The Vita of St. Ephrem the Syrian (1)

The Vita of St. Ephrem the Syrian1

by Edip Aydın

St. Ephrem the Syrian, known as ‘Harp of the Holy Spirit’ is undoubtedly the greatest poet and theologian that the Syrian Church ever produced. In the words of Dr. Murray, he is ‘the greatest poet of the patristic age and perhaps the only theologian-poet to rank beside Dante.’2

St. Ephrem was not only a well-known figure in the Syriac-speaking world but also had a great reputation in the Greek East as well as the Latin West. Within the patristic age itself Ephrem’s reputation as a holy man, poet and a noteworthy theologian was widely known far beyond his Syrian homeland. Less than fifty years after Ephrem’s death ‘Palladius included a notice of him among the ascetic saints whose memory he celebrated in the Lausiac History. Sozomen the historian celebrated Ephraem’s memory as a popular ecclesiastical writer, some of whose works had been translated into Greek even during his lifetime. St. Jerome recognized Ephraem’s theological genius in a Greek translation he read of a book by Ephraem on the Holy Spirit. And toward the end of the fifth century, Gennadius of Marseilles called attention to Ephraem as a composer of metrical psalms.’3

The testimonies to the great popularity of St. Ephrem throughout the medieval Christian world all refer to works in Greek. Although Sozomen the historian testifies that Ephrem’s works were translated during the saint’s lifetime, the scholars today have come to recognize that there is only a spiritual affinity between the writers of the works ascribed to St. Ephrem in Greek and those attributed to him in Syriac. Moreover, in the hagiographical tradition, an examination of the Greek and Syriac sources for the saint’s life gives us two different images of St. Ephrem. This is also reflected in the iconographical tradition. For the sake of convenience Dr. Griffith styles these two different depicted characters of the saint as ‘icon of Ephrem Byzantinus’ and the portrait of ‘Ephrem the Syrus’.4

The ‘icon of Ephrem Byzantinus’ is the product of the writers in the Greco-Syrian monastic communities of the fifth and sixth centuries. They transmitted the works of St. Ephrem in Greek as well as Syriac, and they even composed new hymns and homilies in Ephrem’s style and ascribed them to him. Also, they composed the Syriac Vita of St. Ephrem and a Syriac work called the Testament of St. Ephrem, which is also attributed to him. These two works are the primary sources for the literary icon of Ephrem Byzantinus.5

In the Vita, Ephrem is depicted as a monk living in a cave on the mountain near Edessa. He only leaves his cave shortly before his death to supervise relief efforts in Edessa during a severe famine. Incidentally, he is said to have composed some madroshe (doctrinal hymns) and memre (verse homilies) in Syriac, to overcome the heresy of Bar Daysan (154-222), a native of Edessa. In this account, to ensure the authenticity of his monastic lifestyle, Ephrem is said to have visited St. Bishoi (Pisoes) in the Egyptian Desert. Even today a visitor to Deyr al-Suryan monastery in Wadi al-Natron is shown a tree claimed to have been planted by St. Ephrem during his visit there. The Vita also tells of his visit to St. Basil of Caesarea in order to guarantee his orthodoxy for the Imperial Church. He flees priestly ordination at Basil’s hands, in good monastic style, though he accepts the office of the diaconate. Parallel to this account, the Testament of St. Ephrem reflects the world-view of a monastic hero, a desert solitary whose stories John of Ephesus may have told. According to Dr. Griffith, ‘This literary, or verbal icon, in fact must lie behind the best-known artistic presentation of St. Ephraem, the composition known as the ‘Dormition of Ephraem Syrus’, in which Ephrem’s body, lying on a funeral slab, surrounded by mourners, is the focal point of a tableau made of other scenes from a cycle of hermits, stylites and recluses.’6 Examples of this are to be found both in the Vatican gallery and the Monastery of Dokherias on Mount Athos. This is a perfect presentation of the profile of ‘Ephraem Byzantinus’.

In the portrait of ‘Ephrem the Syrus’ on the other hand, which is the recovery of Ephrem’s genuine works in Syriac and other texts in Syriac, ‘we find no mention whatsoever of any monastic tendencies, but instead only an overwhelmingly and entirely consistent picture of Ephrem as teacher and caretaker of the souls of the flock and even as a friend and advisor to his bishops.’7 Ephrem was born in 303 to Christian parents (Hymns Against Heresies 26.10), in or around Nisibis and received baptism in his youth (Hymns on Virginity 37.10.1-4). He became a ‘teacher’ (malpana) and a poet who for the majority of his almost seventy years, served the bishops of Nisibis namely Jacob, Babu and Vologeses (Hymns on Nisibis 13-21), as a catechist, biblical exegete, and liturgical composer. When Rome handed over Nisibis to Persia in 363, Ephrem was forced to leave the town and move some hundred miles west to Edessa where he served Abraham, the bishop of Edessa, for the last ten years of his life in the same capacity. He died in 373. St. Ephrem was certainly not a monk; but as an unmarried man he was probably a ‘single’ person (ihidaya) dedicated to the service of God.8

Ephrem refers to himself as a ‘herdsman'(‘alana), a member of the shepherd-bishop’s pastoral staff. At the end of his Hymns Against the Heresies Ephrem wrote of himself, saying:

O Lord, may the works of your herdsman (‘alana)
not be negated.
I will not then have troubled your sheep,
but as far as I was able,
I will have kept the wolves away from them,
and I will have built, as far as I was capable,
Enclosures of madrashe
for the lambs of your flock.

I will have made a disciple
of the simple and unlearned man,
And I will have given him a strong hold
on the herdsmen’s (‘alone) staff,
the healers’ medicine,
and the disputants’ armor.9

This is all that Ephrem is telling us about his role and position in the Church. It is probable that he was a deacon but there is no early Syriac text that identifies him as such. The word (‘alana) translated as ‘herdsman’ is very difficult to define precisely. Most often it is interpreted in relation to the Greek tradition simply as a term meaning deacon. But the normal Syriac word for deacon is mshamshono. As Dr. Matthews has noted, the term (‘alana) ‘is often used to denote a disciple in relation to his master, most significantly, after the pattern of that of Elisha to Elijah. Though in this instance, the term expresses Ephrem’s relationship to God, it is this very same relationship of Ephrem to his bishops’.10 What inspired the Syriac writers to celebrate Ephrem as a teacher par excellence was the fame of his teaching and that of the holiness of his life. The same also led the hagiographers in the Greek-speaking world, and those under their influence, to fashion the image of Ephrem Byzantinus.11


In the iconographic tradition the way St. Ephrem is portrayed is not all that different from the literary or verbal icon of the saint himself. In iconography, as in the case of hagiography, one may classify the icons into two different types. The first type of icons is largely based on his Vita that developed in Greco-Syrian monastic circles. The other type is that which depicts St. Ephrem closer to the image that emerges from his authentic writings and other texts in Syriac. Especially some modern Syriac icons attempt to portray him in this way. The former may correspond to what Dr. Griffith has termed the ‘icon of Ephrem Byzantinus’, and the latter to what he named the portrait of ‘Ephrem the Syrus’ in his writing about the images of Ephrem. For the sake of convenience, one may classify the extant iconographic images of St. Ephrem as follows:

  • Icons that fall under the type ‘Ephrem Byzantinus’:
    • St. Ephrem in monastic habit. (The modern icon that covers Kathleen McVey’s book, Ephrem the Syrian Hymns, in the Classics of Western Spirituality series).
    • ‘Dormition of Ephrem Syrus’ in which St. Ephrem’s body is lying on a funeral slab and surrounded by mourners. (See John R. Martin, ‘The Death of Ephraim in Byzantine and Early Italian Painting,’ The Art Bulletin 33 (1951), pp. 217-225).
    • St. Ephrem featured with a scroll and vine. (Based on the Vita, 14, 15).
  • Icons that may fall under the type of ‘Ephrem the Syrus’:
    • St. Ephrem as a deacon. (He is depicted in liturgical vestments holding a thurifer in his hand. An original type of this icon today adorns the wall of St. Mary’s Syrian Orthodox Church in Diyarbekõr, Turkey).
    • St. Ephrem with St. Basil. This is the earliest surviving icon portraying St. Ephrem in a rather appropriate way. (Illustrated in K. A. Manafis (ed.), Sinai: Treasures of the Monastery of St. Catherine (Athens, 1990), p. 145).
    • St. Ephrem the ‘Harp of the Holy Spirit’. (The modern icon of St. Ephrem that came out recently from the Syrian Orthodox Patriarchate in Damascus, Syria).

Liturgical Material

In the area of liturgical tradition for the feast of St. Ephrem, Dr. Brock has published a very good article.12 His study, for reasons of practicality, is confined to the printed editions of the Hudra and Panqitho (hymnodies or liturgical books for the yearly cycle of prayers for Sundays and feastdays in the Syriac Church). Hudra is used in the East Syrian and Panqitho in the West Syrian Churches. Here, I shall closely follow Brock’s observations and incorporate a great deal from him.

St. Ephrem is commemorated both in Eastern and Western Syrian tradition. In the Church of the East his commemoration feast, along with other Syriac teachers falls on Friday of the fifth week after Epiphany. The printed Hudra offers little that is very specific: Ephrem (along with Narsai) is celebrated as a teacher who ‘interpreted and illuminated the Scripture’, and who ‘quenched and rendered ineffective the sects of the erroneous heretics’. Ephrem is compared to a ‘skilled doctor who blended the insights of the Scriptures for the healing of the sick world’s ill’. Furthermore, we read in the Hudra that Ephrem ‘became a fountain and caused life to flow for the whole world.’

In the Syrian Orthodox Church of Antioch, the feast of St. Ephrem (together with St. Theodore) is commemorated on Saturday of the first week of Great Lent. One of the striking features of the liturgical texts commemorating the saint is the considerable use made of memro (metrical homily) on Ephrem by Jacob of Serugh.13 This is either direct quotation from the memra or in a rephrased prose form. The direct quotations comprise couplets 21-29 and 148-162 of Amar’s recent edition of the memra. These include a couplet (152) which specifically refers to Ephrem’s role in instructing the women. The couplet reads: ‘This man introduced women to doctrinal disputes; with (their) soft tones he was victorious in the battle against all heresies.’ Further material that is derived from the memro is found primarily in Sedro (a long discourse that usually follows a Premion in the book ofHusoyo, the Syriac liturgical book of propitiatory prayers) which features in the commemoration feast for 28 January (Syrian Catholic only) and on Saturday of the first week of Lent in the Syrian Orthodox Church.

Naturally, the influence of the sixth century Vita is also reflected in several passages, such as ‘God caused Ephrem to pass from paganism and brought him to true faith.’ Also, the anecdote concerning the scroll and vine (Vita 14-15) feature here. The scroll is an indirect comparison of Ephrem’s divine inspiration with Ezekiel’s consuming of a scroll (Ezekiel 3: 1-3). There are also references to Ephrem’s ascetic life on the mountains of Edessa (based on 13 of the Vita) which talk of ‘the fragrance of (Ephrem’s) life of mourning’ (riho d-‘abiluta). There is also a madrosho (doctrinal poem in stanzaic form) on Ephrem that says he was sent to Edessa to combat the heresies of Mani, Marcion and Armianos, son of Bar Daisan. Also from the Vita are a few references to the meeting with St. Basil. There are also many other references from the Vita that feature in the liturgical texts of the feast. Finally, the Mosul edition of the Panqitho contains one of the supposedly autobiographical texts ascribed to St. Ephrem, a Sogitho (dialogue poem) beginning with ‘How often have I hungered…’ This Sogitho is also to be found in the current hymnal book of the Syrian Orthodox Church titled: Zmirotho d-Ito,Songs of the Church, and is chanted at the Divine Liturgy commemorating the feast of the saint that falls on Saturday during the first week of Lent.

The West Syriac liturgical tradition for the commemoration feast of St. Ephrem as we have seen above, draws on a variety of sources, primarily on Jacob of Serugh’s memro on St. Ephrem and the Vita. As Dr. Brock has concluded, ‘The result, not surprisingly, is that no consistent portrait is offered of the saint who is being commemorated.’14

Regarding the transformations that have taken place in the Syriac tradition with the portrait of St. Ephrem, Dr. Brock offers a good explanation. He says: ‘Perhaps all that the fifth -and sixth- century biographers wanted to do was to present the saint in modern guise, to make him relevant to their own context.’15 Dr. Griffith, further illustrating this point, states: ‘It was not that the Syriac-speaking monks in the Greco-Syrian communities of east Byzantium were deliberately trying to conceal St. Ephraem’s true identity behind an Evagrian mask. Rather, their intention was doubtless to praise the virtues of their most famous holy man, in the newly popular Byzantine idiom of asceticism in which the citizens of fifth and sixth-century Edessa were desperate to claim a place of pride for themselves and for their city. So it was that in popular piety Ephraem, the bishop’s man, became St. Ephraem, the model Byzantine monk, the deacon of Edessa.’16

Some Concluding Remarks

By way of a conclusion, I would like to say that St. Ephrem’s memre and madrashe, the homilies and hymns, became central to both East and West Syrian liturgical tradition, and his works have played a decisive role and influenced all aspects of Syrian ecclesiastical life. His fame as a hymnodist and ascetic spread to all branches of the Church. And today, thanks above all to the late Dom Edmund Beck’s editions of St. Ephrem’s genuine works, and the work of other prominent scholars in the field, there is a universal appeal to St. Ephrem. He has become a spiritual Father for the whole Church.


Amar, Joseph P., The Syriac Vita Tradition of Ephrem the Syrian, Ph.D. Diss., The Catholic University of America, Washington, D.C., 1988.

Amar, Joseph P. (Ed.), A metrical Homily on Mar Ephrem by Mar Jacob of Sarug, Turnhout, 1995 (Patrologia Orientalis 47, fasc. 1, no. 209).

Beck, Edmund, Des Heiligen Ephraem des Syrers Hymnen contra Haereses, Louvain, 1957 (CSCO, vol. 169-170; Script. Syr. 76-77).


1 This is a paper for a class of Hagiology at St. Vladimir’s Seminary, Crestwood, NY, 1999.

2 Robert Murray, ‘Ephrem Syrus’, Catholic Dictionary of Theology, vol. II, London, 1967, pp. 220-223.

3 Sidney Griffith, ‘Images of Ephraem: the Syrian Holy Man and his Church’, Traditio, (1989-1990), p. 7.

4 Sidney Griffith, ‘A Spiritual Father for the Whole Church: the Universal Appeal of St. Ephraem the Syrian’, Hugoye: Journal of Syriac Studies, vol. 1 (1998) no. 2, §5

5 Idem, §6. See also Joseph P. Amar, The Syriac Vita tradition of Ephrem the Syrian (Ph.D. Dissertation, The Catholic University of America, Washington, D.C., 1988).

6 Ibid. §7.

7 Edward G. Matthews, Jr., ‘The Vita Tradition of Ephrem the Syrian, the Deacon of Edessa’, Diakonia 22, (1988-1989), p. 26.

8 On the significance of this title see Sidney Griffith, ‘Asceticism in the Church of Syria: the Hermeneutics of Early Syrian Monasticism’, Vincent L. Wimbush & Richard Valantasis (eds.), Asceticism, New York, 1995, pp. 220-245.

9 Edmund Beck, Ephrem des Syrers Hymnen contra Haereses, Louvain, 1957 (CSCO, vol. 169-170; Scr. Syr. 76-77), vol. 169, 56: 10 & 11, pp. 211-212. Quoted by Sidney Griffith, ‘A Spiritual Father for the Whole Church…’, §8.

10 Edward G. Matthews, Jr., ‘The Vita Tradition of Ephrem…’, p. 28.

11 Cf. Sidney Griffith, ‘A Spiritual Father for the Whole Church….’, §9.

12 Sebastian Brock, ‘St. Ephrem in the Eyes of Later Syriac Liturgical Tradition’, Hugoye: Journal of Syriac Studies, vol. 2, (1999), no. 1.

13 See Joseph P. Amar, A Metrical Homily on Mar Ephrem by Mar Jacob of Sarug, Patrologia Orientalis 47, fasc. 1, no. 209, Turnhout, 1995. [Critical edition of the Syriac text with translation and introduction].

14 Sebastian Brock, ‘St. Ephrem in the Eyes of the Later Syriac Liturgical Tradition’, § 23.

15 Idem, § 24.

16 Sidney Griffith, ‘Images of Ephraem…’, pp. 32-33.

Published in print in Golden Horn Volume 7 issue 2 (winter 1999-2000)

A bird’s eye view of the Syriac language and literature*

by Edip Aydın

The Syriac Language

Syriac belongs to the Semitic family of languages, and is a dialect of Aramaic. The history of Aramaic goes back to the second millennium B.C. It was “first attested in written form in inscriptions of the tenth century B.C., it still continues to be spoken and written in the late twentieth century A.D. by a variety of communities in the Middle East and elsewhere. At various times over the course of these three thousand or so years of its known history, Aramaic has been spoken or written by peoples of many different faiths, by pagans, Zoroastrians, Buddhists, Manicheans, Jews, Samaritans, Mandeans, Christians and Muslims”.1

The closest immediate predecessors of Syriac, were the languages used in Palmyra (in modern Syria) and Hatra (in modern Iraq) around the time of Jesus. Aramaic continued to be in use among the Aramean populations of Syria and Mesopotamia despite being dominated by Greek and Parthian/Persian rulers. The majority of these Arameans later embraced the Christian faith and, although there are a number of short pagan inscriptions,2 and a few relics of pagan literature,3 Syriac is, for the most part a Christian language, a medium for Christian literature and liturgy. Syriac started as the local dialect of Edessa (whose modern name Urfa is derived from Syriac Urhoy) the cultural centre of Syriac literature. The early writers refer to the Syriac language as Urhoyo or Edessene because it started as a local Aramaic dialect of Edessa. The reason that Syriac “came to be adopted as the literary language of Aramaic speaking Christians all over Mesopotamia may in part be due to the prestige enjoyed by Edessa as a result of its claim to possess a letter written by Jesus to its king (of Arab stock) named Abgar the Black”.4 However, Syriac gradually expanded and was carried eastwards along the silk road by merchants and Syriac missionaries to South India and China. A noteworthy witness to the presence of Syriac in Western China in the eighth century A.D. is provided by the bilingual Syriac and Chinese stone inscriptions dated A.D. 781, found at Hsi-an fu (modern Xi’an).5

One of the earliest texts of the Syriac language which provides a foretaste of its beauty and splendour is to be found in the beautiful lyric Odes of Solomon. We quote here ode 40 in English translation:

“As honey drips from a honeycomb, and as milk flows from a woman full of love for her children, so is my hope upon you, my God. As a fountain gushes forth its water, So does my heart gush forth the praise of the Lord and my lips pour out praise to him; my tongue is sweet from converse with him, my limbs grow strong with singing of him, my face exults in the jubilation he brings, my spirit is jubilant at his love and by him my soul is illumined. He who holds the Lord in awe may have confidence, for his salvation is assured: he will gain immortal life, and those who receive this are incorruptible. Halleluia!”6

Eastern and Western Pronunciation

Written Syriac today is almost the same in morphology as the classical Syriac of the fourth century. While the language remained the same, there emerged two dialectical pronunciations of Syriac, usually known as the Eastern and the Western. The Eastern, which is more archaic, is used by the members of the Church of the East. The Western on the other hand, is mainly used by Syrian Orthodox and the Maronites. A clear difference between the Eastern and the Western consists in the pronunciation of original a: the Eastern pronunciation preserves it (e.g. bayta ‘house’), while the Western alters it to o (bayto).

Syriac Scripts

The Syriac language also developed different scripts. The earliest Syriac inscriptions of the first and second centuries A.D. (all pagan) use a script similar to Palmyrene cursive writing. By the time of our earliest manuscripts (early fifth century A.D.) however, this script has taken on a more formalised character, known as Estrangelo (derived from Greek strongulos ’rounded’). The Estrangelo script continued to be used well into the middle ages. Furthermore, it enjoyed a dramatic local revival in Tur’Abdin in the twelve century. During the course of the eighth century there emerged, side by side with Estrangelo, a new and more compact script developed from Estrangelo correctly known as Serto (literally ‘a scratch, character’). This is normally used by the West Syrians and the Maronites. A few centuries later, among the East Syrians, we see the gradual emergence from Estrangelo of the other distinctive script known as Eastern but generally called Nestorian or Chaldean script by European writers.


In the early centuries of Arab rule there emerged various vocalization systems to assist the reading and pronunciation of the unvowelled Arabic, Hebrew and Syriac scripts. What finally emerged for Syriac, were two different systems, one used by West Syrians and Maronites (the so-called Jacobite vowel signs); and the other employed by East Syrians (the so-called Nestorian vowel signs); the former consist of symbols derived from Greek letters, the latter of different combinations of dots.

The scope of Syriac literature

Syriac literature covers a wide area both in time and in space, and provides by far the largest body of Aramaic literature that spans from the second to the twentieth century. Dr. Brock divides this main body of Syriac literature into four distinctive periods. Here I closely follow Brock’s own division and classification of Syriac literature.

(i) The beginnings, in the second and third centuries A.D. Only a few works have survived from this period. They include the following: The Book of the Laws of Countries by a pupil of Bardaisan ‘The Aramean Philosopher’ (died 222); a collection of lyric poems known as Odes of Solomon ; and the Acts of the Apostle Thomas together with a few other texts including among them the earliest translation of the Bible (Old Testament and Gospels).7

(ii) The fourth to seventh centuries (the golden age of Syriac literature). In this period many great writers and outstanding poets of literary merit emerged, (and to use Dr. Brock’s words) and “it can be fairly said that it is in Syriac that the best Aramaic literature, qua literature, can be found.”

In the fourth century two great writers appear: Aphrahat, “the Persian Sage” who has an elegant style and carefully balanced phrases as well as other technical devices to highlight significant passages. Many examples of this very sophisticated prose style can already be found in his 23 Demonstrations covering a variety of special topics, and often touching on Jewish-Christian relations. Along with Aphrahat, we have the genius Ephrem of Nisibis (died 373) who is undoubtedly the best representative of early Syriac Christianity and finest of all Syriac poets. He combines in a unique way the roles of both poet and theologian. Ephrem, produced a massive collection of poems, and there survive over 500 religious lyrics of great beauty and profound spiritual insight. Besides being an outstanding poet, Ephrem a lso wrote a number of prose commentaries on the Bible and several narrative poems.

By no means all Syriac literature is religious in character. Prose literature of this period covers a very wide range of subjects, history, geography, law, philosophy, medicine, astronomy, as well as hagiography, theology, liturgy and biblical interpretation. During this period there were many translations into Syriac, mostly from Greek but also a few from middle Persian (e.g. the earlier version of Kalilah and Dimnah, a famous collection of tales of Indian origin). After the Semitic creativity until the fourth century, Greek influence becomes much more noticeable in the fifth and sixth centuries; in prose, both style and thought patterns are affected, but in poetry much less so. The place of poetry has always been very prominent within Syriac literature as a whole; and notable among the poets of this era is Jacob of Serugh (as a pupil) and Narsai (as a teacher) who were both associated with the famous ‘Persian School’ at Edessa. In 489, the emperor Zeno had closed the school, which was forced to move to safety within the Persian Empire to the town of Nisibis. Both authors, Jacob and Narsai produced large collections of fine verse homilies mainly on biblical themes. Jacob however, at times writes with a mystical intensity, whereas Narsai is largely a didactic poet. Amongst the excellent poetry of this golden age of Syriac literature many delightful dialogue poems are sadly anonymous. In these, personifications of two biblical characters conduct a lively argument in alternating stanzas. The origins of this genre can be traced back to the very beginnings of Mesopotamian literature and it remains popular to the present day.

In the field of the theological literature two authors are strikingly original. Philoxenus of Mabbug (died 523) in the Syrian Orthodox tradition, and Babai the Great (died 628) in that of the Church of the East. The former, was one of the outstanding theologians of his time, and a leading figure in the Syrian Orthodox opposition to the Council of Chalcedon (whose wording he considered to obscure the full reality of the incarnation). The latter on the other hand, was an Abbot of one of the most important monasteries on mount Izla (in Southeastern Turkey); and also a leading and profound theologian of the Church of the East. Philoxenus and Babai also have fine treatises on the spiritual life as well. Philoxenus in his theological as well as spiritual writings offers a remarkable fusion of Syriac and Greek tradition. The Syrian mystic, Isaac of Nineveh (seventh century), whose writings were translated into Greek at the monastery of St Saba in Palestine in the ninth century, is a well-known figure among many. In Egypt the inspiration provided by Isaac lies behind the contemporary monastic revival in the Coptic Church. Historically, his writings were very popular and accepted despite their origin in the Church of the East, and have continued to be widely read in monasteries of all traditions. What influence the Syrian mystics had on early Sufism is a question which still requires proper investigation.8

(iii) The period running from the beginning of the Arab rule in the seventh century to that of the Mongols in the thirteenth and fourteenth centuries is described by Brock as “one of scholarly consolidation and encyclopedic effort as far as Syriac literature is concerned”. The Arab invasions prevented close contacts with the Greek-speaking world just when Syriac culture was at the most hellenophile stage of its history. The most important consequences of this, for both Arab and western European civilizations, was that through scholars of the Syriac churches, such as Hunain ibn Ishaq (died 873) working at Baghdad, the Abbasid capital, Greek philosophy, medicine and science were transmitted to the Arab world.9

The twelfth and thirteenth centuries can be described as a renaissance within Syriac literature. The most famous writers of this period of revival are the patriarch Michael the Great, author of the most important of all Syriac chronicles (comparing ecclesiastical, secular and contemporary events up to his time) and the Syriac polymath Gregory Abu’l Faraj better known as Barhebraeus (died 1286). Gregory wrote on every aspect of human knowledge of his time, such as philosophy, medicine, grammar, theology, spirituality, wisdom and wit, history and other subjects. (Some of his works are available in English translation and his book on the chronology of the world was translated into Turkish as well).

(iv) Many western histories of Syriac literature leave their readers with the impression that Syriac literature virtually culminated in the fourteenth century. Factors such as the Black Death contributed to a low point in the history of the Syriac literature in the fourteenth century. However, it did not die out, but continues in an unbroken chain of Syriac writers in prose and poetry, to the present day. The Syriac literature of this period contains a different genre of plays, novels and poetry. Since, however, very little of the literature of this period has been published (although ‘Hujada’ in Sweden and Mor Ephrem Monastery in Holland are preparing a number of works for publication every year), no proper assessment of its quality can yet be made.10

Modern Dialects

On the colloquial level, dialects of Syriac have always been in use. Turoyo, the mountain language is still very much used in the area to the south east of Diyarbakir known as Tur’Abdin. The majority of the speakers are Syrian Orthodox. In recent years many of this community have migrated to Istanbul and western Europe. Although Turoyo has its own oral literature, it is very rarely written (except by or for western scholars).11 Recently, it has been used in some elementary school books and dictionaries produced in Sweden for the use of the children of immigrant Turoyo speakers.

The other dialect which is flourishing today, is called Modern Syriac, or Swadaya which is usually based on either the Urmi or Alqosh dialect. Swadaya is extensively spoken and written by the Assyrian and Chaldean communities in Iran, Iraq (especially since April 1972, when Syriac was proclaimed as an official cultural language of the Assyrian, Chaldean, and Syrian Orthodox citizens who are Syriac speakers). Swadaya is also used in the Soviet Republic of Azerbaijan where the Cyrillic script is employed in writing rather than the Syriac. In modern day, Turoyo and Swadaya are used in broadcasting, magazines, literature as well as liturgy.


Syriac language and literature, besides playing a momentous role in the history of the Christian world, has also constituted an essential dimension within the cultural history of the Middle East as a whole. The historical significance of Syriac lies in providing a cultural bridge between the civilization of Antiquity (Greek as well as Mesopotamian) and that of the Asian world today.


* This article has been translated into Turkish and published in Varlik, a periodical of literature and art (Istanbul, Turkey), 1075 (April, 1997), pp. 28-32.

1 S.P. Brock, “Three Thousand Years of Aramaic literature”, in Aram,1:1 (1989), p. 11.

2 H.J.W. Drijvers, (Ed.) “Old Syriac Inscriptions”, Semitic Studies Series (Leiden) No. III (1972). This work provides a full account of the pagan inscriptions found in Edessa and its vicinity.

3 Amongst these is a letter of advice from a certain philosopher Mara to his son Serapion and a prophecy attributed to the prophet Baba of Harran. An English translation of Mara’s Letter is found in W. Cureton, Spicilegium Syriacum (London, 1855), pp.70-76; of Baba’s prophecy in S.P. Brock, “A Syriac collection of prophecies of pagan philosophers”, in Orientalia Loveniensia Periodica (Leuven) 14 (1983), pp. 233-6.

4 S.P. Brock, “An Introduction to Syriac Studies”, in J.H. Eaton (Ed.,), Horizons in Semitic Studies (1980), p .13.

5 See P.Y. Saeki, “The Nestorian Monument in China” (1916).

6 S.P.Brock,”Spirituality in the Syriac Tradition”, Moran ‘Etho Series No. 2 (Kerala, 1989), p. 19.

7 English translations: H.J.W. Drijvers, The Book of the Laws of Countries. Dialogue on Fate of Bardisan of Edessa (Assen,1965); J.H. Charlesworth, The Odes of Solomon (Oxford,1973; reprinted Missoula, 1977) and in his Old Testament Pseudepigrapha, vol. II (Garden City and London, 1985), pp. 735-71; A.F.J Klijn, Acts of Thomas (Leiden,1962).

8 English translations of a selection of Syriac literature of this period include: J. Gwynn (Ed.), “Selections from…Ephrem the Syrian and Aphrahat..” in A Select Library of Nicene and post-Nicene Fathers of the Christian Church, series II, vol. 13 Oxford/New York, 1898; and reprints); S.P. Brock, The Harp of the Spirit: 18 Poems of St Ephrem (2nd edition, London,1983); F.C. Burkitt, Euphemia and the Goth (London, 1913); E.A.W. Budge, The Discourses of Philoxenus (London,1894); E.A.W. Budge, The History of the Alexander the Great (Cambridge, 1889 repr. 1976); S.P.Brock and S.A. Harvey, Holy Women of the Syrian Orient (Berkeley, 1978); F.J. Hamilton and E.W. Brooks, The Syriac Chronicle known as that of Zechariah of Mytilene (London 1899) For Ephrem, Besides the translations mentioned above, and a further collection by K. McVey in the Classics of Western Spirituality series, many excerpts can be found in R. Murray, Symbols of Church and Kingdom: a Study in Early Syriac Tradition (Cambridge,1975) and in S.P. Brock, The Luminous Eye: the Spiritual World of St Ephrem (Rome, 1985; Kalamazoo, 1992).

9 English translations of some literature of this period include: A.J. Wensinck, Mystic Treatises by Isaac of Nineveh (Amsterdam, 1923; reprinted Wiesbaden, 1969); A. Mingana, Early Christian Mystics (Cambridge,1934); S.P. Brock, The Syriac Fathers on Prayer and the Spiritual Life (Kalamazoo, 1987); A. Mingana, Job of Edessa’s Book of Treasures (Cambridge, 1935); I.G.N. Keith-Falknoner, Kalilah and Dimnah, or the Fables of Bidpai (London, 1885); E.A.W. Budge, The Chronography of Barhebraeus (Oxford, 1932); E.A.W. Budge, Oriental Wit and Wisdom, or the Laughable Stories collected by Mar Gregory John Barhebraeus (London 1899); E.A.W. Budge, The Monks of Kublai Khan, Emperor of China (London, 1928).

10 For the history of twentieth century Syriac literature see R. Macuch, Geschichte der spät – und neusyrischen Literatur (Berlin 1976); Patriarch E. Barsawm, Al lu’ lu Al manthur fi Tarikh al `ulum wal Adab Al Suryaniya (in Arabic, Homs 1943 and reprints; Syriac translation Qamishli 1967; reprinted Holland 1991; partial English translation by M. Moosa, 1978); A. Abuna, Adab Al-lugha Al-Aramiya (in Arabic, Beirut 1970); P. Sarmas, Tash`ita d-Seprayuta Atorayta, I-III (in Modern Syriac, Tehran 1963/70); Cp also S.P. Brock,”Classical Syriac in the Twentieth Century”, Journal of Semitic Studies 34 (1989), 363-75.

11 There is a teaching tool of Turoyo by Otto Jastrow, Lehrbuch der Turoyo-Sprache (Wiesbaden 1992).