01  ܢܓ̈ܕܐ. ܗܝܕܝܢ ܦܝܠܝܡܘܢ ܙܡܪܐ ܐܬܡܠܝ ܪܘܚܐ ܕܩܘܕܫܐ̣ ܘܐܡ̣ܪ.
02 ܠܐ ܡܕܒܚܢܐ. ܟܪܣܛܝܢܐ ܐܢܐ. ܐܪܝܢܘܣ ܗܓܡܘܢܐ ܐܡ̣݂ܪ. ܚ̣ܙܝܬ
03 ܣܪ̈ܩܐ ܕܣܒܠܘ ܐܣܩܠܐ ܘܠܘܢܝܕܘܣ ܥܠ ܕܠܐ ܝܫܡܥܘܢܝ܉ ܗܫܐ
04 ܗܟܝܠ̣ ܕܒܲܚ. ܥܢ̣ܐ ܦܝܠܝܡܘܢ ܘܐܡ̣ܪ. ܐܝܟ ܕܣܝܒܪ ܐܣܩܠܐ
05 ܘܠܘܢܝܕܘܣ ܣܪ̈ܩܝܟ܃ ܕܡܣܟܝܢ ܗܘܘ ܕܢܣܒܘܢ ܟܠܝܠܐ ܡܢ ܝܫܘܥ܉ ܗܟܢܐ
06 ܐܦ ܠܝ ܢܗܘܐ. ܡܢ̣ܘ ܕܝܢ ܕܠܐ ܢ̣ܛܢ ܕܢܐܬܐ ܠܩܪܝܬܐ ܗܕܐ܇ ܡܛܠ
07 ܬܕܡܘ̇ܪܬܐ ܕܗܘܬ ܡܢ ܐܣܩܠܐ܇ ܟܕ ܦܫܬ ܐܠܦܟ ܒܡܨܥܬܗ ܕܢܗܪܐ.
08 ܐܪܝܢܘܣ ܗܓܡܘܢܐ ܐܡ̣ܪ. ܪܒܲܚ̣ ܘܡܬܦܪܩ ܐܢܬ. ܥܢ̣ܐ ܦܝܠܝܡܘܢ
09 ܙܡܪܐ̣ ܘܐܡ̣ܪ. ܠܝܬ ܦܘܪܩܢܐ ܒܗ̇ܝ ܕܢܕܒܚ܇ ܐܝܟ ܗ̇ܝ ܕܢܡܘܬ
10 ܐܢܫ ܡܛܠ ܡܪܢ. ܥܢ̣ܐ ܐܪܝܢܘܣ̣ ܘܐ̣ܡܪ ܠܛܟܣܐ. ܩܪܘ ܠܦܝܠܝܡܘܢ
11 ܙܡܪܐ ܥܡ ܐܒ̈ܘܒܘܗܝ̣ ܕܢܦܨܚܗ ܠܟܪܣܛܝܢܐ ܗܢܐ. ܟܒܪ ܕܝܢ
12 ܡܛܠ ܚܠܝܘܬܐ ܕܙܡܪܐ̣ ܢܕܒܚ. ܕܠܐ ܒܝܫ ܒܝܫ ܢܡܘܬ. ܒ̈ܢܝ ܛܟܣܐ
13 ܕܝܢ ܐܬܟܪܟܘ ܒܥܐܘܗܝ̣ ܒܟܠܗ ܟܢܫܐ ܠܦܝܠܝܡܘܢ. ܘܟܕ ܠܐ ܐܫܟܚܘܗܝ܉
14 ܩܪ̣ܐ ܐܪܝܢܘܣ ܠܬܐܘܢ ܐܚܘܗܝ ܕܦܝܠܝܡܘܢ̣ ܘܐܡ̣ܪ ܠܗ. ܐܝܟܘ
15 ܦܝܠܝܡܘܢ ܐܚܘܟ. ܥܢ̣ܐ̣ ܘܐܡ̣ܪ ܠܗ. ܗܢܘ ܕܩܐܡ ܩܕܡܝܟ. ܒܪ ܫܥܬܗ
16 ܕܝܢ ܦܩ̣ܕ̣ ܕܢܬܓܠܐ ܦܪܨܘܦܗ. ܘܟܕ ܓܚ̇ܟ ܓܘܚܟܐ ܡܪܝܪܐ̣ ܐܡ̣ܪ ܠܗ.
17 ܐܘ ܦܝܠܝܡܘܢ. ܗܐ ܡܝܩܪ ܗܘ̣ܝܬ ܒܥ̈ܝܢܝ. ܠܡܢܐ ܗܕܐ ܥܒ̣ܕܬ
18 ܘܒ̣ܙܚܬ ܥܠ ܒܝܬ ܕܝܢ̣ܐ ܕܝܠܝ. ܐܝܬ ܠܝ ܬܠܬ ܒ̈ܢܢ. ܦܩܚ ܗܘ̣ܐ ܕܬܣܒ
19 ܐܢܝܢ ܠܟ܉ ܐܘ ܕܗܕܐ ܬܥܒܕ ܩܕܡܝ. ܣܟܐ ܕܝܢ ܕܒܲܚ̣ ܕܬܬܥܕܪ.
20 ܦܝܠܝܡܘܢ ܐ̇ܡܪ. ܥܒܸܕ ܡܕܡ ܕܨ̇ܒܐ ܐܢܬ. ܐܦ ܠܝ ܕܝܢ̣ ܛܝܒܘܬܐ
21 ܕܟܪ̈ܣܛܝܢܐ ܩܪܬܢܝ. ܗܝܕܝܢ ܐܪܝܢܘܣ ܗܓܡܘܢܐ ܐܡ̣ܪ. ܦܝܠܝܡܘܢ܉
22 ܒܚܘܠܡܢܗܘܢ ܕܪ̈ܗܘܡܝܐ ܡܠܬܐ ܕܡܫܐܠܢܐ ܠܟ ܐܡ̣ܪ ܠܝ̣ ܫܪܝܪ ܐܢܬ.
23 ܡܢ ܟܠܗ ܠܒܟ ܐ̇ܡܪ ܐܢܬ ܕܟܪܣܛܝܢܐ ܐܢܬ܉ ܐܘ ܟܕ ܡܛ̇ܥܐ ܐܢܬ
24 ܒܗܘܢ ܗܕܐ ܥܒ̇ܕ ܐܢܬ. ܦܝܠܝܡܘܢ ܐܡ̇ܪ. ܐܘ ܐܪܝܢܐ  ܐܢܬ ܡܢܐ
25 ܐܘܡܝܬܢܝ ܒܚܘܠܡܢܗܘܢ ܕܪ̈ܗܘܡܝܐ܇ ܗ̇ܘ ܕܥܬܝܕ ܕܢܬܚܒܠ. ܐܢܐ ܕܝ
26 ܡܦܝܣܢܐ ܠܟ ܘܐܡ̇ܪܢܐ ܠܟ ܫܪܝܪܐܝܬ. ܠܐ ܦܘܪܩܢܗ ܕܡܠܟܐ
27 ܡܫܝܚܐ ܗ̇ܘ ܕܐܝܬܘܗܝ ܫܘܒܚܐ ܘܗܕܪܐ ܕܟܪ̈ܣܛܝܢܐ̣ ܕܠܐ ܗܘ̣ܐ
28 ܐܝܟ ܡܒܙܚܢܐ. ܐܠܐ ܡܢ ܟܠܗ ܠܒܝ ܐܡ̇ܪܢܐ. ܗܝܕܝܢ ܐܪܝܢܘܣ
29 ܗܓܡܘܢܐ ܐܬܚܡܬ. ܘܐܡ̣ܪ ܠܟܠܗ ܛܟܣܐ. ܡܢܐ ܨ̇ܒܝܢ ܐܢܬܘܢ
30 ܐܥܒܕ. ܩܠܝܠܐܝܬ ܐܩܛܠܝܘܗܝ̣ ܐܘ ܐܓܪ ܪܘܚܝ ܥܡܗ. ܗܝܕܝܢ ܟܠܗ
31 ܟܢܫܐ ܒܩܠܐ ܪܡܐ̣ ܐܡ̣ܪ. ܠܐ ܬܘܒܕ ܚܕܘܬܗ̇ ܕܡܕܝܬܢ. ܟܠܗܘܢ ܓܝܪ
32 ܒ̈ܢܝ ܐܢܛܝܢܘ ܬܠܸܝܢ ܗܘܘ ܒܪܓܬ ܩܠܐ ܕܙܡܪܐ ܗܢܐ. ܗܝܕܝܢ ܐܪܝܢܘܣ
33 ܗܓܡܘܢܐ ܐܡ̣ܪ. ܚ̇ܙܐ ܐܢܬ ܦܝܠܝܡܘܢ ܕܟܠܗ ܟܢܫܐ ܕܡܕܝܬܢ ܨܒ̇ܝܢ
34 ܒܟ܉ ܡܚܒܝܢ ܠܟ ܓܝܪ ܘܡܥܩܝܢ ܥܠܝܟ. ܘܗܫܐ ܐܬܛܦܝܣ ܠܗܘܢ

The script is Estrangela of a loose, somewhat cursive type. A pedestrian, legible hand that would not be confused with the more stately kind of Estrangela used for deluxe editions, titles or section headings. There is some variability in line-thickness, but not nearly as much as in more calligraphic hands.

Note the extension on the ālap at the end of lines 4 and 26, and on the semkat in line 32.

At the bottom of this page is a prayer request, possibly in the hand of the scribe: ܡܫܝܚܐ̣ ܚܘܣ ܥܠܝ.

Comments on specific letters:

1. ālap: the left leg sits on the baseline and does not hang below

2. dālat/rēš: round shape, as in Serto

3. hē: Serto shape, with closed loop on the left

4. wāw: may have an angle on the top right or be curved; loop generally open, but may be closed

5. zayn: does not hang below lines; thicker at the top

6. yod: very short; final form ends in a horizontal, not the comma type

7. kāp: final form more jagged than curved

8. mim: loop closed; top part curves upward

9. semkat: joins with following letter; both loops about the same size

10. tāw: either with very tight loop, essentially closed, or the more common Estrangela type; in both types the upper part is quite tall, getting thicker at the top (as also with lāmad)