Ephrem the Syrian

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Ephraem of Syria
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vestments and thurible; with Saint Basil the Great; composing hymns with a lyre
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Parchment manuscript of the Ephrem's Commentary on the Diatessaron. Egypt, late 5th or early 6th century. Chester Beatty Library

Ephrem the Syrian

Nisibis, served as a deacon and later lived in Edessa.[1][2]

Ephrem is venerated as a

saint by all traditional Churches. He is especially revered in Syriac Christianity, both in East Syriac tradition and West Syriac tradition, and also counted as a Holy and Venerable Father (i.e., a sainted monk) in the Eastern Orthodox Church, especially in the Slovak Tradition. He was declared a Doctor of the Church in the Roman Catholic Church in 1920. Ephrem is also credited as the founder of the School of Nisibis, which, in later centuries, was the centre of learning of the Church of the East
.

Ephrem wrote a wide variety of hymns, poems, and sermons in verse, as well as prose

Syriac Aramaic people.

Life

Dormition of Saint Ephraim

Ephrem was born around the year 306 in the city of

Greek and Latin were languages of administration. The city had a complex ethnic composition, consisting of "Assyrians, Arabs, Greeks, Jews, Parthians, Romans, and Iranians".[9]

First Council of Nicea in 325. Ephrem was baptized as a youth and almost certainly became a son of the covenant, an unusual form of Syriac proto-monasticism. Jacob appointed Ephrem as a teacher (Syriac malp̄ānâ, a title that still carries great respect for Syriac Christians). He was ordained as a deacon either at his baptism or later.[11] He began to compose hymns and write biblical commentaries as part of his educational office. In his hymns, he sometimes refers to himself as a "herdsman" (ܥܠܢܐ, ‘allānâ), to his bishop as the "shepherd" (ܪܥܝܐ, rā‘yâ), and to his community as a 'fold' (ܕܝܪܐ, dayrâ). Ephrem is popularly credited as the founder of the School of Nisibis, which, in later centuries, was the centre of learning of the Church of the East
.

Newly excavated Church of Saint Jacob of Nisibis, where Ephrem taught and ministered

In 337, Emperor

Constantine I, who had legalised and promoted the practice of Christianity in the Roman Empire, died. Seizing on this opportunity, Shapur II of Persia began a series of attacks into Roman North Mesopotamia. Nisibis was besieged in 338, 346 and 350. During the first siege, Ephrem credits Bishop Jacob as defending the city with his prayers. In the third siege, of 350, Shapur rerouted the River Mygdonius to undermine the walls of Nisibis. The Nisibenes quickly repaired the walls while the Persian elephant cavalry became bogged down in the wet ground. Ephrem celebrated what he saw as the miraculous salvation of the city in a hymn that portrayed Nisibis as being like Noah's Ark
, floating to safety on the flood.

One important physical link to Ephrem's lifetime is the

feigning madness, because he regarded himself unworthy for it.[13][14][15]

Ephrem, with the others, went first to Amida (

Middle Aramaic dialect that came to be known as the Syriac language.[17] The city was rich with rivaling philosophies and religions. Ephrem comments that orthodox Nicene Christians were simply called "Palutians" in Edessa, after a former bishop. Arians, Marcionites, Manichees, Bardaisanites and various gnostic sects proclaimed themselves as the true church. In this confusion, Ephrem wrote a great number of hymns defending Nicene orthodoxy. A later Syriac writer, Jacob of Serugh
, wrote that Ephrem rehearsed all-female choirs to sing his hymns set to Syriac folk tunes in the forum of Edessa. In 370 he visited Basil the Great at Caesarea, and then journeyed to the monks of Egypt. As he preached a panegyrie on St. Basil, who died in 379, his own death must be placed at a later date. After a ten-year residency in Edessa, in his sixties, Ephrem succumbed to the plague as he ministered to its victims. The most reliable date for his death is after 379.

Language

Ephrem the Syriac in a 16th-century Russian illustration
Nisibis

Ephrem wrote exclusively in his native

endonymic (native) references to his language (Aramaic), homeland (Aram) and people (Arameans).[19][20][21][22][23] He is therefore known as "the authentic voice of Aramaic Christianity".[24]

In the early stages of modern scholarly studies, it was believed that some examples of the long-standing Greek practice of labeling Aramaic as "Syriac", that are found in the

exonymic (foreign) labeling.[27][28][29][30]

One of the early admirers of Ephrem's works, theologian

self-identification
, attested by his own writings and works of other Aramaic-speaking writers, and also by examples from the earliest liturgical tradition.

Some of those problems persisted up to the recent times, even in scholarly literature, as a consequence of several methodological problems within the field of

Classical Syriac: ܐܳܪܳܡܳܝܘܬܐ / Arameandom) was published correctly in original script of the source,[38] but in the same time it was translated in English as "Syriac nation",[39] and then enlisted among quotations related to "Syrian/Syriac" identity,[40] without any mention of Aramean-related terms in the source. Even when noticed and corrected by some scholars,[41][42][43] such replacements of terms continue to create problems for others.[44][45][46]

Several translations of his writings exist in

and other languages. Some of his works are extant only in translation (particularly in Armenian).

Writings

Over four hundred hymns composed by Ephrem still exist. Granted that some have been lost, Ephrem's productivity is not in doubt. The church historian Sozomen credits Ephrem with having written over three million lines. Ephrem combines in his writing a threefold heritage: he draws on the models and methods of early Rabbinic Judaism, he engages skillfully with Greek science and philosophy, and he delights in the Mesopotamian/Persian tradition of mystery symbolism.

The most important of his works are his lyric, teaching hymns (ܡܕܖ̈ܫܐ, madrāšê). These hymns are full of rich, poetic imagery drawn from biblical sources, folk tradition, and other religions and philosophies. The madrāšê are written in stanzas of syllabic verse and employ over fifty different metrical schemes. The form is defined by an antiphon, or congregational refrain (ܥܘܢܝܬܐ, ‘ûnîṯâ), between each independent strophe (or verse), and the refrain's melody mimics that of the opening half of the strophe.[47] Each madrāšâ had its qālâ (ܩܠܐ), a traditional tune identified by its opening line. All of these qālê are now lost. It seems that Bardaisan and Mani composed madrāšê, and Ephrem felt that the medium was a suitable tool to use against their claims. The madrāšê are gathered into various hymn cycles. Each group has a title — Carmina Nisibena, On Faith, On Paradise, On Virginity, Against Heresies — but some of these titles do not do justice to the entirety of the collection (for instance, only the first half of the Carmina Nisibena is about Nisibis). Some of these hymn cycles provide implicit insight into Ephrem's perceived level of comfort with incorporating feminine imagery into his writings. One such hymn cycle was Hymns on the Nativity, centered around Mary, which contained 28 hymns and had the clearest pervasive theme of Ephrem's hymn cycles.[47] An example of feminine imagery is found when Ephrem writes of the baby Jesus: "he was lofty but he sucked Mary's milk and from his blessings all creation sucks."[47]

Particularly influential were his Hymns Against Heresies.[48] Ephrem used these to warn his flock of the heresies that threatened to divide the early church. He lamented that the faithful were "tossed to and fro and carried around with every wind of doctrine, by the cunning of men, by their craftiness and deceitful wiles" (Eph 4:14).[49] He devised hymns laden with doctrinal details to inoculate right-thinking Christians against heresies such as docetism. The Hymns Against Heresies employ colourful metaphors to describe the Incarnation of Christ as fully human and divine. Ephrem asserts that Christ's unity of humanity and divinity represents peace, perfection and salvation; in contrast, docetism and other heresies sought to divide or reduce Christ's nature and, in doing so, rend and devalue Christ's followers with their false teachings.

Performance Practices and Gender

The relationship between Ephrem's compositions and femininity is shown again in documentation suggesting that the madrāšê were sung by all-women choirs with an accompanying lyre. These women's choirs were composed of members of the Daughters of the Covenant, an important institution in historical Syriac Christianity, but they weren't always labeled as such.[50] Ephrem, like many Syriac liturgical poets, believed that women's voices were important to hear in the church as they were modeled after Mary, mother of Jesus, whose acceptance of God's call led to salvation for all through the birth of Jesus.[51] One variety of the madrāšê, the soghyatha, was sung in a conversational style between male and female choirs.[51] The women's choir would sing the role of biblical women, and the men's choir would sing the male role. Through the role of singing Ephrem's madrāšê, women's choirs were granted a role in worship.[50]

Further writings

Ephrem also wrote verse homilies (ܡܐܡܖ̈ܐ, mêmrê). These sermons in poetry are far fewer in number than the madrāšê. The mêmrê were written in a heptosyllabic couplets (pairs of lines of seven syllables each).

The third category of Ephrem's writings is his prose work. He wrote a biblical commentary on the

Pauline Epistles
.

He also wrote refutations against Bardaisan, Mani, Marcion and others.[52][53]

Syriac churches still use many of Ephrem's hymns as part of the annual cycle of worship. However, most of these liturgical hymns are edited and conflated versions of the originals.

The most complete, critical text of authentic Ephrem was compiled between 1955 and 1979 by Dom Edmund Beck, OSB, as part of the Corpus Scriptorum Christianorum Orientalium.

Ephrem is attributed with writing hagiographies such as The Life of Saint Mary the Harlot, though this credit is called into question.[54]

One of the works attributed to Ephrem was the Cave of Treasures, written by a much later but unknown author, who lived at the end of the 6th and the beginning of the 7th century.[55]

Symbols and metaphors

Ephrem's writings contain a rich variety of symbols and metaphors. Christopher Buck gives a summary of analysis of a selection of six key scenarios (the way, robe of glory,

harrowing of hell, Noah's Ark/Mariner) and six root metaphors (physician, medicine of life, mirror, pearl, Tree of life, paradise).[56]

Greek Ephrem

Ephrem's meditations on the symbols of Christian faith and his stand against heresy made him a popular source of inspiration throughout the church. There is a huge corpus of Ephrem pseudepigraphy and legendary hagiography in many languages. Some of these compositions are in verse, often mimicking Ephrem's heptasyllabic couplets.

There is a very large number of works by "Ephrem" extant in Greek. In the literature this material is often referred to as "Greek Ephrem", or Ephraem Graecus (as opposed to the real Ephrem the Syrian), as if it was by a single author. This is not the case, but the term is used for convenience. Some texts are in fact Greek translations of genuine works by Ephrem. Most are not. The best known of these writings is the Prayer of Saint Ephrem, which is recited at every service during Great Lent and other fasting periods in Eastern Christianity.

There are also works by "Ephrem" in

Arabic
. "Ephrem Latinus" is the term given to Latin translations of "Ephrem Graecus". None is by Ephrem the Syrian. "Pseudo Ephrem Latinus" is the name given to Latin works under the name of Ephrem which are imitations of the style of Ephrem Latinus.

There has been very little critical examination of any of these works. They were edited uncritically by Assemani, and there is also a modern Greek edition by Phrantzolas.[57]

Veneration as a saint

John Damascene
on a 14th-century triptych
Contemporary Romanian icon (2005)

Soon after Ephrem's death, legendary accounts of his life began to circulate. One of the earlier "modifications" is the statement that Ephrem's father was a pagan priest of Abnil or Abizal. However, internal evidence from his authentic writings suggest that he was raised by Christian parents.[58]

Ephrem is venerated as an example of monastic discipline in

Cheesefare Saturday), which is the Saturday before the beginning of Great Lent.[59]

On 5 October 1920, Pope

Benedict XV proclaimed Ephrem a Doctor of the Church ("Doctor of the Syrians").[60]

The most popular title for Ephrem is Harp of the Spirit (Syriac: ܟܢܪܐ ܕܪܘܚܐ, Kenārâ d-Rûḥâ). He is also referred to as the Deacon of Edessa, the Sun of the Syrians and a Pillar of the Church.[61]

His Roman Catholic feast day of 9 June conforms to his date of death. For 48 years (1920–1969), it was on 18 June, and this date is still observed in the Extraordinary Form.[62]

Ephrem is honored with a

liturgical calendar of the Episcopal Church (USA) on June 10.[63]

Ephrem is

Translations

See also

Notes

  1. Amharic
    : ቅዱስ ኤፍሬም ሶርያዊ

References

  1. ^ Brock 1992a.
  2. ^ Brock 1999a.
  3. ^ Parry 1999, p. 180.
  4. ^ Karim 2004, p. 3.
  5. ^ Possekel 1999, p. 1.
  6. ^ Lipiński 2000, p. 11.
  7. ^ Russell 2005, p. 179-235.
  8. ^ a b Brock 1992a, p. 16.
  9. ^ McVey 1989, p. 5.
  10. ^ Russell 2005, p. 220-222.
  11. ^ Parry 1999, p. 180-181.
  12. ^ Russell 2005, p. 215, 217, 223.
  13. ^ "Saint Ephrem". 9 June 2022. p. Franciscan Media. Retrieved 17 August 2023.
  14. ^ "Venerable Ephraim the Syrian". p. The Orthodox Church in America. Retrieved 17 August 2023.
  15. ^ "Harp of the Holy Spirit: St. Ephrem, Deacon and Doctor of the Church". p. The Divine Mercy. Retrieved 17 August 2023.
  16. ^ Russell 2005, p. 195-196.
  17. ^ Healey 2007, p. 115–127.
  18. ^ Brock 1999a, p. 105.
  19. ^ Griffith 2002, p. 15, 20.
  20. ^ Palmer 2003, p. 3.
  21. ^ Griffith 2006, p. 447.
  22. ^ Debié 2009, p. 103.
  23. ^ Messo 2011, p. 119.
  24. ^ Simmons 1959, p. 13.
  25. ^ Toepel 2013, p. 540-584.
  26. ^ Wood 2007, p. 131-140.
  27. ^ Rubin 1998, p. 322-323.
  28. ^ Toepel 2013, p. 531-539.
  29. ^ Minov 2013, p. 157-165.
  30. ^ Ruzer 2014, p. 196-197.
  31. ^ Brock 1992c, p. 226.
  32. ^ Rompay 2000, p. 78.
  33. ^ Butts 2011, p. 390-391.
  34. ^ Butts 2019, p. 222.
  35. ^ Amar 1995, p. 64-65.
  36. ^ Brock 1999b, p. 14-15.
  37. ^ Azéma 1965, p. 190-191.
  38. ^ Amar 1995, p. 64.
  39. ^ Amar 1995, p. 65.
  40. ^ Amar 1995, p. 21.
  41. ^ Brock 1999b, p. 15.
  42. ^ Rompay 2004, p. 99.
  43. ^ Minov 2020, p. 304.
  44. ^ Wood 2012, p. 186.
  45. ^ Minov 2013, p. 160.
  46. ^ "Sergey Minov, Cult of Saints, E02531".
  47. ^
    JSTOR 42612097
    – via JSTOR.
  48. ^ Griffith 1999, p. 97-114.
  49. ^ Mourachian 2007, p. 30-31.
  50. ^ a b Ashbrook Harvey, Susan (June 28, 2018). "Revisiting the Daughters of the Covenant: Women's Choirs and Sacred Song in Ancient Syriac Christianity". Hugoye: Journal of Syriac Studies. 8 (2).
  51. ^ a b Ashbrook Harvey, Susan (2010). "Singing women's stories in Syriac tradition". Internationale kirchliche Zeitschrift. 100 (3): 171–183.
  52. ^ Mitchell 1912.
  53. ^ Mitchell, Bevan & Burkitt 1921.
  54. ^ Brock & Harvey 1998.
  55. ^ Toepel 2013, p. 531-584.
  56. ^ Buck 1999, p. 77–109.
  57. ^ A list of works with links to the Greek text can be found online here.
  58. ^ "Venerable Ephraim the Syrian". www.oca.org. Retrieved 2020-09-18.
  59. ^ "ЕФРЕМ СИРИН". www.pravenc.ru. Retrieved 2022-08-17.
  60. ^ PRINCIPI APOSTOLORUM PETRO at Vatican.va
  61. ^ New Advent at newadvent.org
  62. ^ "Ephrem". santosepulcro.co.il. Retrieved 2021-10-13.
  63. . Retrieved 8 May 2022.
  64. ^ "The Calendar". The Church of England. Retrieved 2021-03-27.

Sources

External links