Among the many metrical texts in Greek attributed to Saint Ephrem the Syrian are a number of long poems devoted to Old Testament figures. The one presented here is particularly interesting since it is clearly related to a text of Saint Gregory of Nyssa On the Nature of the Son, which may be found in PG 46:565-576. In the translation below the parts that are identical with St Gregory’s are underlined. It is very difficult to decide which text is the earlier and the few few scholars who have given any attention to the subject are divided. I am inclined to think that St Gregory’s text is the earlier, since it includes none of the passages in St Ephrem’s text which are explicitly Christological; for example the long typological series of stanzas (9 to 27) on the Incarnation, or that on Isaac and Christ (94 to 106). Whether the poem has links to the Syrian Ephrem is another very difficult question. The description of the tree on which the ram is found hanging as ’a Sabek plant’ must be based on the Septuagint, on the other hand the idea that the tree and the ram were a special miraculous creation is also found in St Ephrem’s own Syriac Commentary on Genesis, ’The ram had not been there, since Isaac asked about the lamb. The tree was not there, since the wood on Isaac’s shoulders shows it. The mountain threw up the tree, and the tree the ram; so that by the ram which was hanging from the tree and became a sacrifice for Abraham’s son, might be prefigured the one who hung like a ram from the wood, and who would taste death for the whole world’. [On Genesis, 20.1]
The description of the moment of the sacrifice, stanzas 133 to 139, is,as the writer says, based on actual depictions of the scene and is reminicscent of extant examples from early Christian art, among them a number of sarcophagi.
The poem is written in the Syrian metre, known as the ’Metre of Mar Eprem’, which consists of lines of fourteen syllables, with a caesura after the seventh. These are sometimes printed as couplets of seven syllable lines. This is unknown in Greek prosody and is based neither on length of syllabes, as in Classical Greek, nor on patterns of stress accents, as in Byzantine poetry, but simply on the number of syllables. Greek Ephrem also uses on occasion octosyllabic lines, made up of two tetrasyllables. In this poem they are used for Sara’s Lament in stanzas 76 to 92.
The text is translated from the critical edition by Mercati. I have, for the moment, accepted his division into four line stanzas, though involves accepting that there some lacunae in the original.
The whole of the Greek text is also found among the (inauthentic) sermons of St John Chrysostom.
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