dsc-568:1 · narrative medium copy citation
Source
ܕܫܶܬܬܥܣܰܪ ܒܰܪ ܩܳܠܶܗ
English
Of the sixteenth, the son of his voice
Commentary
sense text ܕܫܶܬܬܥܣܰܪ ܒܰܪ ܩܳܠܶܗ The phrase is a heading indicating the sixteenth in a series of madrāšê (teaching hymns) attributed to Ephrem. 'Son of his voice' likely refers to the poetic or musical character of the composition.
source edition: Nativity 20 term glossary ܒܰܪ ܩܳܠܶܗ The term 'bar qāleh' (son of his voice) is a Syriac idiom for an echo or a poetic response, often used in liturgical contexts to denote a stanza or refrain.
structure text ܕܫܶܬܬܥܣܰܪ The numeral 'sixteenth' marks this as part of a numbered sequence within Ephrem's Nativity cycle, likely corresponding to a specific madrāšâ or section thereof.
source edition: Nativity 20 background external Ephrem's Nativity hymns are structured as madrāšê, each with a refrain and stanzas, often numbered for liturgical use. The 'son of his voice' may indicate a response or echo in performance.
Open questions · 1 The exact relationship between 'sixteenth' and 'son of his voice' is unclear: it may denote the sixteenth stanza or a separate piece. The reading taken treats it as a heading for a unit within the cycle. dsc-568:2 · narrative medium copy citation
Source
ܡܶܛܽܠܳܬܳܟ ܛܶܢܰܬ ܣܰܪܳܐ
English
Your stumbling has broken the tent of Sarah.
Commentary
sense text ܡܶܛܽܠܳܬܳܟ ܛܶܢܰܬ ܣܰܪܳܐ The line depicts a stumbling that breaks Sarah’s tent, likely a metaphor for the disruption of the patriarchal covenant or the displacement of Sarah (Abraham’s wife) by a new divine economy.
background background ܣܰܪܳܐ Sarah, wife of Abraham, is a key figure in the Syriac exegetical tradition, often symbolizing the old covenant or the barrenness that precedes the birth of Isaac, a type of Christ.
source edition: Nativity 20 scripture text ܛܶܢܰܬ ܣܰܪܳܐ The breaking of Sarah’s tent may allude to Genesis narratives where Sarah’s tent represents her domain (e.g., Gen 18:9–10, 24:67), but no direct quotation is present; the imagery is typological.
parallel text ܡܶܛܽܠܳܬܳܟ The motif of stumbling (ܡܶܛܽܠܳܬܳܟ) appears elsewhere in Ephrem’s madrashe as a metaphor for error or sin, often contrasted with the firmness of faith or the Incarnation.
structure text passage This line is the second of 28 passages in the madrasha, following a reference to ‘the son of his voice’ (likely John the Baptist), and continues a series of typological or narrative vignettes.
Open questions · 1 The identity of the ‘you’ whose stumbling breaks Sarah’s tent is not specified; it may refer to a figure from the Nativity context (e.g., Zechariah, Joseph, or a symbolic agent). The reading taken assumes a typological reference to the disruption of the old covenant. dsc-568:3 · narrative medium copy citation
Source
ܕܠܳܐ ܒܰܥܝܳܕܳܗܿ ܒܐܶܡܳܐ ܕܛܰܠܝܳܐ
English
Without her custom, in the mouth of the child.
Commentary
sense text ܕܠܳܐ ܒܰܥܝܳܕܳܗܿ ܒܐܶܡܳܐ ܕܛܰܠܝܳܐ The phrase 'without her custom, in the mouth of the child' likely refers to the Virgin Mary's unexpected or unprecedented experience of childbirth, with the child (Jesus) speaking or being spoken of in a prophetic or miraculous manner.
source edition: Nativity 20 term glossary ܒܰܥܝܳܕܳܗܿ The term 'custom' (ܒܰܥܝܳܕܳܗܿ) may denote the usual physical or social norms of childbirth, emphasizing the miraculous nature of the Nativity.
source edition: Nativity 20 scripture background ܛܰܠܝܳܐ The word 'child' (ܛܰܠܝܳܐ) echoes New Testament references to the infant Jesus, such as in Matthew 2 or Luke 2, where the child is central to the Nativity narrative.
source edition: Nativity 20 background external Nativity 20 Ephrem's Nativity hymns often contrast human and divine aspects of Christ's birth, drawing on Syriac typology and Marian imagery.
source edition: Nativity 20 structure text p3 This passage is the third of 28 in the hymn, following a reference to Sarah's tent, suggesting a typological link between Old Testament figures and Mary.
source edition: Nativity 20 Open questions · 1 The phrase 'in the mouth of the child' could be interpreted as the child speaking (prophetic utterance) or as a reference to a saying about the child; the reading taken is that it indicates a miraculous or symbolic speech. dsc-568:4 · narrative high copy citation
Source
ܠܳܐ ܛܶܢܰܬ ܗܘܳܬ ܐܰܝܟܳܐ ܕܰܛܢܰܢ
English
She did not taste where she tasted.
Commentary
sense text The line plays on the verb 'taste' (ܛܥܡ) in two senses: the Virgin did not experience (taste) the custom of marital relations, yet she 'tasted' (experienced) childbirth. The paradox underscores her unique status.
term glossary ܛܥܡ The Syriac verb ܛܥܡ (ṭʿam) means both 'to taste' physically and 'to experience' or 'to know' metaphorically. Ephrem exploits this polysemy to contrast the Virgin's lack of sexual experience with her experience of childbirth.
background background Ephrem's Nativity hymns often emphasize the paradox of Mary's virginity in partu, a theme central to early Syriac Marian theology. The 'custom' (ܛܥܘܬܐ) likely refers to the normal human experience of conception through intercourse.
source edition: Nativity 20 structure text This line is the fourth of 28 stanzas in Nativity 20, a hymn structured as a series of paradoxical statements about the Incarnation. The repetition of the root ܛܥܡ creates a verbal echo that binds the stanza together.
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 Syriac phrase ܐܰܝܟܳܐ ܕܰܛܢܰܥ (where she tasted) could refer either to the physical act of tasting (e.g., the child's mouth, as in the previous line) or to the experience of childbirth. The English draft opts for the latter, consistent with the paradox of virgin birth. dsc-568:5 · narrative medium copy citation
Source
ܐܳܦ [ܢ̈ـ]ـܟܦܳܬܳܐ ܒܥܰܒܕܳܐ ܛـ[ـܢܰܬ]
English
The palms of the hands in the work of the potter.
Commentary
sense text ܐܳܦ ܟܦܳܬܳܐ The phrase 'the palms of the hands' likely refers to the potter's hands shaping clay, continuing the theme of manual labor from the previous passage.
term glossary ܒܥܰܒܕܳܐ ܛـ[ـܢܰܬ] The Syriac text is partially corrupt: ܛـ[ـܢܰܬ] is uncertain. The English draft reads 'potter', but the lacuna may obscure a different noun or verb. The reading 'potter' is conjectural.
source edition: Nativity 20 background background Pottery and manual craft are common metaphors in Ephrem's hymns for divine creation and human humility, often contrasting with the Nativity's themes of incarnation.
structure text This passage is a short narrative unit, likely part of a series describing the physical actions of the Nativity scene, following the previous line about tasting.
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 · 2 The Syriac word for 'potter' is partially lost; the exact term and its implications for the metaphor are uncertain. The relationship between this line and the preceding 'She did not taste where she tasted' is not explicit; it may be a separate vignette or a continuation. dsc-568:6 · narrative high copy citation
Source
ܡܶܛܽܠܳܬܳܟ ܐܳܘ ܒܰܪ ܚܺܐܪ̈ܶܐ
English
Your potter's wheel, O son of the free.
Commentary
sense text ܡܶܛܽܠܳܬܳܟ The Syriac term refers to a potter's wheel, a tool for shaping clay. Here it is addressed to Christ, the 'son of the free,' likely alluding to his role as creator or shaper of humanity.
source edition: Nativity 20 term glossary ܒܰܪ ܚܺܐܪ̈ܶܐ The phrase 'son of the free' (bar ḥērē) is a Syriac idiom for a freeborn person, but here it is applied to Christ, possibly contrasting his divine freedom with human servitude or emphasizing his noble birth.
source edition: Nativity 20 background background Ephrem often uses imagery from crafts (e.g., potter, weaver) to illustrate theological concepts. The potter's wheel symbolizes divine creation, echoing Genesis 2:7 where God shapes Adam from clay.
source edition: Nativity 20 parallel text The image of Christ as a potter appears elsewhere in Ephrem's hymns (e.g., Hymns on Faith 5:1), where God molds humanity. This aligns with Syriac tradition of Christ as the 'potter' of the new creation.
source edition: Nativity 20 structure text This line is part of a series of apostrophes in the nativity cycle, each addressing Christ with a craft metaphor. The pattern builds a cumulative portrait of Christ as artisan of salvation.
source edition: Nativity 20 Open questions · 1 The phrase 'son of the free' could be read as a generic honorific or as a specific Christological title; the context of the nativity cycle favors the latter. The potter's wheel may also evoke the turning of cosmic cycles, but the immediate sense is craft imagery. dsc-568:7 · narrative high copy citation
Source
ܥܽܘܢܺܝܬܳܐ : ܡܶܢ ܒܶܝܬ ܣܰܪܳܐ ܐܳܦ ܡܶܢ ܥܰܡ̈ܡܶܐ
English
From the house of Sarah and from the nations.
Commentary
sense text ܡܶܢ ܒܶܝܬ ܣܰܪܳܐ ܐܳܦ ܡܶܢ ܥܰܡ̈ܡܶܐ The phrase contrasts two origins: the house of Sarah (Israel) and the nations (gentiles), likely referring to the universal scope of Christ's nativity.
source edition: Nativity 20 background background ܒܶܝܬ ܣܰܪܳܐ Sarah, wife of Abraham, is a matriarch of Israel; 'house of Sarah' metonymically denotes the Jewish people, a common typology in Syriac exegesis.
structure text ܡܶܢ ... ܐܳܦ ܡܶܢ The parallel construction 'from ... and from' sets up a binary contrast (Israel vs. nations), typical of Ephrem's antithetical parallelism.
source edition: Nativity 20 term glossary ܥܰܡ̈ܡܶܐ The plural ܥܰܡ̈ܡܶܐ ('nations') is the standard Syriac term for gentiles, often used in contrast to Israel in patristic literature.
Open questions · 1 The Syriac text is clear; no ambiguity in the reading. dsc-568:8 · narrative high copy citation
Commentary
sense text ܠܳܟ ܬܶܫܒܽܘܚܬܳܐ The phrase is a direct address to Christ, typical of Ephrem's hymnic style, and functions as a doxological opening or refrain.
structure text This short clause stands as a self-contained unit, likely a refrain or exclamatory line within the larger hymn structure.
background background Ephrem's madrāšê (teaching hymns) often employ short, repetitive doxological phrases to engage the congregation and reinforce theological themes.
source edition: Nativity 20 Open questions · 1 The Syriac text is fragmentary; the preceding context is lost, so the referent of 'you' (ܠܳܟ) is inferred from the work's overall subject (Christ). dsc-568:9 · narrative high copy citation
Source
ܡܶܛܽܠ ܕܶܢܚܳܟ ܨܰܠܺܝ ܐܺܝܣܚܳܩ
English
Because of your laughter, Isaac was saved.
Commentary
sense text ܡܶܛܽܠ ܕܶܢܚܳܟ ܨܰܠܺܝ ܐܺܝܣܚܳܩ The line connects Isaac's laughter (or joyful play) with his deliverance, likely alluding to the biblical story where Isaac's near-sacrifice is averted.
scripture text ܐܺܝܣܚܳܩ Isaac (ܐܺܝܣܚܳܩ) is the biblical patriarch whose binding (ʿAqedah) is a type of Christ's sacrifice; Ephrem often reads Isaac's story typologically.
source edition: Nativity 20 background background ܨܰܠܺܝ The verb ܨܰܠܺܝ (to save) echoes Ephrem's soteriological emphasis; Isaac's 'laughter' may refer to his name (Yitzḥaq, 'he laughs') and to the joy of redemption.
parallel text ܕܶܢܚܳܟ The word for 'laughter' (ܕܶܢܚܳܟ) plays on Isaac's name; a similar wordplay appears in Ephrem's Hymns on the Nativity (ed. Beck).
source edition: Nativity 20 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 Syriac could be read as 'because of your laughter, Isaac was saved' or 'because of your laughter, save Isaac'; the English draft takes the former. dsc-568:10 · narrative medium copy citation
Source
ܥܰܠ ܒܰܪܬ ܙܰܘܓܶܗ ܕܺܐܒܳܐ ܘܐܶܡܪܳܐ
English
On the daughter of the pair of the wolf and the lamb.
Commentary
sense text ܒܰܪܬ ܙܰܘܓܶܗ ܕܺܐܒܳܐ ܘܐܶܡܪܳܐ The phrase 'daughter of the pair of the wolf and the lamb' likely refers to a paradoxical union, possibly alluding to a narrative where a wolf and a lamb are paired, producing offspring. This may be a typological or allegorical reference within Ephrem's nativity cycle.
source edition: Nativity 20 background background The pairing of wolf and lamb is a common motif in Syriac literature to illustrate reconciliation of opposites or prophetic types, often linked to Christ's nativity as a peace-bringing event.
parallel background A similar paradoxical pairing appears in Ephrem's Hymns on the Nativity (e.g., Hymn 1), where the wolf and lamb coexist in the stable, symbolizing the peace of Christ's birth.
caution text ܒܰܪܬ ܙܰܘܓܶܗ ܕܺܐܒܳܐ ܘܐܶܡܪܳܐ The phrase is ambiguous: 'daughter of the pair' could mean a literal offspring or a metaphorical product of the union. The exact referent (e.g., a person, a concept) is not specified in the passage.
source edition: Nativity 20 Open questions · 1 The identity of the 'daughter' is unclear; it may be a typological figure (e.g., the Church, Mary) or a narrative character. The pairing of wolf and lamb is symbolic, but the specific context within the nativity cycle is not fully determined. dsc-568:11 · narrative medium copy citation
Source
ܒܶܛܢܰܬ ܐܰܟܚܰܕ ܚܰܘܺܝ ܕܠܳܐ ܗܘܳܐ
English
She was not able to show at once that she was not.
Commentary
sense text ܒܶܛܢܰܬ ܐܰܟܚܰܕ ܚܰܘܺܝ ܕܠܳܐ ܗܘܳܐ The Syriac clause is syntactically compressed: the feminine singular verb ܒܶܛܢܰܬ (she was not able) governs an infinitive ܚܰܘܺܝ (to show) followed by a complement clause ܕܠܳܐ ܗܘܳܐ (that she was not). The English draft captures the sense of inability to reveal a negative identity.
term glossary ܒܶܛܢܰܬ The verb ܒܛܠ (bṭl) in the pael perfect 3fs means 'she was unable, she ceased'. It is a common Syriac verb for incapacity or cessation, not a rare term.
structure text This passage is the eleventh of twenty-eight in the Nativity cycle, following a line about 'the daughter of the pair of the wolf and the lamb'. The narrative sequence here continues a paradoxical or typological image, likely referring to Mary's hidden virginity or the incarnation's concealment.
background background Ephrem's Nativity hymns often employ paradox and negation to express the mystery of the incarnation. The inability to 'show that she was not' may allude to Mary's perpetual virginity, a theme central to Ephrem's Mariology.
source edition: Nativity 20 Open questions · 1 The referent of the feminine subject (she) is not explicit in this clause; context from the preceding line suggests it is the daughter of the wolf and lamb, likely a typological figure for Mary. The phrase 'that she was not' could mean she was unable to prove she was not a virgin, or that she could not reveal her non-existence; the English draft leaves the object ambiguous. dsc-568:12 · narrative high copy citation
Source
ܙܰܪ̈ܥܶܐ ܒܪ̈ܺܝܟܶܐ ܐܺܝܬ ܠܐܰܒܪܳܗܳܡ
English
The blessed seeds belong to Abraham.
Commentary
sense text ܙܰܪ̈ܥܶܐ ܒܪ̈ܺܝܟܶܐ The phrase 'blessed seeds' likely refers to the patriarchs or righteous ancestors of Israel, a common typological image in Ephrem's nativity hymns.
source edition: Nativity 20 scripture text ܐܰܒܪܳܗܳܡ Abraham is the foundational patriarch in Genesis, and Ephrem often links Christ's nativity to Abrahamic promises, echoing New Testament genealogies (e.g., Matthew 1:1-2).
background background ܙܰܪ̈ܥܶܐ In Syriac exegesis, 'seed' (ܙܰܪܥܐ) frequently denotes lineage or spiritual progeny, especially in typological readings of the Old Testament patriarchs as prefiguring Christ.
source edition: Nativity 20 structure text ܙܰܪ̈ܥܶܐ ܒܪ̈ܺܝܟܶܐ ܐܺܝܬ ܠܐܰܒܪܳܗܳܡ This short clause functions as a narrative aside, linking the preceding episode (Mary's hidden pregnancy) to the broader salvation history rooted in Abraham.
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 referent of 'blessed seeds' is not explicit: it may denote the patriarchs generally, or specifically the line from Abraham to David, as a prefiguration of Christ's genealogy. dsc-568:13 · narrative high copy citation
Source
ܚܰܕ ܗܽܘ ܙܰܪܥܶܗ ܕܰܡܒܰܪܶܟ ܟܽܠ
English
One is the seed of him who blesses all.
Commentary
sense text ܚܰܕ ܗܽܘ ܙܰܪܥܶܗ ܕܰܡܒܰܪܶܟ ܟܽܠ The line asserts that the seed of the one who blesses all is singular, likely identifying Christ as the unique seed of Abraham that brings blessing to all.
term glossary ܙܰܪܥܶܗ The Syriac term ܙܰܪܥܶܗ (zarʿeh) means 'his seed' and carries both literal and genealogical connotations, often used in Ephrem to denote lineage or spiritual descent.
scripture text ܕܰܡܒܰܪܶܟ ܟܽܠ The phrase 'him who blesses all' may echo biblical benedictions, such as God's blessing of Abraham (Genesis 12:2-3) or Christ's blessing of his disciples (Luke 24:50-51), though no direct citation is given.
background background Nativity 20 Ephrem's Nativity hymns often employ agricultural imagery (seed, harvest) to typologically connect Old Testament figures like Abraham to Christ, reflecting Syriac exegetical traditions.
source edition: Nativity 20 structure text Nativity 20 This line continues the narrative from the previous passage ('The blessed seeds belong to Abraham'), specifying that Abraham's seed culminates in a single, all-blessing figure.
Open questions · 1 The identity of 'him who blesses all' is not explicitly named; it is interpreted as Christ based on context, but could also refer to God or Abraham. dsc-568:14 · narrative medium copy citation
Source
ܐܶܠܽܘ ܣܽܘܓܳܐܐ ܕܙܰܪ̈ܥܶܐ ܒܪ̈ܺܝܟܶܐ
English
Elqo, the multitude of blessed seeds.
Commentary
term text ܐܶܠܽܘ The name 'Elqo' is likely a proper name or a transliteration from a Semitic source, possibly referring to a person or a place associated with the 'blessed seeds'.
source edition: Nativity 20 sense text ܣܽܘܓܳܐܐ ܕܙܰܪ̈ܥܶܐ ܒܪ̈ܺܝܟܶܐ The phrase 'multitude of blessed seeds' likely refers to a group of individuals or spiritual progeny who are considered blessed, possibly in a typological or allegorical sense within Ephrem's nativity cycle.
source edition: Nativity 20 background background Ephrem the Syrian often uses agricultural imagery, such as seeds, to convey spiritual or theological concepts, particularly in his hymns on the Nativity.
source edition: Nativity 20 structure text This passage is part of a narrative section within the Nativity cycle, following a line about 'the seed of him who blesses all', suggesting a thematic continuity of blessing and lineage.
source edition: Nativity 20 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 identity of 'Elqo' is unclear; it may be a proper name, a title, or a place, and its exact referent is not specified in the text. dsc-568:15 · narrative high copy citation
Source
ܐܺܝܬ ܠܐܰܒܪܳܗܳܡ ܗܳܐ ܗܽܘ ܥܺܣܽܘ
English
Abraham has, behold, that one—Isaac.
Commentary
sense text The line identifies Isaac as the son of Abraham, using a demonstrative and a name to mark a genealogical or typological link.
term glossary ܐܰܒܪܳܗܳܡ Abraham, the patriarch, is a key figure in Syriac typology, often prefiguring Christ. Here he is paired with Isaac, his son and a type of Christ's sacrifice.
term glossary ܥܺܣܽܘ Isaac, the son of Abraham, is a standard type of Christ in Syriac exegesis, especially in Ephrem's nativity hymns, where the binding of Isaac prefigures the crucifixion.
scripture text The reference to Abraham and Isaac alludes to Genesis 22, the binding of Isaac, a foundational typological narrative in early Christian literature.
structure text This line is part of a series of brief genealogical or typological identifications in the hymn, each linking a patriarch to a descendant or type.
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 Syriac demonstrative ܗܳܐ (hā) could be read as 'behold' or as a simple deictic; the English draft renders it as 'behold, that one,' which is acceptable. The phrase is elliptical, lacking a verb, but the sense is clear. dsc-568:16 · narrative medium copy citation
Source
ܐܳܦ ܐܺܝܫܡܰܥܺܝܠ ܒܽܘܟܪ̈ܶܐ ܐܶܢܽܘܢ
English
Also Ishmael, in the firstborn, he bound.
Commentary
sense text ܐܳܦ ܐܺܝܫܡܰܥܺܝܠ ܒܽܘܟܪ̈ܶܐ ܐܶܢܽܘܢ The Syriac clause is elliptical: 'Also Ishmael, in the firstborn, he bound.' The verb 'bound' (ܐܶܢܽܘܢ) likely refers to a binding or tying, possibly alluding to a sacrificial or covenantal act.
source edition: Nativity 20 term glossary ܒܽܘܟܪ̈ܶܐ The term ܒܽܘܟܪ̈ܶܐ (bukkārē) means 'firstborn' (plural). In Ephrem's typology, the firstborn often prefigures Christ or a key salvific figure.
source edition: Nativity 20 scripture text Ishmael Ishmael, son of Abraham and Hagar, is a biblical figure (Gen 16, 21, 25). His mention here may echo Gen 21:14–21 or later traditions about his role in Abraham's household.
source edition: Nativity 20 background background binding of Ishmael Ephrem's typology often pairs Isaac and Ishmael. The binding of Ishmael is not a biblical narrative; it may be a symbolic or exegetical motif in Syriac tradition, possibly linked to the Akedah (binding of Isaac).
source edition: Nativity 20 parallel text Abraham has, behold, that one—Isaac The previous passage mentions Isaac; this verse pairs Ishmael with him. The parallelism suggests a typological contrast or complement between the two sons of Abraham.
source edition: Nativity 20 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 Syriac verb ܐܶܢܽܘܢ ('bound') is ambiguous: it could refer to a literal binding (as in sacrifice) or a metaphorical binding (covenant, obligation). The phrase 'in the firstborn' (ܒܽܘܟܪ̈ܶܐ) is plural, but the referent is unclear—possibly the collective firstborn sons or a specific firstborn figure. The reading taken is that Ishmael is bound in the context of the firstborn, likely a typological o dsc-568:17 · narrative high copy citation
Source
ܕܒܶܝܬ ܐܰܒܪܳܗܳܡ ܒܰܬܪ̈ܺܝܢ ܠܺܝ̈ܛܶܐ
English
In the house of Abraham, after the accursed ones.
Commentary
sense text The phrase 'after the accursed ones' likely refers to the Ishmaelites (Arabs), who are often termed 'accursed' in Syriac Christian polemical literature.
source edition: Nativity 20 background background Ephrem's reference to 'the house of Abraham' and 'accursed ones' reflects the Syriac Christian view of Ishmael as the ancestor of the Arabs, often contrasted with Isaac as the ancestor of the Jews.
named: Ephrem the Syrian term glossary ܠܺܝ̈ܛܶܐ The Syriac term ܠܺܝ̈ܛܶܐ (līṭē) means 'accursed ones' or 'cursed ones', a strong pejorative used in Syriac Christian texts for enemies or heretics.
source edition: Nativity 20 structure text This passage continues the narrative sequence from the previous line about Ishmael, linking him to the 'accursed ones' and situating the genealogy in the house of Abraham.
source edition: Nativity 20 Open questions · 1 The identity of 'the accursed ones' is not explicitly stated; it is inferred from context as the Ishmaelites/Arabs, but could also refer to other groups condemned in the narrative. dsc-568:18 · narrative high copy citation
Source
ܚܰܘܺܝ ܕܚܰܕ ܗܽܘ ܙܰܪܥܳܐ ܒܪܺܝܟܳܐ
English
Show that the blessed seed is one.
Commentary
sense text The line asserts the unity of the blessed seed, likely referring to the lineage of Christ or the faithful, countering any division implied by the previous mention of 'accursed ones'.
source edition: Nativity 20 term text ܙܰܪܥܳܐ The Syriac term ܙܰܪܥܳܐ (zarʿā) means 'seed' and is used metaphorically for progeny, lineage, or spiritual descent. Here it is qualified as 'blessed' (ܒܪܺܝܟܳܐ), indicating a salvific or elect lineage.
source edition: Nativity 20 structure text This line functions as a thematic pivot: the preceding passage contrasts the 'accursed ones' (likely the wicked or non-elect), while this line affirms the unity of the blessed seed, setting up a typological or salvation-historical contrast.
source edition: Nativity 20 background text Ephrem often employs seed imagery to discuss the continuity of the righteous line from Abraham to Christ, as seen in his Hymns on the Nativity. The 'blessed seed' may allude to the patriarchs or to Christ himself as the fulfillment of that lineage.
source edition: Nativity 20 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 referent of 'blessed seed' is not explicitly identified; it could be the line of Christ, the faithful, or a specific biblical figure. The reading taken follows the broader context of Ephrem's nativity hymns, where the seed often denotes the messianic lineage. dsc-568:19 · narrative high copy citation
Source
ܠܳܟ ܒܰܪ ܡܰܠܟܳܐ ܪܶܚܡܰܬ ܣܰܪܳܐ
English
To you, O prince, the love of Sarah.
Commentary
sense text ܠܳܟ ܒܰܪ ܡܰܠܟܳܐ ܪܶܚܡܰܬ ܣܰܪܳܐ The addressee is a 'prince' (bar malkā), likely a royal or messianic figure, and the 'love of Sarah' (reḥmat sārā) evokes the biblical Sarah's role as a matriarch whose love or longing is typologically significant.
scripture text ܣܰܪܳܐ Sarah, wife of Abraham, is a key figure in Genesis (e.g., Gen 11:29–23:20). In Syriac exegesis, her love or longing is often read as a type of the Church or of the Virgin Mary's anticipation of Christ.
background background Ephrem's Nativity hymns frequently employ typological pairings from the Hebrew Bible to prefigure Christ. Sarah's love may here prefigure the love that leads to the Incarnation, a common theme in Syriac liturgical poetry.
source edition: Nativity 20 parallel text ܒܰܪ ܡܰܠܟܳܐ The phrase 'bar malkā' (son of a king / prince) appears elsewhere in Ephrem's hymns as a title for Christ (e.g., Hymn on the Nativity 1:2). This supports a Christological reading of the passage.
caution text ܪܶܚܡܰܬ ܣܰܪܳܐ The phrase 'reḥmat sārā' is ambiguous: it could mean 'the love of Sarah' (objective genitive: love felt for Sarah) or 'Sarah's love' (subjective genitive: love that Sarah feels). The context of the Nativity cycle favors the latter, as Sarah's longing for a child typifies the world's longing for the Messiah.
Open questions · 1 The genitive construction 'reḥmat sārā' is ambiguous between subjective and objective senses; the reading taken is subjective (Sarah's love). The identity of the 'prince' (bar malkā) is not explicit but is likely Christological. dsc-568:20 · narrative medium copy citation
Source
ܘܰܣܢܳܬ ܡܰܠܟܳܐ ܠܳܐ ܒܣܶܡ ܗܘܳܐ ܠܶܗܿ
English
And the king's table did not please him.
Commentary
sense text ܘܰܣܢܳܬ ܡܰܠܟܳܐ ܠܳܐ ܒܣܶܡ ܗܘܳܐ ܠܶܗܿ The clause describes the king's table failing to please the subject, likely the infant Christ or a figure in the nativity narrative, contrasting earthly royal provision with divine satisfaction.
source edition: Nativity 20 term glossary ܣܢܳܬ The word ܣܢܳܬ (saʿtā) means 'table' or 'banquet', often with royal or festive connotations. Here it denotes the king's dining table, symbolizing worldly wealth and power.
source edition: Nativity 20 background background ܡܰܠܟܳܐ The 'king' (ܡܰܠܟܳܐ) may refer to Herod the Great, a common figure in Syriac nativity traditions, who is depicted as hostile or indifferent to Christ's birth.
source edition: Nativity 20 parallel text ܠܳܐ ܒܣܶܡ ܗܘܳܐ ܠܶܗܿ The phrase 'did not please him' echoes a motif in Ephrem's hymns where earthly pleasures fail to satisfy the divine or the righteous, paralleling ascetic renunciation themes.
source edition: Nativity 20 Open questions · 1 The subject of the verb 'did not please him' is not explicitly stated; it could be the infant Christ, a wise man, or another figure. The reading assumes Christ as the implied subject based on the nativity context. dsc-568:21 · narrative medium copy citation
Source
ܒܶܝܬ ܡܰܠܟܽܘܬܳܐ ܕܥܰܡ ܓܰܠܘܳܝܳܐ
English
The palace of the kingdom with the Exile.
Commentary
sense text ܒܶܝܬ ܡܰܠܟܽܘܬܳܐ ܕܥܰܡ ܓܰܠܘܳܝܳܐ The phrase juxtaposes royal power (palace of the kingdom) with displacement (the Exile), likely contrasting earthly authority with the spiritual or historical condition of Israel or the Holy Family.
term glossary ܓܰܠܘܳܝܳܐ The Syriac term ܓܰܠܘܳܝܳܐ (galwāyā) means 'exile' or 'captivity', often with a collective sense. In Ephrem's Nativity cycle, it may refer to the Holy Family's flight into Egypt or typologically to Israel's exile.
background background Ephrem frequently uses the theme of exile to evoke both the historical displacement of the Jewish people and the spiritual sojourn of Christ in the world, a motif rooted in Syriac theological tradition.
source edition: Nativity 20 structure text This brief unit concludes a narrative sequence contrasting the king's table (previous passage) with the palace in exile, forming a rhetorical antithesis typical of Ephrem's poetic style.
Open questions · 1 The phrase may refer to the palace of Herod contrasted with the humble circumstances of the Holy Family, or to a more general typological opposition between worldly power and divine purpose. dsc-568:22 · narrative high copy citation
Source
ܡܶܬܟܰܪܟܳܐ ܠܶܗ ܢܶܩܝܳܐ ܗܘܳܬ
English
The Exile was a crown for him.
Commentary
sense text ܡܶܬܟܰܪܟܳܐ ܠܶܗ ܢܶܩܝܳܐ ܗܘܳܬ The Syriac verb ܡܶܬܟܰܪܟܳܐ (mettakarkā) is an Ethpa‛al participle meaning 'was being wound around' or 'was encircling,' suggesting the Exile actively adorns the subject as a crown.
source edition: Nativity 20 term glossary ܢܶܩܝܳܐ The term ܢܶܩܝܳܐ (ʿeqyā) means 'exile' or 'captivity,' but here it is paradoxically described as a crown, inverting the expected negative connotation to signify honor or triumph.
source edition: Nativity 20 background external Ephrem often uses the image of a crown (klīlā) to denote victory or martyrdom; here the Exile is metaphorically transformed into a regal adornment, reflecting a theme of reversal common in his nativity hymns.
structure text This brief clause concludes the previous passage's contrast between the palace and the Exile, forming a chiastic reversal: the Exile, initially a loss, becomes a symbol of honor.
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 verb is ambiguous: the Exile (ܢܶܩܝܳܐ) is the grammatical subject, but the crown (implied) may refer to Christ or a figure from the preceding context; the reading taken follows the English draft in treating the Exile itself as the crown. dsc-568:23 · narrative medium copy citation
Source
ܕܰܚܙܳܬ ܕܶܢܚܳܟ ܕܰܟܣܶܐ ܗܘܳܐ ܒܶܗ
English
She saw that the laughter of the cup was concealed in him.
Commentary
term glossary ܕܶܢܚܳܟ The Syriac term ܕܶܢܚܳܟ (deḥḥāk) means 'laughter' but can also connote mockery or derision, a nuance that enriches the image of the cup's hidden quality.
source edition: Nativity 20 sense text The 'cup' (ܟܣܶܐ) likely refers to a vessel of wine or poison, its concealed laughter suggesting deceptive appearance or hidden danger, consistent with Ephrem's typological use of objects.
source edition: Nativity 20 scripture text The image of a cup concealing laughter may echo Psalm 104:15 (LXX) or Proverbs 31:6, where wine and cupbearers carry symbolic weight, though no direct citation is present.
background background In Syriac patristic literature, laughter often signifies divine joy or ironic reversal; Ephrem elsewhere uses laughter to denote the hidden triumph of righteousness over persecution.
source edition: Nativity 20 structure text This line continues the narrative of the Exile as a crown, with the cup's laughter forming a paradoxical image of concealed honor, typical of Ephrem's symbolic density.
source edition: Nativity 20 Open questions · 1 The subject 'she' is not identified in the immediate context; it may refer to a personification (e.g., the Church, Mary, or a figure from the Nativity narrative). The 'cup' could be literal or metaphorical (e.g., a cup of suffering or joy). The reading taken assumes a typological interpretation of hidden divine favor. dsc-568:24 · narrative medium copy citation
Source
ܠܳܐ ܐܢܳܫ ܡܶܐܢܰܬ ܠܳܗܿ ܫ̈ܢܰܝܳܐ ܬܶܫ̈ܥܺܝܢ
English
The pangs of her womb did not distress the ninety-nine.
Commentary
sense text The line contrasts the physical pain of childbirth with the symbolic number ninety-nine, likely referring to the ninety-nine sheep of the parable or the ninety-nine names of God in Islamic tradition, though here it may allude to the ninety-nine years of Sarah's barrenness in Jewish tradition.
term glossary ܡܶܐܢܰܬ The Syriac word ܡܶܐܢܰܬ (me'at) means 'hundred' but here is used in the construct state with ܫ̈ܢܰܝܳܐ (shṭayya, 'ninety') to form 'ninety-nine' (literally 'hundred less one').
scripture text The number ninety-nine may evoke the parable of the lost sheep (Matthew 18:12–14), where the shepherd leaves the ninety-nine to find the one that is lost, paralleling Mary's singular role in bearing Christ.
background background Ephrem's Hymns on the Nativity often employ numerical symbolism; the ninety-nine may also reference the ninety-nine generations before Christ in some genealogical traditions, emphasizing the completion of salvation history.
source edition: Nativity 20 structure text This line is the twenty-fourth of twenty-eight stanzas in the hymn, forming part of a narrative sequence that moves from Mary's experience to the theological significance of Christ's birth.
Open questions · 1 The referent of 'ninety-nine' is ambiguous: it could be the ninety-nine sheep of the parable, the ninety-nine names of God, or a symbolic number for the generations or the faithful. The reading taken is that it alludes to the parable of the lost sheep, given the context of Mary's womb and the birth of Christ. dsc-568:25 · narrative medium copy citation
Source
ܕܰܬܣܰܟܶܐ ܠܳܟ ܐܶܬܰܝܬ ܒܬܶܫ̈ܥܺܝܢ
English
That I might praise you, I came with the ninety-nine.
Commentary
sense text ܕܰܬܣܰܟܶܐ ܠܳܟ ܐܶܬܰܝܬ ܒܬܶܫ̈ܥܺܝܢ The speaker declares that the purpose of coming with the ninety-nine is to praise the addressee, likely Christ or Mary, continuing the theme of the previous passage.
source edition: Nativity 20 term glossary ܬܶܫ̈ܥܺܝܢ The term 'ninety-nine' (ܬܶܫ̈ܥܺܝܢ) echoes the previous passage's reference to the ninety-nine, likely symbolizing the flock or the saved, a common motif in Ephrem's nativity hymns.
source edition: Nativity 20 scripture text ܬܶܫ̈ܥܺܝܢ The number ninety-nine may allude to the ninety-nine sheep in the parable of the lost sheep (Matthew 18:12-14), where the shepherd leaves the ninety-nine to find the one lost, a typology for Christ's incarnation.
background background ܕܰܬܣܰܟܶܐ The verb 'to praise' (ܕܰܬܣܰܟܶܐ) is a key liturgical term in Syriac hymnody, reflecting Ephrem's role as a poet-theologian who uses praise as a mode of theological expression.
source edition: Nativity 20 structure text ܐܶܬܰܝܬ The first-person singular verb 'I came' (ܐܶܬܰܝܬ) marks a shift to a personal voice, possibly the poet or a personified figure, contrasting with the third-person narrative of the previous passage.
source edition: Nativity 20 Open questions · 1 The identity of the speaker ('I') is ambiguous: it could be the poet, Christ, or a symbolic figure. The addressee ('you') is also unspecified, possibly Christ or Mary. The phrase 'with the ninety-nine' may refer to a group of angels, the saved, or the flock from the previous passage. dsc-568:26 · narrative high copy citation
Source
ܨܶܐܕܶܝܗܿ ܕܣܰܪܳܐ ܘܐܶܬܰܝܬ ܒܰܡܳܐܐ
English
I hunted the moon and came with a hundred.
Commentary
sense text ܨܶܐܕܶܝܗܿ ܕܣܰܪܳܐ ܘܐܶܬܰܝܬ ܒܰܡܳܐܐ The Syriac verb ܨܶܐܕ (ṣed) means 'hunt' or 'pursue,' and ܣܰܪܳܐ (sārā) is 'moon.' The phrase 'I hunted the moon' is a poetic inversion of the expected 'the moon hunted me,' emphasizing the speaker's active pursuit of a celestial symbol.
source edition: Nativity 20 background background In Ephrem's symbolic universe, the moon often represents the Old Testament or the Church, as it reflects light from the sun (Christ). The number one hundred may allude to completeness or the totality of the faithful, echoing the ninety-nine from the previous line.
source edition: Nativity 20 parallel text The pairing of 'ninety-nine' (previous passage) and 'a hundred' here recalls the parable of the lost sheep (Matthew 18:12–14), where the shepherd leaves the ninety-nine to find the one. Ephrem adapts the numbers to his own poetic logic.
source edition: Nativity 20 structure text This line concludes the stanza and the larger sequence of the hymn. The shift from 'I came with the ninety-nine' to 'I hunted the moon and came with a hundred' creates a chiastic closure, balancing pursuit and gathering.
source edition: Nativity 20 Open questions · 1 The identity of the 'moon' (ܣܰܪܳܐ) is ambiguous: it could refer to a celestial body, a biblical figure (e.g., Sarah, though the Syriac spelling differs), or a symbolic entity. The reading taken is the literal 'moon,' consistent with Ephrem's cosmic imagery. dsc-568:27 · narrative medium copy citation
Source
ܨܶܝܕ ܐܰܒܪܳܗܳܡ ܝܰܗܒܬ --
English
I hunted Abraham and gave—
Commentary
sense text ܨܶܝܕ ܐܰܒܪܳܗܳܡ ܝܰܗܒܬ The Syriac phrase is fragmentary: 'I hunted Abraham and gave—'. The verb ܨܶܝܕ (ṣēd) means 'I hunted' and ܝܰܗܒܬ (yahḇt) means 'I gave', but the object of giving is missing, likely due to a lacuna in the manuscript.
source edition: Nativity 20 caution text ܨܶܝܕ ܐܰܒܪܳܗܳܡ ܝܰܗܒܬ The passage is incomplete; the English draft marks a dash after 'gave—', indicating a break. The sense is uncertain, and the missing portion may have clarified the object or the symbolic meaning of hunting Abraham.
source edition: Nativity 20 background background ܐܰܒܪܳܗܳܡ Abraham is a central patriarch in Syriac tradition, often typologically linked to Christ. Ephrem elsewhere uses hunting imagery (e.g., of the moon in the previous line) to evoke spiritual pursuit or typological fulfillment.
structure text ܨܶܝܕ ܐܰܒܪܳܗܳܡ ܝܰܗܒܬ This is the 27th of 28 passages in the work, near the end. The fragmentary nature suggests the poem may have been damaged in transmission, or the line is deliberately broken for rhetorical effect.
source edition: Nativity 20 Open questions · 1 The object of 'gave' is missing; the reading assumes a lacuna. The verb 'hunted' may be metaphorical (e.g., spiritual pursuit) or literal (e.g., a narrative of Abraham). dsc-568:28 · narrative medium copy citation
English
I hunted Abraham and gave—
Commentary
caution text I hunted Abraham and gave— The passage breaks off mid-sentence, likely due to manuscript damage or a lacuna. The English draft reproduces the fragment as given in the source edition.
source edition: Nativity 20 background background Ephrem's Nativity cycle often uses hunting imagery to depict divine pursuit of patriarchs, as seen in earlier hymns. This fragment likely continues that typology.
source edition: Nativity 20 structure text As the final passage (p28) of the work, this abrupt ending may reflect the original conclusion or a break in the manuscript tradition.
source edition: Nativity 20 Open questions · 2 The incomplete sentence leaves the object of 'gave' unspecified; it may have been a gift, a command, or a person. The Syriac text is not provided in the source, so the exact wording and any textual variants are unknown.
Citation. Tergwame, “Nativity 20”, dsc-568:1, machine-draft, 2026. https://naxiai.com/christian/works/dsc-568#s1
Colophon. Source: syriac ·
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generated 2026-11-14.