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Staatsbibliothek zu Berlin - Preußischer Kulturbesitz - Berlin Sachau Syr. N. 218
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(f. 178v) (1) ܀ ܬܘܒ ܒܥܘܕܪܢܐ ܕܡܢ ܐܠܗܐ ܟܬܒܝܢܢ ܛܟܣܐ (2) ܕܩܕܡ ܩܘܪܒܢܐ ܩܕܡ ܢܘܗܪܐ ܐܘܟܝܬ (3) ܦܘܫܩܐ ܕܩܘܪܒܐ ܕܩܕܝܫܐ ܕܡܪܝ ܝܥܩܘܒ (4) ܕܐܘܪܗܝ ܕܥܒ̰ܕ ܠܘܬ ܓܐܘܪܓܝ: (5) ܐܣܛܘܢܪܐ ܕܣܪܘܓ
ܩܕܡ ܕܥܠ ܢܩܘܫܐ:
(6) ܢܩܘܫܐ ܡܛܠ ܗܕܐ ܡܬܢܩ̣ܫ ܒܥܕܬܐ ܕܐܝܬܘܗܝ ܪܐܙܐ (7) ܕܫܝܦܘܪܐ: ܕܐܟܡܐ ܕܫܝܦܘܪܐ ܡܟܢܫ ܠܦܠܚ̈ܐ (8) ܠܩܪܒܐ: ܗܟܢܐ ܢܩܘܫܐ ܡܟܢܫ ܠܟܪ̈ܝܣܛܝܢܐ ܠܥܕܬܐ (9) ܕܢܥܒܕܘܢ ܕܰܐܪܳܐ ܥܡ ܣܛܢܐ܀
ܘܕܬܪ̈ܬܝܢ. ܕܐܟܡܐ (10) ܕܡܠܟܐ ܐܡܬܝ ܕܨ̇ܒܐ ܕܢܟܢܫ ܠܡܠܟܘ̈ܬܐ ܕܝܠܗ ܕܢܬܠ (11) ܡܘܗܒ̈ܬܐ: ܩܪܐ ܒܫܝܦܘܪܐ ܗܟܢܐ ܘܡܫܝܚܐ ܟܕ ܨ̇ܒܐ (12) ܕܢܬܠ ܡܘܗܒ̈ܬܐ ܠܡܗܝܡ̈ܢܐ ܡܟܢܫ ܠܗܘܢ ܠܥܕܬܐ܀
(13) ܘܬܘܒ ܐܟܡܐ ܕܒܩܝܣܐ ܥܒ̣ܪܢܢ ܦܘܩܕܢܐ: ܘܐܬܛܪܕܢܢ (14) ܡ̣ܢ ܦܪܕܝܣܐ: ܗܟܢܐ ܒܝܕ ܩܠܐ ܕܢܩܘܫܐ ܕܐܝܬܘܗܝ ܪܐܙ (15) ܩܝܣܐ: ܡܬܟܢܫܝܢ ܠܥܕܬܐ ܕܐܝܬܝܗ̇ ܛܘܦܣܐ ܕܦܪܕܝܣܐ܀
(16) ܬܘܒ ܕܒܦܘܩܕܢ ܐܠܗܐ ܦܩܕ ܠܢܘܚ ܕܢܥ̣ܒܕ ܩܝܒܘܬܐ: ܘܐܦ (f. 179r) (1) ܢ̇ܬܩܢ ܢܩܘܫܐ ܘܒܥܕܢ ܨܦܪܐ ܢ̇ܩܫ ܗܘܐ ܒܗ: ܘܡܬܟܢܫܝܢ (2) ܗܘܘ ܐܘܡܢ̈ܐ ܠܥܒܕܐ ܕܩܝܒܘܬܐ: ܘܒܦܠܓܗ ܕܝܘܡܐ (3) ܕܢܬܒܣܡܘܢ ܒܡܐܟܘܠܬܐ: ܘܒܪܡܫܐ ܕܢܬܬܢܝܚܘܢ (4) ܡܢ ܥܡܠܐ܀
ܬܘܒ ܐܡܪܝܢܢ: ܕܐܬܬܩܢ ܢܩܘܫܐ ܡ̣ܢ (5) ܩܝܣܐ: ܡܛܠ ܕܝܬܝܪ ܡ̣ܢ ܩܠܐ ܕܒܪܢܫܐ ܪܗܛ (6) ܠܡܫܡܥܬܐ: ܘܡܙܡܢ ܥܡܐ ܠܨܠܘܬܐ: ܗܟܘܬ ܘܩܠܐ (7) ܕܢܚܫܐ ܚܝܠܬܢ ܘܬܩܝܦ: ܘܡܨܝܒ ܠܫܡܘܥܐ (8) ܠܩܪܒܐ ܪܘܚܢܝܐ܆ ܝܬܝܪ ܡܢ ܩܠܐ ܕܢܚܫܐ܀
ܕܥܠ (9) ܡܕܒܚܐ܆
ܡܕܒܚܐ ܨ̇ܐܪ ܠܫܡܝܐ: ܘܝܠܕܐ ܥܕܬܐ: (10) ܟܠܗ̇ ܛܘܦܣܐ ܐܝܬܝܗ̇ ܕܟܠܗ̇ ܒܪܝܬܐ.
ܕܥܠ ܦܬܘܪܐ܆
(11) ܦܬܘܪ ܚܝ̈ܐ ܛܘܦܣܐ ܐܝܬܘܗܝ ܘܩܒܪܗ ܕܡܪܢ.
(12) ܕܥܠ ܛܒܠܝܬܐ܆
ܛܒܠܝܬܐ ܛܘܦܣܐ ܐܝܬܝܗ̇ ܕܨܠܝܒܐ (13) ܕܡܪܢ ܘܡܛܠ ܗܕܐ ܕܝܢ ܡܬܬܣܝܡܐ ܥܠ ܦܬܘܪ ܚܝ̈ܐ
(14) ܥܠ ܐܢܢܦܘܪܐ
ܐܢܢܦܘܪܐ ܛܘܦܣܐ ܐܝܬܝܗ̇ (15) ܕܟܐܦܐ: ܕܥܠ ܬܪܥܐ ܕܩܒܪܐ ܕܡܪܢ: ܘܛܘܦܣܐ (16) ܐܝܬܝܗ̇ ܕܡܐܢ̈ܐ ܗ̇ܘ ܕܚܙܐ ܫܡܥܘܢ ܕܢ̇ܚܬ ܗܘܐ ܡ̣ܢ (f. 179v) (1) ܫܡܝܐ: ܕܐܝܬܝܗ̇ ܚܝܘ̈ܬܐ ܘܟܠ ܓܢܣ.
ܥܠ ܦܪܳܣܳܐ
(2) ܦܪܳܣܳܐ ܕܥܠ ܡܕܒܚܐ ܪܐܙܐ ܐܝܬܘܗܝ ܕܪܩܝܥܐ ܕܫܡܝܐ: (3) ܗ̇ܘ ܕܐܝܬܘܗܝ ܕܟ̇ܠܐ ܒܝܬ ܠܢ ܠܟܝ̇ܢܐ ܪܘܚܢܝܐ ܕܡܠܐܟ̈ܐ
(4) ܕܥܠ ܦܪ̈ܘܚܐ
ܛܘܦܣܐ ܐܝܬܝܗܘܢ ܕܣܪ̈ܦܐ (5) ܫܬܝܬܝܲܝ ܓܦ̈ܐ.
ܥܠ ܛܟܣܐ ܕܚܝܠܘ̈ܬܐ
ܬܫܥ̈ܐ (6) ܛܟܣܐ ܕܚܝܠܘ̈ܬܐ ܫܡܝ̈ܢܐ ܐܝܬ ܠܥܠ ܒܫܡܝ̈ܐ ܕܣܝܡܝܢ (7) ܘܡܛܟܣܝܢ ܒܬܠܬ ܥܕ̈ܬܐ: ܗܟܢܐ ܘܒܥܕܬܐ ܗܕܐ ܐܪܥܢܝܬܐ ܬܫܥ̈ܐ (8) ܛܟܣ̈ܐ ܛܟܣܘ ܡܪܢ ܘܬܠܡܝܕ̈ܘܗܝ: ܗ̇ܢܘܢ ܕܐܝܬܝܗܘܢ ܪܐܙ ܚܝܠܘ̈ܬܐ (9) ܥܠ̈ܝܐ.
ܥܠ ܡܫܡܫܢܐ
ܡܫܡܫܢܐ ܛܘܦܣܐ ܐܝܬܘܗܝ ܕܡܠܐܟܐ ܘܐܘܪܪܐ (10) ܕܥܠ ܟܬܦܗ: ܛܘܦܣܐ ܐܝܬܘܗܝ ܕܓܦ̈ܐ ܡܠܐܟܝ̈ܐ ܟܘܬܝܢܐ ܕܠ̇ܒܫ (11) ܟܕ ܠܐ ܐܣ̇ܪ ܥܠܝܗ̇: ܛܘܦܣܐ ܐܝܬܝܗ̇ ܕܚܐܪܘܬܐ.
ܕܥܠ ܩܫܝܫܐ
(12) ܘܩܫܝܫܐ ܟܕ ܡܬܬܣܪܚ: ܒ̃ܪܟ ܥܠ ܬܪ̈ܬܝܢ ܒܘܪ̈ܟܘܗܝ ܐܝܟܢܐ (13) ܕܢܚܘܐ ܕܒܢܦܫܐ ܘܒܦܓܪܐ ܡܫܲܡܠܝ ܘܓܡܝܪ ܒܟܗܢܘܬܐ (14) ܘܥܬܝܪܘܬܐ ܕܪ̈ܐܙܐ: ܟܘܬܝܢܐ ܕܠ̇ܒܫ ܟܗܢܐ: ܛܘܦܣܐ ܐܝܬܝܗ̇ (15) ܕܐܦܘܕܝܩܢܘܬܐ: ܘܐܘܪܪܐ ܕܣܝܡ ܥܠܘܗܝ ܛܘܦܣܐ ܘܛܟܣܐ (16) ܕܡܫܡܫܢܐ. ܦܰܝܢܳܐ ܕܝܢ ܕܠܥܠ ܡܢܗ ܨ̇ܐܪ ܠܡܥܪܦܗ ܕܐܠܝܐ ܢܒܝܐ: ܘܐܦ (f. 180r) (1) ܠܬܟܣܝܬܐ ܘ ܠܒܘܫܐ ܕܚܝܠܘ̈ܬܐ ܫܡܝ̈ܢܐ: ܘܗ̇ܝ ܕܩ̇ܐܡ ܟܗܢܐ ܘܦܲܫܶܛ (2) ܐܝܕܘ̈ܗܝ ܒܩܘܪܒܐ: ܨ̇ܐܪ ܛܘܦܣܗ ܕܡܪܢ ܟܕ ܦܫ̣ܛ ܢܦܫܗ ܒܙܩܝܦܐ. (3) ܘܗ̰ܘ ܟܗܢܐ ܕܘܡܝܐ ܐܝܬܘܗܝ ܕܡܪܢ.
ܕܥܠ ܦܝܪܡܐ
ܦܝܪܡܐ ܨ̇ܐܪ ܠܡܫܝܚܐ: (4) ܢܘܪܐ ܕܒܗ ܡܬܬܣܝܡܐ ܪܐܙ ܐܠܗܘܬܐ: ܒܣܡܐ ܕܥܠܝܗ̇ ܪܐܙ ܐܢܫܘܬܐ: (5) ܬܚ̈ܬܝܬܗ ܕܦܝܪܡܐ ܪܐܙ ܐܪܥܐ: ܥܠܝܬܗ ܪܐܙ ܫܡܝܐ: ܬܠ̈ܬܐ ܫܝܫ̈ܠܬܐ (6) ܕܒܗ ܪܐܙܐ ܘܛܘܦܣܐ ܕܬܠܝܬܝܘܬܐ ܩܕܝܫܬܐ܀
ܘܗ̇ܝ ܕܢ̇ܦܩ ܦܝܪܡܐ (7) ܡ̣ܢ ܗܝܟܠܐ ܪܐܙܐ ܗ̇ܝ ܕܢܚ̣ܬ ܡܫܝܚܐ ܡܢ ܫܡܝܐ: ܘܗ̇ܝ ܕܟܪܟ (8) ܡܫܡܫܢܐ ܥܠ ܟܗܢܐ: ܘܢ̇ܣܒ ܠܒܣܡ̈ܐ ܘܟ̇ܪܟ ܒܟܠܗ̃ ܥܕܬܐ ܪܐܙ ܗ̇ܝ ܕܢܚܬ (9) ܐܠܗܐ ܘܐܬܟܪܟ ܒܥܠܡܐ: ܘܒܣ̣ܡ ܠܟܠܗ̇ ܒܪܝܬܐ ܒܡܠܦܢܘܬܐ (10) ܕܐܘܢܓܠܝܘܢ ܘܡܢܕܪܝܫ ܣܠܩ ܠܘܬ ܐܒܘܗܝ: ܐܟܡܐ ܕܡܫܡܫܢܐ ܟ̇ܪܟ (11) ܒܥܕܬܐ ܡܢܕܪܝܫ ܣ̇ܠܩ ܠܩܕܘܫ ܩܘ̈ܕܫܝܢ܀
ܘܙ̇ܕܩ ܕܟܕ ܢܫܩܘܠ (12) ܡܫܡܫܢܐ ܠܦܝܪܡܐ ܕܢܥܘܠ ܠܘܬ ܡܕܒܚܐ ܘܢܬܠ ܦܝܪܡܐ ܠܡܨܥܬ (13) ܦܬܘܪܐ ܕܚܝ̈ܐ ܕܐܝܬܘܗܝ ܛܘܦܣܐ ܕܐܒܐ ܙܒܢ̈ܬܐ ܬܠܬ. ܘܢܥܒܪ (14) ܠܓܪܒܝܐ ܐܘܟܝܬ ܠܩܪܢܐ ܕܡܕܒܚܐ ܘܢܬܠ ܬܠܬ ܙܒܢܝ̈ܢ: ܕܐܝܬܘܗܝ ܬܠܬ ܛܘܦܣܗ (15) ܕܒܪܐ. ܘܢܥܒ̣ܪ ܠܰܦܢܝܬܐ ܬܝܡܢܝܳܬܐ ܕܦܬܘܪܐ ܘܢ̣ܬܠ ܬܠܬ ܙܒܢܝ̈ܢ ܐܝܬܘܗܝ (16) ܪܐܙܗ ܕܪܘܚܐ ܩܕܝܫܐ: ܘܡܚܕܐ ܢܐܬܐ ܠܘܬ ܟܗܢܐ ܘܢ̣ܬܠ ܠܗ ܦܝܪܡܐ ܘܗ̰ܘ (f. 180v) (1) ܡܫܡܫܢܐ ܢܪܟܢ ܪܝܫܗ ܘܢܣܓܘܕ ܘܢܐܡܪ: ܕܩܪܝܬ ܠܡܕܡ ܕܟܬܒܬ ܩܕܡ ܡܠܟܐ: (2) ܘܩܒܠܬ ܚܬܡܐ. ܘܡܚܕܐ ܦܢܐ ܡܫܡܫܢܐ ܠܘܬ ܥܡܐ ܘܝܳܗܒ ܠܗܘܢ ܦܝܪܡܐ (3) ܟܕ ܡܰܪܟܢܝܢ ܪ̈ܝܫܝܗܘܢ ܘܐܡܪܝܢ ܕܫ̇ܠܡܝܢܢ: ܗܝܕܝܢ ܗ̇ܦܟ ܠܘܬ ܟܗܢܐ ܘܐܡܪ (4) ܕܩܪܝܬ ܠܐܓܪܬܟ ܩܕܡ ܥܡܐ ܘܫܳܠܡܝܢ
ܕܥܠ ܩܽܘܪܳܒܳܐ
ܩܘܪܒܐ (5) ܡܬܦܫܩ ܡܬܩܪܒܢܘܬܐ ܕܠܘܬ ܐܠܗܐ.
ܕܥܠ ܨܠܝܒ̈ܐ
ܨܠܝܒ̈ܐ ܕܡܬܥܒܕܝܢ (6) ܒܩܘܪܒ ܩܘܪ̈ܒܢܐ ܟܡܐ ܗܘܝܢ: ܘܐܝܟܢܐ ܗܘܝܢ ܘܰܡܙܰܗܪ ܗ̰ܘ ܚܣܝܐ ܕܠܐ (7) ܙ̃ܕܩ ܠܥܡܐ ܐܘ ܠܡܫܡܫܢܐ ܣܛܪ ܡܢ ܨܠܝܒ̈ܐ ܕܥܠ ܦܓܪܐ ܘܕܡܐ ܘܥܠ ܥܡܐ: (8) ܕܢܪܫܘܡ ܐܘ ܢܥܒܕ ܨܠܝܒܐ ܥܠ ܦܪܨܘܦܗ ܒܥܕܢܐ ܕܩܘܪܒܐ: ܘܢܘܟܪܝܬܐ ܐܝܬܝܗ̇ (9) ܠܫܦܝܪܘܬ ܡܛܰܟܣܘܬܐ: ܘܨܠܝܒ̈ܐ ܗܠܝܢ ܕܡܬܥܒܕܝܢ ܠܘܩܒܠ ܡܫܡܫܢܐ ܠܝܡܝܢܐ (10) ܕܟܗܢܐ ܘܰܠܣܡܠܐ ܠܘܩܒܠ ܥܡܐ: ܐܢ ܠܝܬ ܡܫܡܫ̈ܢܐ ܐܠܐ ܒܠܚܘܕ ܒܚܕ ܓܒܐ (11) ܠܘܩܒܠܗܘܢ ܢܥܒܕ ܨܠܝܒ̈ܐ ܒܠܚܘܕ: ܘܐܢ ܐܝܬ ܥܡܐ ܢܥܒܕ ܠܩܘܒܠܗ ܙܒܢ̱ܬܐ (12) ܬܠܬܐ ܨܠܝܒ̈ܐ ܐܝܟܐ ܕܣܝܡ ܠܢ ܡܢ ܠܬܚܬ: ܘܐܢ ܠܝܬ ܠܐ ܢܥܒܕ ܟܕ ܡܫܪܐ ܗܟܢܐ ܙܕܩ (13) ܠܗ ܠܟܗܢܐ ܠܡܕܥ: ܐܝܟܢܐ ܡܬܥܒܕܝܢ ܨܠܝܒ̈ܐ ܕܗ̇ܘܝܢ ܒܩܘܪܒ ܩܘܪ̈ܒܢܐ (14) ܕܟܡܐ ܒܟܠܕܘܟܐ܀
ܗ̇ܘܝܢ ܟܠܗܘܢ ܝܚ ܗܢܘ ܕܝܢ ܡܫܪܐ ܟܗܢܐ ܩܕܡܐܝܬ ܠܟܠ (15) ܓܒܐ ܚܕ: ܘܐܢ ܠܝܬ ܡܫܡܫ̈ܢܐ ܠܐ ܐܠܨܐ ܕܢܥܒܕ ܐܠܐ ܥܠ ܦܪܨܘܦܗ ܬܠ̈ܬܝܗܘܢ: (16) ܘܠܘܩܒܠ ܥܡܐ ܬܠܬܐ: ܐܝܟܐ ܕܐܡ̇ܪ: ܚܘܒܐ ܕܐܠܗܐ ܐܒܐ܀
ܘܙܒܢ̱ܬܐ ܕܬܪ̈ܬܝܢ (f. 181r) (1) ܥ̇ܒܕ ܬܠ̈ܬܐ ܨܠܝܒ̈ܐ ܥܠ ܦܓܪܐ: ܘܬܠܬܐ ܥܠ ܟܣܐ܀ ܐܝܟܢܐ ܕܐܡ̇ܪ ܐܕܝ ܘܒܪܟ ܩܕܫ܀
(2) ܘܙܒܢ̱ܬܐ ܕܬܠܬܐ ܗ̣ܘ ܗܟܘܬ ܥ̇ܒܕ ܬܠܬܐ ܨܠܝܒ̈ܐ ܥܠ ܦܓܪܐ: ܘܬܠܬܐ ܥܠ ܟܣܐ ܐܝܟܐ (3) ܕܐܡܪ܀ ܐܝܟܢܐ ܕܟܕ ܡܐܓܢ ܢܥܒܕ ܠܠܚܡܐ: ܘܠܟܣܐ ܗܢܐ܀
ܘܙܒܢ̱ܬܐ ܕܐܪܒܥ ܥ̇ܒܕ ܨܠܝܒܐ (4) ܚܕ ܠܘܩܒܠ ܐܦܘ̈ܗܝ ܘܠܣܡܠܐ ܘܠܝܡܝܢܗ: ܘܠܘܩܒܠ ܥܡܐ ܬܠܬܐ ܐܝܟܐ (5) ܕܐܡ̇ܪ܀ ܢܗܘܢ ܪ̈ܚܡܐ܀
ܙܒܢ̱ܬܐ ܕܚ̈ܡܫ ܥ̇ܒܕ ܒܩܨܝܐ ܕܦܪܝܣܬܐ ܒܝܕ ܕܡܐ (6) ܥܠ ܦܓܪܐ ܬܠ̈ܬܐ: ܘܥܠ ܟܣܐ ܬܠ̈ܬܐ: ܐܝܟܐ ܕܩܨܐ ܘܪܫܡ: ܘܡܚܝܕ (7) ܠܦܓܪܐ ܥܡ ܕܡܐ܀ ܠܐ ܐܠܨܐ ܕܢܪܣܣ: ܐܝܟܐ ܕܐܝܬ ܥܝ̇ܕܐ ܠܐܢܫ̈ܝܢ (8) ܕܢܥܒܕܘܢ ܬܢܝܢܘܬ ܗܕܐ܀
ܘܙܒܢ̱ܬܐ ܐ̱ܚܪܬܐ ܕܫ̈ܬ: ܥ̇ܒܕ ܨܠܝܒܐ (9) ܥܠ ܐܦܘܗ̈ܝ: ܘܠܣܡܠܐ ܘܠܝܡܝܢܗ: ܘܠܘܩܒܠ ܥܡܐ ܓ ܨܠܝܒ̈ܐ܀ (10) ܐܝܟܐ ܕܐܡܪ܀ ܬܗܘܐ ܛܝܒܘܬܐ ܕܬܠܝܬܝܘܬܐ܀ ܘܗܝܕܝܢ ܩܘܕܫ̈ܐ (11) ܠܩܕܝܫ̈ܐ: ܘܠܟܗ̈ܢܐ ܕܐܡ̣ܪ ܡܫܡܫܢܐ ܦܩܕ ܗ̣ܘ ܚܣܝܐ ܕܐܡܝܪ: ܕܐܢ ܠܝܬ (12) ܥܡܐ ܘܒܠܚܘܕܘܗܝ ܡܩܪܒ ܟܗܢܐ: ܠܐ ܐܠܨܐ ܕܢܬܢܐ ܐܢܘܢ.
ܫܘܪܝܐ (13) ܕܩܘܪܒܐ
ܗܝܕܝܢ ܕܒܫܘܪܝܐ ܠܐܒܐ ܘܠܒܪܐ ܘܠܪܘܚܐ ܩܕܝܫܐ ܡܫܪܐ (14) ܟܗܢܐ ܡܘܕܥ: ܚܕܝܘܬܐ ܕܚܕ ܟܝܢܐ ܘܐܘܣܝܐ ܕܬܠܝܬܝܘܬܐ: ܡܚܘܐ (15) ܕܡܬܦܠܓܐ ܠܐ ܡܬܦܠܓܢܐܝܬ: ܘܡܬܚܝܕܐ ܠܐ ܐܫܝܕܐܝܬ: ܗܫܐ ܥܠ (16) ܒܪܐ ܡܬܐܡܪܐ: ܗܢܘ ܕܝܢ ܙܒܢܐ ܕܡܬܒܣܪܢܘܬܗ: ܘܒܟܠܙܒܢ (f. 181v) (1) ܐܝܬܘܗܝ ܐܠܗܐ ܠܥܠܡܝܢ܀
ܕܫܠܡܐ ܕܝܢ ܕܡܬܝܗܒ
ܡܠܬܗ ܕܡܪܢ (2) ܡܫܡܠܝܐ: ܕܫܒܘܩ ܩܘܪܒܢܟ ܥܠ ܡܕܒܚܟ: ܕܐܬܪܥܐ ܠܐܚܘܟ: (3) ܘܐܟܡܢ ܕܪ̈ܘܚܢܐ ܬܡܢ ܟܢܝܫܝܢ ܘܫܠܡܐ ܝܗܒܝܢ ܠܡܢ: ܡܛܠ ܕܫܠܡܐ (4) ܗܘܐ ܠܗܘܢ ܥܡܢ ܒܩܛܠܗ ܕܡܪܝܐ܀
ܘܗ̇ܝ ܕܚܘܒܐ ܕܐܠܗܐ ܐܒܐ:
(5) ܡܚܘܝܐ ܕܒܚܘܒܗ ܝܗܒ ܐܠܗܐ ܠܒܪܗ ܚܠܦܝܢ: ܐܝܟܢܐ ܕܦܘܠܠܘܣ (6) ܐܡ̇ܪ܀
ܛܝܒܘܬܐ ܕܝܚܝܕܝܐ ܒܪܐ
ܡܚܘܝܐ ܕܒܛܝܒܘܬܐ. ܚܠܦ ܟܠܢܫ (7) ܛܥ̣ܡ ܡܘܬܐ܀
ܘܫܘܬܦܘܬܐ ܕܪܘܚܐ ܩܕܝܫܐ܀
ܕܒܝܕ ܫܘܬܦܘܬܐ (8) ܕܪܘܚܐ ܡܫܬܡܠܝܐ ܕܒܚܬܐ.
ܘܗܠܝܢ ܬܠ̈ܬܐ ܐܡ̇ܪ ܟܗܢܐ ܕܢܗܘܘܢ (9) ܥܡܟܘܢ: ܘܡܦܢܝܢ ܕܐܦ ܥܡܟ. ܐܝܟ ܕܐܡ̇ܪ ܪܒܐ ܓܪܝܓܘܪܝܘܣ: (10) ܕܫܠܡܐ ܗ̇ܘ ܟܗܢܐ ܘܢ̇ܣܒ܀
ܘܬܘܒ ܡܘܣܦ ܕܠܥܠ ܢܗܘܘܢ: (11) ܗܘܢܝ̈ܟܘܢ: ܗܢܘ ܕܝܢ ܕܒܫܡܝܢܝ̈ܬܐ ܗܪܘܓܘ: ܘܡ̣ܢ (12) ܐܪ̈ܥܢܝܐ ܐܬܕܟܘ܀
ܡܦܢܝܢ ܕܐܝܬ ܠܢ ܠܘܬ ܡܪܝܐ: ܗ ܪ̈ܚܡܐ ܡܬܒܣܪܢܘܬܐ (13) ܘܒܬܝܒܘܬܐ ܪ̈ܚܡܐ ܕܐܒܐ ܕܓܒܠܢ ܕܒܪܐ ܦܪܘܩܝܢ. ܘܒܬܝܒܘܬܐ (14) ܒܝܕ ܪܘܚܐ ܩܕܝܫܐ ܐܬܟܬ̣ܒܢܢ ܒܫܡܝܐ ܒܣܝܡܬ ܒܢܝ̈ܐ܀ ܘܬܘܒ (15) ܐܝܬ ܠܢ ܒܫܡܝܐ ܐܝܟ ܕܟܬܝܒ ܦܐܪܩܠܝܛܐ: ܝܫܘܥ ܡܫܝܚܐ (16) ܙܟܝܐ: ܐܬܦܫܩ ܦܐܪܩܠܝܛܐ ܒܥܝܐ܀ ܘܬܘܒ ܚܕܘ ܕܫܡܗ̈ܝܟܘܢ (f. 182r) (1) ܐܬܟܬܒܘ ܒܫܡܝܐ: ܡܛܠ ܗܠܝܢ ܬܠܬ ܠܒܘ̈ܬܢ ܠܘܬ ܡܪܝܐ܀
(2) ܘܬܘܒ ܐܡ̇ܪ ܟܗܢܐ: ܢܘܕܐ ܠܡܪܝܐ ܕܗܠܝܢ: ܡܦܢܝܢ ܠܗ ܕܫ̇ܘܐ (3) ܘܙ̇ܕܩ܀
ܘܗܝܕܝܢ ܡܰܝܬܐ ܒܬܫܒܘܚܬܐ ܡܠܐܟܝܬܐ ܕܩܥܝܢ ܐܟܚܕܐ: (4) ܩܕܝܫ ܩܕܝܫ ܩܕܝܫ܀ ܕܬܠܬܐ ܩܢܘܡ̈ܐ ܩܕܝܫ̈ܐ ܕܒܫܡܝܐ (5) ܘܒܐܪܥܐ ܘܥܠ ܡܕܒܚܐ ܘܒܟܠܡܕܡ ܘܠܐ ܡܣܬܝܟܝܢ܀
ܐܘܫܥܢܐ (6) ܬܫܒܘܚܬܐ ܡܬܦܫܩ܀
ܘܬܘܒ ܕܝܢ ܢܣܒ ܠܚܡܐ ܘܐܡ̇ܪ܆ ܗ̇ܝ (7) ܕܚܪ ܒܫܡܝܐ ܨܒܝܢܐ ܕܐܒܐ ܡܚܘܝܐ܀
ܘܐܘܕܝ܆ ܡܘܕܝܢܘܬܐ (8) ܠܘ ܒܥܘܬܐ ܐܝܬܝܗ̇܆ ܘܠܐ ܨܠܘܬܐ ܘܠܐ ܫܠܡܘܬܐ܀
ܘܗ̇ܝ ܕܡܘܕܐ ܐܢܐ܆ (9) ܗ ܫ̇ܠܡ ܐܢܐ ܠܨܒܝܢܟ܆ ܕܚܫܐ ܕܡܘܬܐ ܐܩ̇ܒܠ.
ܘܗ̇ܝ ܕܒܪܟ (10) ܩܕܫ܆ ܗܘ ܠܗ ܩܕܝܫ܀
ܘܗ̇ܝ ܕܩܨܐ܆ ܗܘ ܠܗ ܕܒ̣ܚ܀
ܦܠܓ܆ (11) ܕܡܢܗ ܪܳܕܐ ܚܘܣܝܐ.
ܝܗ̣ܒ ܠܗܘܢ܆ ܕܡܢܗ ܐܝܬܝܗ̇ ܡܘܗܒܬܐ܀
(12) ܘܗ̇ܝ ܕܐܡ̇ܪܝܢ ܐܢܫܝ̈ܢ ܕܠܐ ܐܟ̣ܠ ܡ̰ܢ ܦܓܪܗ܆ ܘܗ̇ܝ ܕܐܟ̣ܠ ܫܪܝܪܐ܀ (13) ܐܡܪܝܢ ܕܝܢ ܩܕܝܫܐ ܡܪܝ ܐܦܪܝܡ܆ ܐܟܠܝܢ ܦܓܪܗ ܘܗܘ ܥܡܗܘܢ܆ (14) ܫ̇ܬܝܢ ܠܕܡܗ ܘܗ̣ܘ ܡܐ܆ ܫܬܐ ܠܕܡܗ ܘܡܫܘܐ ܠܗܘܢ܀ (15) ܘܩܕܝܫܐ ܡܪܝ ܐܝܘܢܢܝܣ ܐܡ̣ܪ܆ ܟܕ ܛܥ̣ܡ ܝܗ̣ܒ ܠܬܠܡܝܕ̈ܘܗܝ܆
(16) ܘܒܬܪܟܢ ܒܬܫܒܘܚܬܐ ܗ̇ܝ ܪܘܚܢܝܬܐ܀ ܗ̇ܝ ܕܠܟ ܕܡܫܒܚܝܢܢ܆ (f. 182v) (1) ܕܥܒܕܬܢ ܡܠܝ̈ܠܐ܆ ܘܠܟ ܡܒܪܟܝܢܢ܆ ܒܝܕ ܠܒܐ ܘܦܘܡܐ ܘܠܫܢܐ܆ (2) ܕܐܫܘܝܬ ܠܢ ܕܢܗܘܐ ܡܫܒܚ̈ܢܝܟ܆
ܘܠܟ ܡܘܕܝܢܢ ܕܟܢ̣ܫܬܢ ܡ̣ܢ (3) ܦܗܝܐ ܕܚܛܝܬܐ܀
ܘܒܬܪ ܩܪܳܝܬܳܐ ܕܪܘܚܐ ܩܕܝܫܐ ܫܠܡ ܪ̈ܐܙܐ (4) ܩܕܝ̈ܫܐ܀
ܘܗܝܕܝܢ ܡܬܕܟܪܢܘܬܐ ܕܥܕܬܐ ܘܕܡܗܘܢ[ܘܕܟܠܗܘܢ] ܛܟܣ̈ܝܗ̇܀ (5) ܕܪ̈ܥܘܬܐ܀ ܕܟܗ̈ܢܐ܀ ܕܡܠ̈ܟܐ܀ ܕܫܠ̈ܝܚܐ܀ ܕܢܒ̈ܝܐ܀ ܕܐܒܗ̈ܬܐ܀ (6) ܕܣܗ̈ܕܐ܀ ܘܕܟܠܗܘܢ ܩܕܝ̈ܫܐ܀ ܘܕܝܠܕܬ ܐܠܗܐ܆ ܘܕܥܢܝܕ̈ܐ܀ (7) ܘܗܝܕܝܢ ܒܪܬ ܩܠܐ ܗ̇ܝ ܕܐܢܝܚ ܐܪ̈ܦܐ܆ ܟܕ ܡܚܘܠܐ[ܡܚܘܝܐ] ܨܠܘܬܐ (8) ܕܠܝܬ ܕܕܟ̈ܐ ܒܒܢܝܢ̈ܫܐ܆ ܐܠܐ ܡܪܢ ܝܫܘܥ ܡܫܝܚܐ܀
ܘܐܡ̇ܪ ܟܗܢܐ܆ (9) ܠܐܒܐ ܕܡܛܠܬܗ ܐܦ ܠܢ ܘܠܗܘܢ܀
ܥܡܐ ܐܢܝܚ ܐܪ̈ܦܐ܀
ܘܗܝܕܝܢ (10) ܕܐܝܟܢܐ ܕܐܝܬܘܗܝ ܗ̣ܘܐ ܘܐܝܬܘܗܝ܀ ܗ ܕܩܕܡ ܕܢܬܒܣܪ ܐܠܗܐ. ܘܒܬܪ (11) ܡܘܬܐ ܐܠܗܐ܆ ܘܡܟܬܪ ܒܦܓܪܐ ܕܠܐ ܡܬܚܒܠܢܘܬܐ ܠܥܠܡ܆ ܘܕܠܐ (12) ܣܘܦ ܐܝܬܝܗ̇ ܐܠܗܘܬܐ ܘܠܥܠܡ ܕܝܢ ܠܐ ܡܬܕܪܟ܆ ܐܝܟܢܐ ܕܐܝܬܘܗܝ (13) ܥܡ ܒܣܪܗ ܩܕܝܫܐ ܚܕ ܐܠܗܐ܀
ܐܡܝܢ܆ ܝܘܢܐܝܬ ܡܬܦܫܩ ܢܗܘܐ܆ (14) ܣܘܪܝܝܐܝܬ ܫܪܪܐ܆
ܐܡܝܢ ܐܡܝܢ܆ ܫܪܪܐ ܫܪܪܐ܀
ܬܘܒ ܩܘܕܫ̈ܐ (15) ܠܩܕܝܫ̈ܐ
ܗܢܘ ܕܝܢ ܠܢܦܫܐ ܘܠܦܓܪܐ ܘܠܗܘܢܐ܆ ܕܐܬܩܕܫ ܒܬܠ̈ܬܐ (16) ܩܢܘܡ̈ܐ܆ ܒܡܝ̈ܐ܀ ܘܕܡܐ܀ ܘܪܘܚܐ܀ ܘܒܐܒܐ ܘܒܒܪܐ ܘܒܪܘܚܐ܆ (f. 183r) (1) ܐܦ ܐܝܬܘܗܝ ܒܪܢܫܐ ܨܠܡܐ ܕܐܠܗܐ ܒܗܕܐ܆ ܒܬܠܝܬܝܘܬ ܪܘܟܒܗ܆ (2) ܢܦܫܐ ܐܝܟ ܐܒܐ܆ ܐܝܟ ܦܓܪܢܘܬܗ ܕܒܪܐ܆ ܗܘܢܐ ܪܘܚܐ ܩܕܝܫܐ܆ (3) ܘܒܗܕܐ ܐܝܬܘܗܝ ܕܡܘ̣ܬܐ ܕܐܠܗܐ܀
ܘܬܘܒ ܐܡ̇ܕܝܢ ܕܩܘܕܫ̈ܐ܆ ܐܝܟ (4) ܕܡ̣ܢ ܟܗܢܐ ܡܬܦܠ̈ܓܝܢ܆ ܒܗܝ ܕܡܬܚܝܒ ܗ̇ܘ ܕܢ̇ܤܒ ܟܕ ܠܐ ܫ̇ܘܐ (5) ܕܠܐ ܦܪܫ ܦܓܪܗ ܕܡܪܝܐ܀
ܘܬܘܒ ܩܘܕܫ̈ܐ ܘܠܗܘܢ ܕܡܩܕܫܝܢ܆
(6) ܐܦ ܗܢܘܢ ܒܬܠܬܐ ܩܘܕܫ̈ܐ܆ ܒܚܬܡܐ܆ ܘܪܘܫܡܐ܆ ܘܛܢܢܐ܆ (7) ܕܒܗܘܢ ܐܝܟ ܕܒܡܪܓܢܝܬܐ ܐܨܛܒܬܢܢ ܘܒܢܝ̈ܐ ܕܐܠܗܐ ܗܘܝܢܢ܆ (8) ܠܐ ܢܪ̈ܡܐ ܐܢܝ̈ܢ ܠܚܙܝܪ̈ܐ܆ ܗ ܠܚܘܫܒ̈ܐ ܒܝܫ̈ܐ ܕܫܐܕ̈ܐ ܕܠܗܘܢ (9) ܪ̈ܥܐ ܗ̰ܘܐ ܗ̇ܘ ܒܪ ܐܣܘܛܐ܀
ܘܚܙܝܪܐ ܕܥ̇ܒܐ܆ ܬܘܒ ܡܬܩܪܐ (10) ܡܪܘܕܐ܀
ܘܗ̇ܝ ܬܘܒ ܕܚܕ ܐܒܐ܆ ܕܠܐ ܐܝܬܘܗܝ ܒܪܐ ܕܐܚܪܝܢ܆ ܐܝܟ (11) ܐܒܗ̈ܐ ܐܪ̈ܥܢܝܐ܆ ܘܠܐ ܐܝܬܘܗܝ܆ ܐܒܐ ܕܐܚܪܝܢ܆ ܐܠܐ ܐܢ ܕܡܪܢ ܝܫܘܥ ܡܫܝܚܐ܀ (12) ܘܡܢܗ ܡܫܬܡܗܐ ܐܒܗܘܬܐ ܒܫܡܝܐ ܘܒܐܪܥܐ܀
ܒܪܐ ܕܠܐ ܐܝܬܘܗܝ܆ (13) ܐܒܐ ܕܐܚܪܝܢ܆ ܐܝܟ ܗܢܘܢ ܥܠ ܐܪܥܐ ܕܐܝܬܝܗܘܢ ܒܢܝ̈ܐ ܕܐܒܗܝ̈ܗܘܢ܆ (14) ܘܐܒܗ̈ܐ ܕܒܢܝܗ̈ܘܢ܀ ܘܠܐ ܒܢܝ̈ܐ ܫܪܝܪܐܝܬ ܐܝܬܝܗܘܢ ܒܟܘܢܝܐ܆ ܘܠܐ (15) ܐܒܗ̈ܐ܆ ܡܛܠ ܕܐܝܬܝܗܘܢ ܒܢܝ̈ܐ ܘܐܒܗ̈ܐ܀
ܚܕ ܪܘܚܐ ܩܕܝܫܐ܆ (16) ܗ̇ܘ ܕܡܢ ܐܒܐ ܢ̇ܦܩ܆ ܘܫܘܐ ܒܐܘܣܝܐ ܠܒܪܐ ܘܫܡܐ ܕܩܕܝܫܘܬܐ܀ (f. 183v) (1) ܕܝܠܗ ܐܝܬܘܗܝ܆ ܐܝܟ ܕܐܡ̇ܪ ܡܠܦܢܐ܆ ܕܐܢ ܪܘܚܐ ܩܕܝܫܐ ܠܐ ܐܝܬܘܗܝ ܐܒܐ (2) ܘܒܪܐ ܩܕܝܫ̈ܐ܆ ܒܗ̇ܘ ܕܫܡܐ ܕܩܕܝܫܘܬܐ ܥܡ ܪܘܚܐ ܪܗܛ܀ (3) ܕܝܠܝܬܗ ܕܐܒܐ ܝܠܘܕܘܬܐ܆ ܘܕܒܪܐ ܝܠܝܕܘܬܐ܆ ܘܪܘܚܐ ܩܕܝܫܘܬܐ܀
(4) ܬܘܒ ܪܘܚܐ ܓܝܪ ܕܐܠܗܐ܆ ܠܗܠܝܢ ܫܘܝ̈ܝ ܒܟܝܢܐ ܘܦܪ̈ܝܫܝ (5) ܒܕܝܠ̈ܝܬܐ ܫܘܒܚܐ܀ ܗ ܫܘܦܪܐ ܕܠܐ ܡܬܚܒܠܢܘܬܐ ܘܐܝܩܪܐ ܕܠܐ (6) ܡܝܘܬܘܬܐ ܠܥܠܡܥܠܡܝܢ ܢܗܘܐ܀
ܨܠܘܬܐ ܕܐܒܘܢ ܕܒܫܡܝܐ
(7) ܫܦܝܪ ܐܬܬܣܝܡܬ݀ ܡ̣ܢ ܐܒܗ̈ܬܐ ܕܐܬܬܡ̣ܪܝ ܬܡܢ܀ ܕܐܝܬܝܗ̇ (8) ܕܠܟܪ̈ܝܣܛܝܢܐ ܡܚܲܘܝܐ ܝܘܠܦܢܐ ܕܡܫܝܚܐ܆ ܘܡܘܕܥܐ ܐܒܗܘܬܐ (9) ܕܐܒܐ. ܕܒܛܝܒܘܬܢ ܕܠܘܬܢ܀
ܬܐܬܐ ܡܠܟܘܬܟ ܫܘܠܛܢܗ ܕܝܚܝܕܝܐ (10) ܕܥܠ ܟܠ ܡܡܠܟ܀
ܢܗܘܐ ܨܒܝܢܟ ܒܐܪܥܐ ܐܝܟ ܕܒܫܡܝܐ܆ (11) ܗ ܐܝܟܢܐ ܕܫܡܝܐ ܡܫܝܢܐ ܡ̣ܢ ܦܠܝܓܘ̈ܬܐ ܘܚܪ̈ܝܢܐ ܘܟܦܘܪܘܬܐ܆ (12) ܕܒܐܠܗܐ܆ ܡܥܠܝܐ ܨܒܝܢܟ: ܗܟܢܐ ܐܦ ܒܐܪܥܐ ܢܗܘܐ ܨܒܝܢܟ܆ (13) ܘܠܘ ܨܒܝܢܗ ܕܗ̇ܘ ܕܠܩܘܒܠܐ܆ ܒܗ̇ܝ ܕܥܠܡܐ ܟܠܗ ܒܝܫܘ (14) ܣܝܡ܀
ܠܚܡܐ ܕܝܘܡܐ ܗܒܠܢ܆ ܘܠܘ ܣܓܝܐܘܬܐ ܕܝܥܢܘܬܐ܆ (15) ܕܠܟܪܣܐ ܡܫܡܢ ܐܣܘܛܐܝܬ܆ ܘܬܘܟܠܢܐ ܕܥܠ ܐܠܗܐ ܡܒܨܪ܆ (16) ܡܛܠ ܕܒܙܢܐ ܕܦܪ̈ܚܬܐ ܘܫܘܫ̈ܢܐ ܦܩܝܕܝܢܢ ܕܢܬܕܡܐ܀
ܗܝ (f. 184r) (1) ܬܘܒ ܕܫܒܘܩ ܠܢ܆ ܬܟܫܦܬܐ ܗ̇ܝ ܕܡܛܠ ܚܛܗ̈ܐ܆ ܕܡܚܘܝܐ (2) ܕܝܠܕܝ̈ܬܐ ܚܫܢܢ܆ ܘܠܐ ܢܡܘܣܝ̈ܬܐ ܦܠܚܢܢ܀܀
ܘܬܘܒ (3) ܗܝ ܕܢܫܒܘܩ܆ ܡܙܰܡܢܳܢܝܺܬܐ ܐܝܬܝܗ̇ ܠܗ̇ܝ ܕܢܫܬܒܩ (4) ܠܢ ܐܟܡܐ ܕܐܢܫ ܡ̣ܢ ܡܠܦܢ̈ܐ ܐܡ̣ܪ܀
ܠܐ ܬܥܠܢ ܠܢܣܝܘܢܐ܆ (5) ܡܚܝܠܘܬܗ ܕܟܝܢܢ ܡܘܕܥܐ ܗܕܐ܀
ܐܠܐ ܦܨܢ ܡ̣ܢ ܒܝܫܐ ܀ (6) ܡܛܠ ܕܠܝܬ ܒܢ ܚܝܠܐ ܕܢܪܥܝܘܗܝ܆
ܡܛܠ ܕܕܝܠܟ ܗ̣ܝ (7) ܡܠܟܘܬܐ܆ ܗ ܕܠܐ ܡܬܦܠܚ̣ܬ ܐܝܟ ܡܠܟ̈ܐ ܘܥܠܗܕܐ ܠܐ ܥ̇ܒܪܐ (8) ܡܠܟܘܬܐ ܕܝܠܟ ܫܡܝܢܝܬܐ܆ ܡܛܠ ܕܠܐ ܡ̇ܐܬ ܡܠܟܐ ܫܡܝܢܐ܀
(9) ܘܚܝܠܐ ܬܘܒ ܬܫܒܘܚܬܐ܀ ܚܝܠܐ ܒܗ̇ܝ ܕܟܠܗܘܢ ܚܝ̈ܠܐ ܕܚܝܠܟ (10) ܛܥܝܢ ܠܗܘܢ܆ ܕܬܫܒܚ̈ܬܐ ܕܥܠ̈ܝܐ ܕܬܚܬܝ̈ܐ ܠܟ ܡܬܩܪ̈ܒܢ܆ (11) ܠܥܠܡܥܠܡܝܢ܀
ܦܘܫܩܐ ܐܚܪܢܐ
ܠܐ ܙܕܩ ܕܢܬܒܨܪ ܡ̣ܢ (12) ܛܒ̈ܥܐ ܕܦܘܪܫܢܐ܆ ܐܡܬܝ ܕܣ̇ܠܩܝܢ ܠܡܕܒܚܐ܆ ܐܝܢ ܬܘܣܦܬܐ (13) ܡܩܒܠܝܢ ܐܝܟ ܙܕܩܐ܆ ܥܕܡܐ ܕܡܬܪܝܡܐ ܐܢܢܦܘܪܐ ܡܢܗܘܢ (14) ܕܪ̈ܐܙܐ܆ ܘܒܬܪܟܢ ܬܘܒ ܠܐ ܡܬܬܘܣܦ ܥܠܝܗܘܢ܆ ܛܘܦܣܐ܆ (15) ܕܟܠ ܒܡܝܐ ܕܐܝܬܘܗܝ ܗܘܐ ܡܫܝܚܐ ܒܩܒܪܐ܆ ܠܐ ܐܬܡܢܝܘ ܠܗ ܝܘܡܐ (16) ܘܩܕܡܝܐ ܘܕܬܪ̈ܝܢ ܘܕܬܠ̈ܬܐ܆ ܒܬܪܟܢ ܕܩ̣ܡ ܡ̣ܢ ܩܒܪܐ ܘܗ̇ܝ (f. 184v) (1) ܟܐܦܐ ܕܐܬܬܪܝܡܬ܆ ܕܐܚܝܕܐ܆ ܘܡܝܐ ܕܐܢܢܦܘܪܐ܆ ܕܠܐ ܬܘܒ (2) ܐܬܬܘܣܦ ܥܠ ܡܢܝܢܐ ܕܝܘܡ̈ܬܐ܀
ܦܘܫܩܐ ܕܡܪܝ ܝܥܩܘܒ:
(3) ܡܗܝܡܢܝܢܢ ܒܐܒܐ ܘܒܒܪܐ ܘܒܪܘܚܐ ܩܕܝܫܐ܆ ܩܢܘܡ̈ܐ ܬܠܬܐ܀ ܟܝܢܐ (4) ܕܝܢ ܚܕ܀ ܐܠܗܘܬܐ ܕܝܢ ܚܕܐ܀ ܐܝܬܝܐ ܕܝܢ ܚܕ܀ ܐܝܬܘܬܐ (5) ܕܝܢ ܚܕܐ܀
ܥܠ ܟܗܢܘܬܐ܆
ܢܦܫܗ ܓܝܪ ܕܟܗܢܐ ܝܬܝܪ ܡ̣ܢ (6) ܙܠܝܩܘ̈ܗܝ ܕܫܡܫܐ ܙ̇ܕܩ ܠܗ̇ ܕܬܗܘܐ ܡܲܦܪܓܐ܆ ܕܕܠܡܐ (7) ܬܫܒܩܝܘܗܝ ܪܘܚܐ ܕܩܘܕܫܐ܆ ܘܢܫܬܘܚܕ ܡܢ ܐܝܢܐ ܐܠܐ ܕܢܗܘܐ (8) ܡ̣ܨܐ ܕܢܐܡ̣ܪ܆ ܕܚܲܝ ܐܢܐ܆ ܠܐ ܗܕܐ ܐܠܐ ܚܲܝ ܒܝ ܡܫܝܚܐ܆
ܟܡܐ (9) ܢܛܘܪܘܬܐ܀ ܘܙܗܝܪܘܬܐ ܣܒܪ ܐܢܐ ܕܡܬܒܥܝܐ ܠܟܗܢܐ܆ ܡܫܟܚ (10) ܢܥܕܐ ܢܦܫܗ ܡܢ ܟܠ ܛܘܠܫܐ܆ ܘܕܢܛܪ ܫܘܦܪܗ ܪܘܚܢܝܐ܆ (11) ܕܠܐ ܢܟܝܢ܆ ܐܦ ܓܝܪ ܝܬܝܪ ܡ̣ܢ ܟܠܗܘܢ ܒܢܝܢܫ̈ܐ ܙܕܩ ܠܗ (12) ܠܟܗܢܐ ܕܢܗܘܐ ܕܟܶܐ܆ ܐܢܐ ܓܝܪ ܐܡ̇ܪ ܐܢܐ ܕܐܦܠܐ ܓܠܝܘܬ ܐܦ̈ܐ (13) ܕܡܘܫܐ ܘܕܐܠܝܐ ܣܦܩܐ ܠܟܠܗ̇ ܗܕܐ ܡܘܬܐ܆ ܐܝܟ ܗ̇ܘ ܓܝܪ (14) ܕܟܠܗ ܥܡܐ ܠܗ ܡܓܥ̰ܠ܆ ܘܐܝܬܘܗܝ ܐܒܐ ܕܟܠܢܫ܆
ܗܟܢܐ ܠܘܬ (15) ܐܠܗܐ ܡܬܩܪܒ܆ ܕܢܕܥܟܘܢ ܩܪ̈ܒܐ ܘܫܓܘܫܝ̈ܐ ܡ̣ܢ ܟܠܗ ܐܪܥܐ܆ (16) ܘܢܗܘܐ ܫܠܝܐ ܘܟܗܝܢܘܬܐ܆ ܢܬܪ̈ܚܩܢ ܥܩ̈ܬܐ ܡ̣ܢ ܟܠܗܘܢ ܒܢܝܢܫ̈ܐ܆
(f. 185r) (1) ܡܐ ܕܝܢ ܕܐܦ ܠܪܘܚܐ ܩܕܝܫܐ ܩܪܐ܆ ܘܢܫܡܫ ܗ̇ܝ ܕܒܚܬܐ (2) ܕܚܝܠܬܐ܆ ܘܩܪܒ ܒܐܝܕܘ̈ܗܝ ܠܗ̇ܘ ܡܪܐ ܕܟܠܗܝܢ ܒܪ̈ܝܬܐ܆ ܟܡܐ (3) ܙܗܝܘܬܐ܆ ܘܩܕܝܫܘܬܐ ܡܢܗ ܬܒ̇ܥ ܡܠܐܟ̈ܐ ܓܝܪ ܒܗ̇ܘ ܥܕܢ܆ (4) ܥܠ ܓܢ̣ܒ ܟܗܢ̈ܐ ܩܝܡܝܢ܆ ܘܡ̣ܢ ܟܢܫ̈ܐ ܫܡܝܢ̈ܐ ܡܬܡܠܐ ܟܠܗ (5) ܡܕܒܚܐ܆ ܟܕ ܕܳܝܠܝܢ ܘܢܚ̇ܬܝܢ ܠܐܝܩܪܗ ܕܗܘ ܕܢܟܝܣ ܘܪܡܐ (6) ܠܐ ܗܘܐ ܓܝܪ ܕܗܘܐ ܙܗܐ ܒܠܚܘܕ܆ ܐܠܐ ܕܢܗܘܐ ܚܟܝܡ ܘܡܕܪܫ ܒܟܠ (7) ܡܕܡ܆ ܘܠܗ̇ܘ ܕܩܕܡ ܐܠܗܐ ܩ̇ܐܡ ܒܪܝܫ ܥܡܐ ܡܟܗܢ ܕܝܘܚܢܢ܆ (8) ܐܢܐ ܓܝܪ ܠܐ ܡܗܝܡܢ ܐܢܐ܆ ܕܡܫܟܚ ܕܢܐܚܐ ܟܗܢܐ ܕܠܐ ܥܡܠ ܥܠ (9) ܐܦ̈ܝ ܚܝ̈ܐ ܕܐܚܪ̈ܢܐ܆ ܐܦܠܐ ܓܝܪ ܗ̇ܘ ܕܘܝܐ ܕܢܣ̰ܒ ܟܟܪܐ܆ ܡܛܠ ܕܠܐ (10) ܒܨܪ ܡܢܗ̇ ܐܬܗܢܝ܆ ܐܠܐ ܥܠ ܕܠܐ ܐܘܣܦ ܥܠܝܗ̇ ܘܥܦܦܗ̇ ܐܒ̣ܕ܀
Once more, with the help of God, we write the order before the oblation.
First, the commentary, that is, the interpretation of the offering of holy Mor Jacob of Edessa, which he sent to George the stylite of Serugh.
First, concerning the Semantron.
The Semantron is beaten in church on the account of being a symbol of a trumpet. As the trumpet gathers soldiers to a war, in the same way the Semantron gathers Christians into the church in order to wrestle with Satan.
Second, as the king wants to gather his kingdoms to offer them gifts, he sounds a trumpet, likewise, when Christ wants to offer gifts to the believers, gathers them to the church.
Again, as with wood, we had transgressed the commandment, and so we were expelled from Paradise; in like manner, by the sound of the Semantron, which is the symbol of the wood, we gather to the church which is a type of Paradise.
Again, by God's command, he commanded Noah to build the ark and construct the Semantron as well. In the time of morning, he was beating it and the craftsmen would gather for building the ark, and at noon to enjoy the food, and in the evening, to rest from the labor.
We say also that the Semantron is constructed of wood, because for hearing it is better for hearing than the human voice and invites the people to prayer. Likewise, more than the sound of bronze, which is solid and powerful, it summons the listener to the spiritual battle.
On the Santuary.
The sanctuary depicts the heaven, giving birth to the church, all is a type of the whole creation.
On the Table.
The table of life is a type: our Lord's tomb.
The Tablet.
The tablet is a type of the cross of our Lord, and therefore is placed on the table of life.
On the Anaphora.
The anaphora is a type of the stone which was put on the door of our Lord's tomb. It is a type of the vessel / sheet which Simon saw descending from heaven wherein all types of animals were.
On the Curtain.
The curtain of the altar is a sign of the firmament of heaven, that which holds back between us and the spiritual nature of angels.
On the Cymbals.
They are a type of six-winged seraphim.
On the Order of the Hosts.
Nine is the order of the hosts: the heavenly (hosts) are in heaven above, who are placed and organized into three churches. In the same way, our Lord and his disciples organized nine orders in this earthly church which are the symbol of the heavenly hosts.
On the Deacon.
The deacon is a type of an angel, and the stole over his shoulder is a type of angelic wings. The alb which he wears without tying (a girdle) upon it is a type of freedom.
The Priest.
When the priest is ordained, he bends down on his two knees in order to show that in his soul and in his body he is matured and perfected in the priesthood and in the richness of the sacraments. The alb that the priest wears is the type of the sub-deaconate, and the stole which is placed on him is the type and order of the deacons. And the chasuble above the stole resembles the cloak of Elijah the prophet, and the vestment as well as the clothing of the heavenly hosts. And when the priest stands and stretches out his hands during the offering / mass, he depicts a symbol of our Lord stretched out on the cross. And the priest himself is a resemblance of our Lord.
On the Censer.
The censer depicts Christ; the fire that is placed in it symbolizes the Godhead. The incense which is put on (fire) symbolizes the Humanity. The lower part of the censer symbolizes the earth, and the top part the heaven. The three chains (attached to the censer) symbolize and are the type of the holy Trinity.
The fact that the censer proceeds out from the nave (of the church) symbolizes the descent of Christ Jesus from heaven. And that the deacon goes around to the priest to take incense, and then circles around the church, symbolizes that God descended and went around in the world and pleased the entire creation with the Gospel teaching, and then ascended to his Father. In the same way, the deacon circulates in the church and then comes back ascending to the holy of holies.
When the deacon carries the censer, he must enter the altar and incense three times the center of the table of life which is a type of the Father. Then he shall move to the northern corner of the altar and incense it three times, which is a type of the Son, and then shall move to the southern corner of the altar and incense it three times which is a symbol of the Holy Spirit. Immediately after that, the deacon shall go to the priest and give hime the censer. The deacon shall incline his head and saying: 'I have read what you wrote before the king and received the seal.' The deacon immediately turns to the people and incenses them as they incline their heads, saying: 'We consent.' Then the deacon returns to the priest, saying: 'I read your letter before the people and they consent.'
On the Qurbono.
The Qurbono is interpreted as an approachment towards God.
On the Crosses.
How many crosses are made during the Qurbono offering, and how are they made? The bishop warns that the people or the deacon should not make the sign of the cross or cross themselves during the Qurbono apart from the crosses made on the body and blood and upon the people (by the celebrant), strange is the moderation of the order. The crosses which are made towards the deacon on the right and the left of the priest, and towards the people. If there are deacons only on one side, the sign should be made towards that side only. It there are people, the sign of the cross must be made towards them three times at every time, as we mention below. If there are no (people), let him not make the sign of the cross. Thus, the priest should know as he begins how the sign of the crosses are made during the Qurbono, (and) how many (crosses are to be made) in each place.
Altogether, there are eighteen (crosses). That is, first, the priest makes a sign of the cross once towards each side. If there are no deacons, it is not necessary to do that, but the priest should cross himself three times and towards the people three times where he says: 'The love of God the Father.'
The second time, he makes three times the sign of the cross over the (eucharistic) body, and three times over the cup where he says: 'He blessed and sanctified'.
The third time, likewise, he makes the sign of the cross three times over the (eucharistic) body and three times over the cup where he says: 'So that, by His indwelling, may He make this bread and this cup'.
The fourth time, he makes (the sign of the cross) upon his face, to his right and to his left, and towards the people where he says: 'May the mercies ...'
The fifth time, he makes the sign of the cross three times during the fraction of the eucharistic bread through the blood over the body, and three times over the cup when he fractures and signs, and unites the body with the blood. It is not necessary to sprinkle, as there was a custom for some people to do this again.
The sixth and last time, he makes the sign of the cross upon his face, to his left, and to his right, and towards people three times where he says: 'May the grace of the Trinity'. Then, 'the holy mysteries (be given) to the holy ones', and to the priests which is said by the deacon, if there are no people and the priest is celebrating by himself, (the above named Bishop ordered that) it is not necessary to recite them.
The Beginning of the Qurbono.
Then at the beginning, as the priest begins by declaring: '(Glory) be to the Father and the Son and the Holy Spirit,' (he declares) the union of one nature and substance of the Trinity, showing that is being divided undividedly, and being unified undiffusedly. Now this is said about the Son, that is during his incarnation, and at all times he is God forever.
Then, the (sign of) peace which is given.
The word of our Lord is fulfilled: 'Leave your offering there on your altar, and (first) be reconciled to your brother.' It is like the spiritual beings are gathered there, and give peace to those who had peace with us through the killing / death of the Lord.
(On) that of 'The love of God the Father'. It shows that God through his love gave his son for us, according to what Paul has said.
'The grace of the only-begotten Son' shows that by grace he tasted death for the sake of everyone.
And 'the fellowship of the Holy Spirit'. For through the communion of the Holy Spirit the sacrifice is fulfilled. The priest says these three 'be with you,' and they respond, and 'also with you.' As Saint Gregory the Great says: '(it is that) peace which the priest receives.'
Again he (the priest) adds: 'Let your minds be lifted up,' that is, apply your mind to heavenly things, and be cleansed from earthly matters.
They respond: 'We are with the Lord.' That is, mercy, the incarnation, and through repentance; the mercy of the Father who created us, the Son who saved us, and through the repentance by the Holy Spirit we were inscribed in the heaven as adoption of sons. Also, as it stands written, 'we have in heaven a Paraclete, Jesus Christ the Victorious' (1 John 2:1), which means the Advocate Paraclete. Also, 'rejoice because your names are inscribed in heaven' (Luke 10:20). Because of these three, our hearts are with the Lord. Again, the priest says: 'Let us give thanks to the Lord for these.' They respond to him: 'It is meet and right.'
Then he offers / brings the angelic praise (Sanctus) that they cry out with one voice: 'Holy, holy, holy' of the three holy persons in heaven and on earth, on the sanctuary, and in everything unceasingly.
Hosanna is explained as a praise.
Again, 'He took the bread,' saying, 'he looked up into heaven' indicates the will of the Father.
'He gave thanks': It is a confession and not a petition. It is neither a prayer nor consent.
'I confess': I agree to your will to accept the passion of death.
'He blesses and sanctifies': He himself is holy.
'He broke': He sacrified himself.
'He distributed': Forgiveness poured out from him.
'He gave them': The gift is from him.
Some people say, 'He did not eat from his body,' but indeed he ate. For the holy Mor Ephrem says, 'They eat his body and he is with them. They drink his blood and he drank his blood and makes them worthy.' The holy Mor Iwannis (John Chrysostom) said, 'When he ate, he gave to his disciples.'
Afterwards, in that spiritual glory. The fact that 'We praise you' - you made us rational beings, and we bless you through heart, mouth and tongue, that you made us worthy to be your worshippers.
We give you thanks for you have gathered us from the wandering of sin.
After the invocation of the Holy Spirit, he fulfilled the holy mysteries.
Then, the commemoration (diptychs) of the church and all its ranks - of the shepherds, of the priests, of the kings, of the apostles, of the prophets, of the (church) fathers, of the martyrs, and of all the saints, of the mother of God, and of the departed ones.
And then, 'Give rest and let go,' the prayer showing that there is no one pure among human beings, except our Lord Jesus Christ.
The priest says to the Father, 'For his (Christ's) sake, both for us and for them.' The people say, 'Give rest and let go.'
Then, 'As it was and is now' - before he became incarnate, he is God; and after death, he is God, and remains in the body forever without corruption. The Godhead is infinite, and God remains incomprehensible forever; as it is with his holy flesh, one God.
'Amen' in Greek is interpreted as 'So let it be,' and in Syriac, 'true.'
'Amen, Amen' - truly, truly.
Again, 'holy things for holy ones.'
This is then the soul, body, and the mind, which were consecrated in three substances - in water, blood, and spirit; in the Father, Son, and Spirit. Also the human being is an image of God in this, in his Trinitarian composition. The soul is like the Father, like the physicality of the Son, and the mind like the Holy Spirit. And by this, he is the reflection of God.
Again, they say, 'holy things ...,' as they are divided by the priest. Therefore, whoever receives unworthily is condemned for not discerning the body of the Lord.
Again, 'the holy things' and 'their consecrators' are also accomplished in three holy acts - the imprint, mark, and zeal. For by them, we are adorned as with a pearl, and we become the sons of God. Let us not throw these things to pigs. That is, to the evil thoughts of devils upon which the prodigal son was feeding.
The pig of the forest, moreover, is called the rebel.
And 'One Father' is that he is not the son of another like earthly parents. And he is not the father of someone else, but only that of our Lord Jesus Christ, and from him is named the fatherhood in heaven and on earth.
The Son is not the father of someone else, as those on earth who are their parents' children, and the parents of their children. Neither are they truly children by adoption; nor the parents, because they are children and parents.
One Holy Spirit who proceeds from the Father and is equal in essence with the Son. The name of holiness, belongs to him as the teacher says, 'If the Holy Spirit is not the holy Father and Son, since the name of sanctity applies to the Spirit.' The characteristic of the Father is begetting, and the Son being begotten, and the Spirit sanctity.
Again, the Spirit of God, to those equal in nature and different in characteristics be glory. That is, may the imperishable beauty and immortal honor be forever.
The Lord's Prayer.
It is correctly written there by the Fathers to be said. For it shows the teaching of Christ. It declares the fatherhood of the Father, by our grace with us.
'May your kingdom come' - the sovereignty of the Only-Begotten who reigns over all.
'Let your will be on earth, as it is in heaven' - as heaven is peaceful from divisions, controversies, and denial of God, and in harmony with your exalted will, likewise on earth let your will be done, but not the will of the opposite one, for the whole world is in a bad state.
'Give us daily bread' and not the multitude of greediness, which fattens the stomach immoderately, and diminishes trust in God, for we are commanded to imitate the birds and lilies.
Moreover, 'forgive us' - which is a supplication on behalf of (our) sins, showing that we are blameworthy and have committed transgressions.
Continuing, 'let us forgive' is an invitation for us to be forgiven according to one of the teachers.
'Lead us not into temptation' - this indicates the weakness of our nature.
'But deliver us from evil' - because we do not have strength to confine it.
'Because the kingdom is yours' - You are worshipped not like (earthly) kings, and so your heavenly kingdom does not pass away, for the heavenly king does not die.
'Power and glory' - the power is that all the powers are borne by your power. The praises of heavenly and earthly ones are offered to you forever and ever.
Another Commentary.
The number of the hosts should not be reduced; once they have brought up on to the altar. Yes, addition is accepted until the Anaphora (veil) is removed from the mysteries. After that nothing should be added to them. They are the type of Christ's staying when he was in the tomb. The first, second, and the third day were counted for him. After he rose from the tomb, and that stone which was removed is holding the figure of the Anaphora (veil), no more days were added to the number of days.
The Commentary of Mor Jacob.
We believe in Father, Son, and Holy Spirit, three persons, one nature, one Godhead, one Being, and one Essence.
On Priest(hood).
The personality of the priest must shine more than the beams of the sun, lest it be abandoned by the Holy Spirit, and be deprived by one, but who will not be able to say, I am alive. Not his, but rather Christ is alive in me.
How much protection and caution is needed for the priest, I assume, so he may distance himself from every defilement, and to keep his spiritual beauty unblemished. And also, the priest has to be more pure than every other human being. But I say, not even the confidence of Moses and Elijah was sufficient for this example. It is like the whole world is handed over to him, and he is the father of everybody.
In this manner draws near to God, so that wars and commotion may cease from the entire world. There shall be tranquility and abundance, and all troubles may be distanced from people.
And when (the priest) invokes the Holy Spirit, and serves the fearful sacrifice, and draws near with his own hands to the ruler of the whole creation, how much excellence and holiness is required of him! The angels in that moment stand at the side of the priest, and the entire altar is being filled up by heavenly people, while they descend and come down for the glory of the sacrificed and the one laid down. Not only he must be excellent and pure, but also to be wise and trained in every manner. That he stands before God and is a priest at the head of the people as a leader like John. But I do not believe that the priest would be able to live without laboring for the sake of the salvation of others, for not even the wretch who took the (single) talent profited from it, not because he did not lessen or gain pleasure from it, but because he neither added to it, nor multiplied it, so he perished.
