܰܪܝܳܐ ܕܽܘܡܝܳܐ ܕܡܰܘܬܳܐ ܐܰܢܬ ܨܳܪܶܐ ܠܶܗ ܘܡܰܦܶܩ ܡܶܢܳܗܿ ܕܡܰܪܺܝܪܽܘܬܶܗ ܚ̈ܰܝܶܐ ܚ̈ܠܰܝܳܐ ܕܰܒܢܰܝ̈ܢܳܫܳܐ ܚܰܢܳܐ ܬܽܘܒ ܒܳܟ ܚܰܒܶܒܬܶܗ ܗܘܳܬ ܐܳܦ ܠܰܫܡܽܘܐܶܝܠ ܟܺܐܢܽܘܬܳܟ ܓܶܝܪ ܟܰܣܝܳܐ ܗܘܳܬ ܒܶܗ ܕܦܳܫܰܚ ܠܐܰܓܳܓ ܐܰܝܟ ܕܰܠܒܺܝܫܳܐ ܒܟܳܐ ܥܰܠ ܫܳܐܽܘܠ ܕܐܳܦ ܛܰܝܒܽܘܬܳܟ ܒܶܗ ܨܺܝܪܳܐ ܗܘܳܬ ܡܳܐ ܡܰܟܺܝܟ ܐܰܢܬ ܡܳܐ ܥܰܙܺܝܙ ܐܰܢܬ ܐܳܘ ܝܰܠܽܘܕܳܐ ܕܺܝܢܳܟ ܥܰܙܺܝܙ ܚܽܘܒܳܟ ܒܰܣܺܝܡ ܡܰܢܽܘ ܡܶܫܟܰܚ ܕܰܥܠܰܝܟ ܢܩܽܘܡ ܐܰܒܽܘܟ ܒܰܫܡܰܝܳܐ ܘܐܶܡܳܟ ܒܐܰܪܥܳܐ ܡܰܢ ܢܶܫܬܰܥܶܝܟ ܐܶܢ ܐܢܳܫ ܢܶܒܥܶܐ ܟܝܳܢܳܟ ܟܰܣܝܳܐ ܗܳܐ ܒܰܫܡܰܝܰܐ ܗ̱ܘ ܒܥܽܘܒܳܐ ܪܰܒܳܐ ܕܐܰܠܳܗܽܘܬܳܐ ܘܐܶܢ ܐܢܳܫ ܢܶܒܥܶܐ ܦܰܓܪܳܟ ܓܰܠܝܳܐ ܗܳܐ ܪܡܶܐ ܘܰܡܕܺܝܩ ܡܶܢ ܓܰܘ ܥܽܘܒܳܐ ܙܥܽܘܪܳܐ ܕܡܰܪܝܰܡ ܦܗܳܐ ܠܶܗ ܗܰܘܢܳܐ ܒܰܝܢܳܬ ܫܰܪ̈ܒܰܝܟ ܐܳܘ ܥܰܬܺܝܪܳܐ ܩ̈ܦܠܶܐ ܣܒܺܝ̈ܣܶܐ ܒܐܰܠܳܗܽܘܬܳܟ ܚ̈ܶܙܘܶܐ ܫܺܝ̈ܛܶܐ
English
The Son of His Voice The daughters of the Hebrews at his laments summoned Jeremiah in place of the lamentations of their writings; the types of the consolations from their books—a hidden power within their words was being arrayed. The sign: from all that I fashioned for you, praise at this your time. For they cried out and said, "Rejoice, O day! Show in a child that here is the son of her daughter, like the salt of life that descended to season." The mother of his mother, the blessed old woman, crushes the head of the serpent that struck her. Your type was confirmed from his childhood, that of Isaac, the beautiful one, in you his image. Sarah, who saw that your mysteries were loosed over his childhood—or the son of the threshing-floor, who concealed within himself the Lord of the threshing-floors. The fierce Samson pressed her type; the strength of your might rejoiced the lion. The one who subdued the jaws of death—you fashioned him, and from her you brought forth the sweet life of her bitterness. Again, your beloved became a type in you; even for Samuel, your hiddenness was concealed in him, that he might rejoice over Agag, as one clothed in you over Saul, that your goodness might be fashioned in him. How lowly you are! How mighty you are! O Son, your Father is mighty! Your love is sweet; who can find that over you your Father stands in heaven, and your mother on earth, who suckles you? If I wish to seek your hidden nature, behold, in heaven it is in the great mystery of divinity; and if I wish to seek your manifest body, behold, it is cast and confined within the small womb of Mary. Behold, your nature is between the two extremes of your lineages. O rich one, simple captives, in your divinity, scattered visions.
dsc-561:2 · narrativemedium
Source
ܒܐܢܳܫܽܘܬܳܟ ܡܰܢܽܘ ܢܡܽܘܫܳܟ ܝܰܡܳܐ ܪܰܒܳܐ ܕܐܰܙܥܰܪ ܢܰܦܫܶܗ ܐܳܬܶܝܢ ܕܢܶܚܙܶܝܟ ܐܰܝܟ ܐܰܠܳܗܳܐ ܗܳܐ ܒܰܪܢܳܫܳܐ ܐܰܢܬ ܐܳܬܶܝܢ ܕܢܶܚܙܶܝܟ ܐܰܝܟ ܕܰܠܐܢܳܫܳܐ ܨܡܰܚ ܠܶܗ ܢܺܝܫܳܐ ܕܐܰܠܳܗܽܘܬܳܟ ܡܰܢܽܘ ܢܩܽܘܡ ܥܰܠ ܫܽܘ̈ܚܠܳܦܰܝܟ ܐܳܘ ܫܰܪܺܝܪܳܐ [ܐܳܬܶܝܢ ܕܢܶܚܙܶܐ] ܥܽܘܡܪܳܐ ܕܰܡܛܳܟ ܡܶܢ ܒܶܝܬ ܕܰܘܺܝܕ ܐܽܘܪܺܝܳܐ ܗܽܘ ܝܶܪܬܶܬ ܡܶܢ ܥܰܪ̈ܣܳܬܶܗ ܡܥܰܪܬܳܐ ܡܛܳܬܳܟ ܡܶܢ ܐܳܦܰܕ̈ܢܰܘܗܝ ܚܠܳܦ ܡܰܪܟܰܒܬܶܗ ܥܺܝܠܳܐ ܫܺܝܛܳܐ ܛܳܟ ܡܳܛܶܐ ܠܳܟ ܡܰܢܽܘ ܢܗܰܝܡܶܢ ܕܐܰܢܬ ܝܺܪܶܬܬܺܝܗܝ ܠܟܽܘܪܣܰܝ ܕܰܘܺܝܕ ܐܶܙܰܠܢ ܕܢܶܒܣܶܐ ܘܢܳܗܡܳܐ ܡܶܢܳܟ ܩܥܳܬ ܠܳܗܿ ܫܡܰܝܳܐ ܘܐܰܪܥܳܐ ܡܶܢ ܬܚܶܬ ܒܳܬܰܪ ܕܰܒܣܰܝܢ ܟܦܶܢ ܩܕܳܡܰܝܟ ܚܰܝܠܳܐ ܟܰܣܝܳܐ ܡܳܐ ܚܰܨܺܝܦ ܐܰܢܬ ܥܽܘܠܳܐ ܕܥܰܠ ܟܽܠ ܢܰܦܫܳܟ ܫܳܕܶܝܬ ܠܟܽܠ ܕܰܦܓܰܥ ܒܳܟ ܗܳܐ ܓܳܚܶܟ ܐܰܢܬ ܠܟܽܘܠ ܡܰܢ ܕܰܚܙܳܟ ܗܳܐ ܣܳܘܰܚ ܐܢܬ ܕܡܳܐ ܚܽܘܒܳܟ ܐܰܝܟ ܗܰܘ ܕܰܟܦܶܢ ܠܰܒܢܰܝ̈ܢܳܫܳܐ ܠܳܐ ܦܳܪܶܫ ܐܰܢܬ ܟܰܝ ܠܐܰܒܳܗ̈ܰܝܟ ܡܶܢ ܢܽܘܟܪ̈ܳܝܶܐ ܘܠܳܐ ܠܝܳܠܶܕܬܳܟ ܡܶܢ ܐܶܡܗ̈ܳܬܳܐ ܘܠܳܐ ܠܡܰܝܢܰܩܬܳܟ ܡܶܢ ܛܰܡ̈ܐܳܬܳܐ ܚܽܘܨܳܦܳܟ ܗܽܘ ܟܰܝ ܐܰܘ ܚܽܘܒܳܟ ܗܽܘ ܪܳܚܶܡ ܟܽܠܳܐ ܡܳܐ ܫܳܓܶܫ ܐܰܢܬ ܕܥܰܠ ܟܽܠ ܕܰܚܙܳܟ ܢܰܦܫܳܟ ܫܳܕܶܝܬ ܥܰܠ ܥܰܬܺܝܪ̈ܶܐ ܘܥܰܠ ܡܶܣܟܺܢ̈ܶܐ ܒܗܽܘܢ ܛܳܦܶܣ ܐܰܢܬ ܟܰܕ ܠܳܐ ܩܪ̈ܰܐܽܘܟ ܡܶܢ ܐܰܝܟܳܐ ܐܶܬܳܐ ܠܳܟ ܕܗܳܟܰܢ ܟܦܶܢܬ ܠܰܒܢ̈ܰܝܢܳܫܳܐ ܡܰܢܽܘ ܚܽܘܒܳܟ ܕܐܶܢ ܐܢܳܫ ܢܶܟܐܶܐ ܠܳܐ ܪܳܓܶܙ ܐܰܢܬ ܘܐܶܢ ܙܳܥܶܩ ܒܳܟ ܠܳܐ ܡܶܬܪܰܗܒܰܬ ܘܐܶܢ ܢܳܨܶܦ ܒܳܟ ܠܳܐ ܡܶܬܟܰܡܪܰܬ ܪܰܒ ܐܰܢܬ ܗܽܘ ܟܰܝ ܡܶܢ ܢܳܡܽܘܣܳܐ ܕܦܳܪܰܥ ܚܽܘ̈ܒܠܶܐ ܡܰܟܺܝܟ ܡܽܘܫܶܐ ܘܰܩܫܶܐ ܛܢܳܢܶܗ ܕܰܒܥܰܛ ܘܰܩܛܰܠ ܐܳܦ ܐܶܠܺܝܫܰܥ ܕܐܰܚܺܝ ܛܰܠܝܳܐ ܟܶܢܫܳܐ ܕܫܰܒܪ̈ܶܐ
English
In your poverty you made your voice small, the great sea that diminished itself. You came that they might see you as God; behold, in the head you came that they might see you. As for the voiceless, a tree grew for him, that your divinity might make small and stand upon your changes—or is it true? [You came that they might see] the dwelling of your tent. From the house of David, Uriah is the heir; from his bridal chambers, the cave is your tent; from his palaces, a stable instead of his chariot. A lowly manger reaches you; make small and believe that you are his heir. To the throne of David you went that you might sit, and the heaven cried out from you, and the earth beneath, after you sat, bowed before you, a hidden power. How bold you are, the cunning one over all! You cast yourself upon all who met you; behold, you laugh at all who saw you; behold, you mock what your love is like, as one who bowed to the poor. You do not distinguish between your fathers and strangers, nor between your mother and other women, nor between your nurse and the impure; your shamelessness is like, or your love is that which loves all. How you disturb all who saw you! You cast yourself upon the rich and upon the poor; in the same way you seize, though they did not call you—from where did you come, that thus you bowed to the poor? Make small your love, that it may be in the voiceless. You do not become angry even if one cries out at you; you are not haughty even if one is ashamed at you; you are not embittered; you are great like that from the law that repays debts, humble, lowly, and harsh in his error, who struck and killed even Elisha, who revived the lad, the staff of youths.
dsc-561:3 · narrativehigh
Source
ܒܕܒ̈ܶܐ ܦܳܪܶܬ ܡܰܢ ܐܰܢܬ ܛܰܠܝܳܐ ܕܪܰܒ ܗܽܘ ܚܽܘܒܳܟ ܡܶܢ ܕܰܢܒ̈ܺܝܶܐ ܗܰܘ ܒܰܪ ܗܳܓܳܪ ܕܰܥܪܳܕܳܐ ܗܘܳܐ ܒܰܥܛܶܗ ܠܐܺܝܣܚܳܩ ܣܰܝܒܰܪ ܘܰܫܬܶܩ ܘܐܶܡܶܗ ܛܢܳܬ ܐܰܢܬ ܐܰܢܬ ܐܪܳܙܶܗ ܐܰܘ ܗܽܘ ܛܽܘܦܣܳܟ ܠܐܺܝܣܚܳܩ ܕܳܡܶܝܬ ܐܰܘ ܗܽܘܝܽܘ ܟܰܝ ܗܳܐ ܕܳܡܶܐ ܠܳܟ
English
In the forests you scattered, O child, you who are great, your love from the mountains. That son of Hagar, who was a wild ass, in his silence bore Isaac and was quiet, and his mother buried his secret. Or is that your type? To Isaac you are likened, or is it that he is like you?
Citation. Tergwame, “Nativity 13”, dsc-561:1, machine-draft, 2026. https://naxiai.com/christian/works/dsc-561#s1
Colophon. Source: syriac · licence: CC BY 4.0 · model: deepseek/deepseek-v4-flash:floor · provider: Relace · cost: $0.0024 · generated 2026-11-15.