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Home , Romanos the Melodist, Triodion, Ypakoe

2020-4026-AJP – 16 NOV

1 Byzantine and Georgian Hymnographical Heritage 2 (“Lenten Triodion” under George the Athonite’s 3 Redaction) 4 5 6 Introduction and Literature Review* 7 8 The ―Lenten Triodion‖ (known in Georgian as ―Markhvani‖) is one of the 9 most important liturgical-hymnographic collections, which contains for 10 the Great Lenten period. The process of compiling this collection reflects the 11 development of Byzantine ecclesiastical , which is mainly divided into 12 two periods. The first is known as the "Jerusalemite period" and the second as 13 the "Constantinopolitan period". Many specimens of the "Jerusalemite period" 14 have come down to us only in Georgian manuscripts.1 15 The collection known as the "Lenten Triodion" contains the treasury of 16 Byzantine hymnography - numerous hymns, written by the greatest 17 representatives of the Christian church and culture. A great many hymns have 18 come down to us as anonymous, the authorship of which today cannot be 19 established on the basis of only Greek sources. 20 The hymns included in the "Triodion"* are varied in terms of form, 21 volume or poetic quality. The first dated in this collection belongs to the 22 5th century, and the last to the 15th century. During this long period of time 23 many things naturally fell into oblivion, and many require clarification and 24 study. 25 Over time, this collection has undergone significant changes. On the one 26 hand, it was shortened, on the other hand - it was expanded extension with a 27 new repertoire. This or that author, who in a certain epoch occupied a 28 prominent, leading place in the Greek "Triodion", gradually, for various 29 reasons, lost the primacy or was completely ignored, and this was reflected in 30 the new redactions of this collection. Most of the obsolete hymns were 31 composed during the Jerusalemite period of Byzantine ecclesiastical poetry. 32 Translations of Byzantine hymnography, including Georgian, make it possible 33 to restore these ancient and, at the same time, the best specimens. 34 There exists the scholarly literature on "Triodions" which we reviewed in our 35 study: 36 I. Karabinov, Lenten Triodion, Sankt –Peterburg, 1910 (in Russian 37 language); N. Cappuyns, Le Triodion. Étude historique sa constitution et sa 38 formation,Rome, 1935; S. Slaveva, Za Staroslovenskoi Triod. Zagreb, 1972; 39 Momina M. und Trunte N., Triodion und Pentekostarion, Bonn, 2004.

1Korneli Kekelidze, The Jerusalemite (in Russian language), 1912; The Oldest Iadgari (in Georgian language), 1980. *This research is based on the main outcomes obtained in the framework of the project funded by Shota Rustaveli Georgian National Science Foundation (FR17_127) "Byzantine and Georgian Hymnographic Heritage" (―Lenten Triodion under George the Athonite's Redaction‖). * In this study, the term "Triodion" refers only to "Lenten Triodion".

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1 Τριῴδιον κατανυκτικóν, Rome, 1879; Tριῴδιον, Αθήνα, 1975; Lenten 2 Triodion, I-II, Moscow, 1975 (in Russian language). 3 As it turns out, the Slavic "Triodion" represents analogs of the "Triodions" 4 mainly of the Byzantine hymnography of the second - " period". 5 Greek "Triodions" laid the foundation for this collections in other languages, 6 including Georgian. 7 The study of Georgian liturgical-hymnographic collections revealed that 8 the first hymns for the "Triodion" can still be found in the "Jerusalemite 9 Lectionary", which reflects the ancient rule of worship Later, these hymns 10 were supplemented with a new repertoire of the "Oldest Iadgari 11 (―Tropologion‖) and the "Great (New) Iadgari"(―Tropologion‖).2 12 As the study of Georgian manuscripts has shown, in the first half of the 13 10th century the first Georgian "Triodion" was separated from the "Iadgari" as 14 a separate collection. The fact that "Triodion" is the first independent collection 15 in the history of differentiation of the "Oldest Iadgari" must be explained by the 16 special importance of the period of , and, consequently, this 17 collection. 18 As it turned out, in the first half of the 10th century, the compiler and 19 editor must have been the great Georgian hymnographer - Ioane Minchkhi. 20 This redaction of ―Lenten‖ was of the Jerusalemite type. It contained the 21 ―three–‖hymns and hymnographic canons of three famous Byzantine 22 hymnographers - Theodore Studites (VIII-IXcc.), Elia of Jerusalem (VIII c.) 23 and Stephanus Sabbaites (VIII c). Together with them, the first Georgian 24 "Triodion" included more than 100 original hymns by Ioane Minchhi3 25 A new stage in the history of Georgian culture is associated with the 26 literary and theological school of Athos founded by Euthymius the Athonite 27 (955-1028). Georgian who lived and worked on Mount Athos took an 28 active part not only in the life of Georgia, but also in the Byzantine life of that 29 time, in the cultural-educational processes. They set themselves the goal of 30 translating all the of that time into Georgian. In the Life of 31 Euthymius the Athonite it is reported that among his numerous translations 32 were hymns for "Lenten Triodion ". 33 The following redaction of the "Triodion" belongs to the father of the 34 Athos Literary and Theological School - Euthymius the Athonite. According to 35 his biographer - George the Athonite, St. Euthymius translated "troparia for 36 Lenten Triodion". Some elements of this "Triodion" translated by him have 37 been identified and studied to date. This redaction of the "Lenten Triodion" has 38 not been specially studied, as the manuscripts containing it are not exactly 39 known yet. 40 The Georgian "Triodion", like all other liturgical books, reached the peak 41 of its development thanks to the activities of the greatest representative of the 42 Georgian church and culture - George the Athonite (1009-1065), who 43 determined the further development of Georgian theological literature and 44 culture in general. He "transformed and perfected everything he took on".

2Description of Georgian Manuscripts, 1978: 9-10 3Lela Khachidze, Ioanne Minchkhi’s Poetry, 1987: 81-109.

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1 Numerous collections translated by him, including the "Triodion", became "a 2 kind of vulgate"4 3 The main goal of George the Athonite's epoch-making activity was to 4 bring the earlier Georgian translations as close as possible to the Greek 5 originals. Most of the numerous translations from Greek were made by him. 6 George the Athonite’s numerous translations belong to all areas of 7 theological writing. These translations immediately after their creation were 8 canonized by the Georgian church and Georgian culture. 9 The "compiling‖ character of George the Athonite’s translations is known 10 in the scholarly literature. Of contemporary Byzantine collections, he translates 11 some of them not word for word, but gathers material from all sources. The 12 colophons attached to the manuscripts translated by him create the impression 13 that George the Athonite tries to fully acquaint the Georgian with the 14 contemporary and pre-Byzantine liturgical practice. A deep knowledge of the 15 Greek church and Byzantine literature contributed to this, as well as the fact 16 George the Athonite lived and worked in the main centers of Christian culture 17 of that time - Mount Athos, Black Mountain, Constantinople, Jerusalem and 18 Georgia. 19 Actually, such a complete collection has not been found either in the 20 existing publications of Greek Triodion available to us, or in the Greek 21 manuscripts described in the scholarly literature. 22 George the Athonite must have achieved such a goal as a result of hard work. 23 He seems to have worked step-by-step on the "Triodion" (see below). 24 25 26 Methodology 27 28 Numerous "Triodions" of George the Athonite’s redaction which belong to 29 various collections of Georgian manuscripts, have come down to us. At the 30 first stage of the research, we got acquainted with them according to the 31 "descriptions" and selected one group of manuscripts. The choice was made in 32 accordance with the significance and chronology of these manuscripts. 33 Among the manuscripts stored at the Georgian National Center of 34 Manuscripts, we have selected the manuscript -A 568 (12th century). 35 The Georgian manuscripts preserved on Mount Sinai, Mount Athos and 36 Jerusalem are described by G. Garitte5 and R. Blake.6 On the basis of these 37 descriptions, we considered 2 Athonite (Ath.59 and Ath.38) and 5 Jerusalemite 38 manuscripts (Jer. 130, Jer. 61, Jer. 67, Jer. 56 and Jer. 141) to be especially 39 important and studied them. The texts of all of them will be reflected in the 40 edition of George the Athonite’s ―Lenten Triodion‖ as versions.

4Korneli Kekelidze, History of Old Georgian Literature, 1980: 137 5Gerard Garitte, Catalogue des manuscrits géorgiens littéraires du Mont Sinaï, 1956 6Robert Blake, Catalogue des manuscrits G orgiens de la Biblioth que Patriarcale Grecque de Jérusalem,1922; Catalogue des manuscrits G orgiens de la Biblioth que de la Laure d'Iviron au Mont Athos, 1931

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1 As a basis for the publication, we considered the Georgian manuscript 2 preserved at the National Library of France in Paris - Georg. 5 which 3 represents the ―Triodion‖ of George the Athonite’s redaction having 4 autographic significance. Its publication was mainly prepared from the 5 electronic version of this manuscript, which is available on the website of the 6 National Library of Paris: http://gallica.bnf.fr/ark:/12148/btv1b8596867k/f8. 7 planchecontact.r=D%C3%A9partement%20des%20manuscrits,%20G%C3%A 8 9orgien) and is available for project participants. We got acquainted with 9 separate, difficult-to-read passages of the text in the original manuscript. 10 The Georgian National Center of Manuscripts keeps black-and-white 11 photocopies of all the manuscripts of interest to us, which we also used in the 12 research process. Basically, we used their electronic versions, where the text is 13 easy to read. This is the Library of Congress website: 14 15 https://www.loc.gov/search/?in=&q=jerusalem+microfilm+Georgian&new=true 16 17 The Greek Patriarchate of Jerusalem helped us to make precise some of the 18 hard-to-read passages of the Jerusalemite manuscripts by sending us relevant 19 color photocopies. 20 On the basis of all these manuscripts, we have prepared a critically 21 acclaimed scholarly edition of the ―Triodion‖ of George the Athonite’s 22 redaction, which was partially compared with the existing versions of the 23 Greek Triodion. 24 25 26 Findings/Results 27 28 Among the "Triodions" of George the Athonite’s redaction, the manuscript 29 kept in the National Library of Paris – Paris. Georg.5 is especially noteworthy.7 30 Research has shown that the manuscript Paris. George. 5 was not copied at 31 one time and by one person. It must be bound relatively late. Its main part 32 consisting of 432 pages (1R-216V) is the "Triodion" under George the 33 Athonite’s redaction and executed in 11th-century Athonite handwriting. This 34 is a unique manuscript of autographic significance in this collection, which we 35 considered as the basis for the publication. After the "Triodion" of George the 36 Athonite’s redaction, Parisian manuscript presents a new redaction of the 37 "Triodion" which, as it turns out, is made up by compilation with the 38 "Triodion" of George the Athonite’s redaction preserved in the same 39 manuscript. This redaction of the "Triodion" contains translations of Prominent 40 Georgian theologians of the 11th century - Ephrem Mtsire (Junior) and Arsen 41 Ikaltoeli (from Ikalto).

7Some information about this manuscript is found in the works of A. Khakhanashvili 1898, F.Macler 1908 and E.Takaishvili 1933). A number of our studies have been devoted to its special research (Lela Khachidze 1987: 59-74). The manuscript is a palimpsest. Its old layer is the `Jerusalemite Lectionary`, which is studied by the French Kartvelologist - Bernard Outtier.

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1 The only place where the roads of three great Georgian figures - George 2 the Athonite, Ephrem Mtsire and Arsen Ikaltoeli - intersect is the Black 3 Mountain in Antioch. It was here that both redactions of the Georgian 4 "Triodion" and the unique Georgian manuscript itself – Paris. Georg. 5 must 5 have been compiled. 6 Taking into account the "Life" of George the Athonite , it becomes 7 possible to determine the time of compilation of the "Triodion" under his 8 redaction. According to the "Life" of the , it is established in the scholarly 9 literature that in 1040-1056 he labored on Athos, stayed in Georgia in 1059- 10 1065 and died in Constantinople in 1065.8 11 Therefore, the "Triodion" of George the Athonite’s redaction must have 12 been compiled in its completed form on the Black Mountain, in the years 1056- 13 1059. It is assumed that in the same period there was compiled an extensive 14 liturgical and hymnographic collection - "Parakletike" by George the Athonite, 15 in particular, his autographic manuscript At.459 16 In the process of working on the Parisian manuscript, it turned out that one 17 part of it preserved in it was incorrectly bound. In the publication of this 18 collection we put the text in the original, the right order. 19 It is based on this principle that he compiled the most important liturgical- 20 hymnographic collection - "Triodion". The manuscript Paris. Georg. 5 21 preserves the colophons of George the Athonite himself. 22 These colophons attest that during compilation of the collection he relies 23 not only on one original (Greek or Georgian), but collects material from all of 24 them. 25 In this collection the divine service of each day of Great Lent contains an 26 extensive hymnographical material. As a rule, at the Morning Office begins 27 with small-size hymn which is followed by whole range of ―others‖. The small 28 size form of the hymn - "The Prokeimenon‖, which is usually accompanied 29 by its "others" is also a necessary component. The systematic introduction of 30 "Prokeimenon‖ is typical of other liturgical-hymnographic collections by 31 George the Athonite. 32 In this ―Triodion‖ at the morning service, we sometimes come across small 33 size hymns - "ypakoe", which are followed by some similar hymns. The 34 manuscript contains 9 "ypakoe " inscribed with the name of Romanos the 35 Melodist, and the second part of the " ypakoes" is unsigned but bears a special 36 mark (see below). 37 Together with the small size hymns presented by full texts, in Parisian 38 manuscript there are also such cases when "additional" short size hymns are 39 indicated "inside the book of stichera -Sticherarion". In this case, it is meant a 40 separate collection of such (small size) hymns from which the "additional" 41 hymns can be performed. 42 The comparison has showed that the results of studying the ―Triodion‖ 43 precisely coincide with the "Life" of the saint. The same is in this case, 44 particularly, according to the "Life", George the Athonite, translated stichera –

8Korneli Kekelidze 1980: 217-220; Alessandro Maria Bruni 2011: 113-120 . 9Alessandro Maria Bruni 2011: 116.

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1 small size hymns according to the rule of that time, with observance of poetic 2 meter and melodies, including hymns intended for the Great Lent10 3 A peculiar poetic form for the collection known as "Lenten Triodion" is 4 "three-odes" - hymns consisting of three odes. Hence, the Greek name of this 5 collection - "Triodion" comes from it. The ―three-odes‖ are heard daily during 6 Lent from Monday including Friday. This is an extensive repertoire - 7 hymnographic material intended for the two preparatory weeks of Great Lent 8 and the seven weeks. 9 Georgian translations of Theodore Studite's some hymns are found in the 10 ―New Iadgari‖, the first Georgian‖ Lenten Triodion‖, and perhaps in 11 Euthymius the Athonite’s ―Triodion‖. The whole cycle of "three-odes" for 12 Great Lent of this author is preserved only in George the Athonite’s collection. 13 The study showed that George the Athonite specially compared the text of all 14 of them and corrected according to his contemporary Greek "Triodions". 15 In George the Athonite’s ―Triodion‖ for each day of Lent we 16 systematically encounter the "three-odes"of another author - Joseph the 17 Hymnographer (from Sicily, IX century) who is a prominent representative of 18 Byzantine hymnography.11 It appears that the extensive hymnographic 19 repertoire of this author for "Triodion" - the "three-odes" were first translated 20 into Georgian by George the Athonite. The introduction of this hymns of 21 to Great Lent liturgy took place in the 22 Constantinopolitan rite, and in this case George the Athonite reflected this rite. 23 In the pancake week, the 3th layers are added to the "three-odes" of the 24 aforementioned authors – hymns of Anton Studites (IX century), the originals 25 of which have not been found today Thus, Georgian translations are a means of 26 clarifying and restoring the fragments of the works of this author that have 27 come down to us. 28 On Saturdays and Sundays of Great Lent, as well as on special holidays of 29 Great Lent, George the Athonite’s ―Triodion‖ presents extensive hymns - 30 hymnographic canons, along the beginnings of which, as a rule, their authors - 31 the greatest representatives of hymnography are indicated. This is a treasury of 32 the Christian church and ecclesiastic poetry, specially studied and established 33 by one of the key figures of the Middle Ages - George the Athonite. 34 The study showed that along with contemporary Greek "Triodions", the 35 source of George the Athonite is also the earlier Georgian manuscripts, in 36 particular, that redaction of the "Triodion", which is preserved in two Georgian 37 manuscripts of the Sinai collection - Sin. 5 (1052) and Sin. 75 (XI c.). This 38 redaction of the "Triodion", in addition to Jerusalemite, contains the elements 39 of Constantinopolitan, including the "Great Friday liturgy" translated by 40 Euthymius the Athonite12 41 The comparison makes it clear that in cases where the earlier translations 42 coincide with his contemporary Greek "Triodions", George the Athonite 43 transfers them unchanged into his own redaction of the "Triodion", in some

10Monuments 1967: 147. 11Evtychios Tomadakes 1971. 12Description of Georgian Manuscripts 1979: 26.

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1 cases corrects the old translations according to the Greek and often translates 2 the hymns once again from Greek. 3 The manuscript Paris. Georg. 5, which we consider to be the basis of the 4 scientific publication of George the Athonite’s "Triodion", demonstrates one 5 more characteristic feature of his work. It is great precision in indicating the 6 authors and establishing texts for hymns. In the huge hymnographic repertoire, 7 in the conditions of a large number of manuscripts and different testimonies, 8 the great work done to reveal the authors lost or forgotten over time is the most 9 important feature of the work of George the Athonite, which acquires great 10 scientific value today. 11 Compared with the well-known Greco-Slavonic "Triodions" and 12 collections known to date in scholarly literature, in most of the canons, ―three- 13 odes‖and small size hymns the author is indicated. In those cases when the 14 authors of certain hymns are indicated in the earlier Georgian manuscripts, 15 George the Athonite’s "Triodion" usually coincides with their indication. 16 Research has shown that George the Athonite often indicates the authors of 17 certain parts of compilation hymns. His work in this direction is of great 18 importance for the study of Byzantine hymnography, since the existing 19 publications of the Greek and Slavic "Triodions" usually lack an understanding 20 of their compilation. Hymns compiled in their time by several authors are now 21 most often attributed to some author, unsigned or completely lost. 22 The names of the authors of hymns are indicated in Parisian manuscript in 23 several ways: - in full form (e.g. Andrew or ), abbreviated 24 (e.g. I—e (Ioane) An—ti (Antoni) or using monograms – (e.g. B (Basil).) The 25 most frequent is the indication of the authors abbreviated or written with 26 contractions. 27 George the Athonite’s Triodion includes numerous hymns of 14 Byzantine 28 hymnographers. They are: Romanos the Melodist (V-VI cc), Andrew of Crete 29 (VII c.), Elia the III - Patriarch of Jerusalem (VIII c.), John Damascene (VII- 30 VIII cc), Stephanus Sabbaites (VIII c.), Kosmas of Jerusalem (VIII c.), 31 Theodore Studites (VIII-IX c.), Theophanes Graptos (Confessor, IX c.), Anton 32 Studites (IX c.), Joseph of Sicily (IX c.), Christopher (IX c.), George (IX c.), 33 Mark and Basil. Most of them are well known in scholarly literature, but a 34 significant part of the hymns of the same authors whose originals are not 35 present in the famous scholarly literature are preserved in the ―Lenten‖ under 36 George the Athonite’s redaction. In this case the 37 In this collection of George the Athonite, there are also such cases when 38 the specimens of Byzantine hymnography are given in two translations. Such 39 cases are usually based on two criteria: 1) they are of particular importance in 40 the ; 2) their earlier translations are distinguished by their artistic 41 merits. In the presence of these two criteria, along with his own translations 42 George the Athonite includes in his collection the earlier translations without 43 change. One example of this is the masterpiece of medieval - 44 "The Great of St. Andrew of Crete - an extensive hymn that is 45 performed in several parts during Great Lent.

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1 The Parisian manuscript presents the first Georgian translation of this 2 Canon, which belongs to Euthymius the Athonite (127v-138v). This is an 3 extremely lyrical translation, executed according to the creative principles of 4 Euthymius the Athonite. It is followed by the second Georgian translation of it 5 performed by George the Athonite (138 v-154 v). At the end of this translation 6 the colophon of George the Athonite’ is preserved in relatively small letters, in 7 which he explains the purpose of his translation. According to the colophon, 8 Euthymius translated the text of this hymn in an abridged form. He also 9 changed the sound of the hymn (melody) and hirmoi (rhythmic and melodic 10 size). This is not surprising for two reasons: 1) This was the first translation of 11 this hymn into Georgian. 2) The hymn, as is known, has a complex rhythmic 12 and melodic structure. Its creation and especially its translation into another 13 language was associated with great difficulties. Therefore, George the Athonite 14 translated this Canon anew. As it was said, the goal of George the Athonite’s 15 translation was to adjust the Georgian translations in accordance with the 16 Greek originals, so his translation textually coincides with the Greek original. 17 He skillfully introduced this text into the Greek rule of chanting. 18 Thus, in this case, along with his own translation, George the Athonite 19 considered it necessary, to present the translation of Euthymius the Athonite 20 with appropriate explanations. 21 A similar case was revealed in a Parisian manuscript in the case of the no 22 less famous hymn of John of - the "Day of Resurrection". This 23 hymn of is another striking example of Byzantine 24 hymnography. It is known as the "Golden Canon" and ranks first among the 25 hymns of this author. From the day of creation until today, it is sung on the 26 greatest Christian holiday - Sunday. In the Parisian manuscript, this 27 hymn is also presented in two translations, one of which belongs to George the 28 Athonite, and the other is the earlier one. Comparison of the Georgian 29 translation of this hymn with the Greek original has revealed that George the 30 Athonite’s translation exactly matches the original. It is an adequate translation 31 with distinctive artistic merits. 32 Thus, according to the testimony of Paris. Georg 5 manuscript, in cases 33 where the early translations are distinguished by special artistic merits, George 34 the Athonite presents them unchanged along with his own translations, of 35 which he informs us with special colophons. 36 By the time of compilation of the ―Triodion‖ in George the Athonite’s 37 redaction, the Greek church was already following the Constantinople rite, with 38 which George the Athonite was well acquainted. However, in the ―Triodion‖, 39 as in other liturgical-hymnographic collections compiled by him, he included 40 numerous hymns from the early -Jerusalemite period, which are no longer 41 found in the 11th century Greek ―Triodions‖. It is the Georgian translations of 42 a great many hymns that are often the only way to restore them today. It is also 43 noteworthy that George the Athonite uses the old way and marks the names of 44 the odes of the hymnographic canons - according to the initial words of 9 45 biblical hymns, and not by contemporary Greek rule - numerical numbering.

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1 Along with the designation of the authors, the Paris manuscript contains 2 indications of a different type, some of which require further study, and others 3 were deciphered in the process of working on the manuscript. In this regard, 4 the cross indicated in the beginnings of one group of hymns in the manuscript - 5 † (3r, 8v, 42r, 57r, 94v, 103r, 177r, 184v, 191r, 198r, 207r, 208v) deserves 6 attention. 7 As it turns out, in the Parisian manuscript, this cross sign (†) is indicated 8 along the hymns of "ypakoe" (―ibakoi‖) type. The "ypakoe" is one of the oldest 9 types of hymns, the introduction of which in Byzantine hymnography is 10 associated with the name of Romanos the Melodist.This type of hymns in 11 Byzantine hymnography is mainly known as "." 12 The study has shown that in Georgian manuscripts the term ―kontakion‖ is 13 usually rendered as ―ypakoe‖. The same is in the manuscripts of Paris. Georg. 14 5, which preserve several dozenz of this type hymns. Each of them indicates 15 the type of hymn - "ypakoe ". 16 As observation has shown, in Georgian manuscripts the term "kontakion" 17 is usually conveyed by "ypakoe ". 18 The hymnographical heritage of Greek authors preserved in the "Triodion" 19 of George the Athonite require special research, which is equally important for 20 the study of both Georgian and Byzantine hymnography. The solid foundation 21 of such study is the completeness of George the Athonite’s "Triodion" and the 22 determination of the heritage of the authors presented in it with great accuracy 23 by George the Athonite. This time we present one of the samples from the 24 works of Romanos the Melodist, named "the father of Byzantine hymnography. 25 26 27 Discussion/Conclusions 28 29 In Parisian manuscript small size hymn "Adam's Lament" is set on 30 Cheesefare Sunday which is dedicated to "Adam's expulsion". The hymn 31 presents the expulsion of Adam from Paradise with great dramatization. 32 This kontakion is considered the earliest example of the ―lamentation 33 genre‖ in theological poetry. It is noteworthy that this hymn included in the 34 "Lenten Triodion" on the Cheesefare Sunday – directly before the start of the 35 Lent in remembrance of the tragedy of the Fall. 36 At the beginning of the hymn the name of the author - Romanos is 37 indicated. The hymn consists of 7 troparia. Georgian translation of this hymn is 38 published by us with commentaries.13 39 The recent scholarly edition of Romanos' works belongs to Grossidier de 40 Matons. This edition contains the authentic texts of hymns attributed to 41 Romanos known for today14. This hymn is not included in this publication 42 because Romanos is not considered its author.

13Lela Khachidze, Romanos the Melodist and One of the Earlist Examples of Byzantine Hymography, The Kartvelologist, 27, 2018, 133-156 14Grosdidier de Matons J., Hymnes, Saint Ronamus Melodus, Paris, 1964.

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1 This hymn is not included in the works of P. Maas and C. A. Trypanis 2 either.15 Its text is published by P. Maas under the title "Das Verlorene 3 Paradies"16. The ―kontakion‖ is anonymous in this edition. In P. Maas’s view, 4 the unknown author of this hymn lived earlier than Romanos and is regarded as 5 one of the ―oldest ancestors‖ of Romanos and his school. 6 According to the ―Lenten Triodion‖ under George the Athonite’s 7 redaction, the author of this oldest hymn who was considered a predecessor of 8 Romanos and his school is Romanos himself. At the same time, the manuscript 9 preserves the old Georgian translation of the hymn. 10 The comparison of the Georgian translation with the text published by 11 Maas shows that the similarity is obvious, but this is not an exact, a word-for- 12 word translation of this text. In the Georgian translation, the troparia of a hymn 13 are more extensive and artistically perfect. George the Athonite seems to have 14 had just such Greek original at hand. This must be a reflection of Medieval 15 Byzantine tradition of the mid 11th century. The structure and metric dimension 16 of the Georgian translation of the hymn must reflect the same tradition. 17 The first of the Georgian translation of this hymn undoubtedly 18 represents the "proomion" or the prologue which is evidenced by the 19 following: 1) The last two lines, with a little difference, are repeated in the rest 20 troparia; 2) The "prooimion" is of different content. It starts with a prayer of 21 supplication to the Savior, where he begs to give him the "gift of a word" – the 22 inspiration for writing a hymn. 23 Adam’s expulsion from the paradise is presented in the hymn with 24 dramatization characteristic to Romanos. Mourning is even more aggravated by 25 the angel who slammed and "banned" the gates of Paradise. 26 The scholarly literature marks the dialogue form characteristic of 27 Romanos’ hymns. It is so in this hymn too. In the 4th troparion of the hymn, 28 Adam appeals to Paradise and asks for help. This is one of the most emotional 29 passages of the hymn. 30 The next (V) troparion also represents an appeal to Paradise and here 31 comes the theme of the Holy Scripture. cf.: Genesis 3: 18. In the following (VI) 32 troparion of the hymn the paraphrase of the corresponding section of the Holy 33 Scripture is given: cf. Genesis 2, 17. 34 The refrain characteristic of the "kontakia" is repeated in every troparion 35 of the hymn. It is interesting to note that the last troparion of the hymn 36 generalization occurs and the supplication is expressed not only on behalf of 37 Adam but of the mankind. 38 In the manuscript Paris 5, the hymn is referred to as "ypakoe" and is set on 39 the Tone 8 and the Hirmos is also indicated: ―Don’t be excluded‖. 40 As a rule, in Paris 5 the Hirmoi are indicated at the beginnings of ―ypakoe‖ 41 – the hymns having an inscription with the name of Romanos. This fact attracts 42 attention, because by the time of Romanos’ activity the metre based on the 43 correspondence of Hirmoi - troparia had not yet existed.

15Paul Maas – Trypanis Constantine, Sancti Romani Melodi Cantica, Oxford, 1963 16FrÜhbyzantinische Kirchenpoesie, I, Anonyme hymnen des V-VI jahrhunderts, ediert von Dr. Paul Maas, Bonn, 1910.

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1 Today it is difficult to say when and by whom the ―arrangement‖ of 2 Romanos’ kontakia according to this new rule occurred. It is noteworthy that 3 the ―Patmos kontakarion‖ which also dates to XI century, Romanos’ 4 "kontakia" in the same rule are set on Hirmoi metres17 5 As it was obvious from the comparison with previous manuscripts, the 6 arrangement of Romanos’s kontakions according to the new rule - putting on 7 the Hirmoi – is attested for the first time in Georgian hymnography in the 8 manuscripts under George the Athonite’s redaction. 9 The strict observance of rhythmic and melodic signs of the hymns, which 10 was associated with great difficulties, is one more peculiarity of George the 11 Athonite’s working method. As it turned out, he did a special work from the 12 viewpoint of establishing the texts and signs of rhythmic division of the hymns 13 written by Georgian hymnographer Ioane Minchkhi included in "Triodion."18 14 He seems to have done similar work with the Georgian translations of 15 numerous hymns translated from Greek included in " LentenTriodion". 16 Thus, the translation of this hymn is of special interest also from the 17 viewpoint of the study of its rhythm and melody. 18 This hymn of Romanos the Melodist appeared to be included in the 19 existing publications of the Greek and Slavic "Lenten Triodions".19 Here, the 20 hymn is also performed on Cheesefare Sunday, and it is not presented 21 separately but included after the 6th of the Hymnographical Canon of 22 Christopher the Protosecret. 23 In these publications of Greek and Slavic "Lenten Triodions", this hymn of 24 Romanos is included without ascribing the name, in the same way as the 25 majority of short size hymns. At the first troparion of the hymn ("The teacher 26 of the ignorant and giver of wisdom "), "kondak" is written and at the rest 27 troparia - "Ikoses". There is also difference in the hymn structure: in the 28 ―Lenten Triodion‖ under George the Athonite’s redaction the hymn contains 7 29 troparia, and in Greek and Slavic "Lenten Triodions" – 5: the 5th and the 6h 30 lacking. 31 The publications of Greek and Slavic "Lenten Triodions" are based on the 32 late tradition of manuscripts, and the "Lenten Triodion" under George the 33 Athonite’s redaction is compiled in the 11th century, on the Black Mountain, 34 one of the most powerful centers of the Christian culture of that time by the 35 person, who at the same time, labored on Athos and was thoroughly familiar 36 with modern Byzantine tradition. 37 The study of the Georgian translations of the heritage of great byzantine 38 hymnographers promises interesting results. It is desirable that foreign 39 specialists participate in this large-scale study together with Georgian 40 scientists. This is a matter for the future.

17Arentzen Thomas and Krueger Derek, Romanos in Manuscript: Some Observations on the Patmos Kontakarion, Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 2016. 18Lela Khachidze, Ioanne Minchkhi’s Poetry, 1987: 61-78 19Τριῴδιον κατανυκτικóν, Rome, 1879: 105; Lenten Triodion, I-II, Moscow, 1975:140-141

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1 Academic edition of the ―Lenten Triodion‖ under George the Athonite’s 2 redaction is prepared and its electronic version will be placed on the Internet. 3 The manuscript of autograph value – Paris. Georg. 5 will be represented as a 4 basis for publication, the body text. 5 All different reading, spelling and pencil errors existing in the Georgian 6 manuscripts - Ath. 59 (XI c.), Ath.38 (XI c.), A-568 (XII-XIII ss.), Jer. 61 7 (XIII-XV ss.), Jer. 130 (XI-XIII ss.), Jer. 67 (XII s.), Jer. 56 (XII-XIII ss.) and 8 Jer.141 (XIII-XV ss.) containing the ―Lenten‖ under George the Athonite’s 9 redaction are reflected in the critical apparatus of the edition. 10 Together with publication there will be published a survey study in 11 which main peculiarities of George the Athonite’s ―Lenten‖ are considered. 12 13 14 References 15 16 Alessandro Maria Bruni, For the Identification of the Autographes of George the 17 Athonite, Tbilisi, 2011. 18 Arentzen Thomas and Krueger Derek, Romanos in Manuscript: Some Observations on 19 the Patmos Kontakarion, Proceedings of the 23rd International Congress of 20 Byzantine Studies, Belgrade, 2016. 21 Description of Georgian Manuscripts, Sinaitic Collection, vol.I, Tbilisi, 1979. 22 Evtychios Tomadakes, Ἰωσὴφ ὁ Ὑμνογράφος. Βίος καὶ ἔργον. Ἀθηνά,1971. 23 FrÜhbyzantinische Kirchenpoesie, I, Anonyme hymnen des V-VI jahrhunderts, ediert 24 von Dr. Paul Maas, Bonn, 1910. 25 Gerard Garitte, Catalogue des manuscrits géorgiens littéraires du Mont Sinaï, Louvain, 26 1956. 27 Grosdidier de Matons J., Hymnes, Saint Ronamus Melodus, Paris, 1964. 28 Ivan Karabinov, Lenten Triodion, Sankt – Peterburg, 1910 (in Russian language). 29 Korneli Kekelidze, Jerusalemite Lectionary, Tbilisi, 1912 (in Russian language). 30 Korneli Kekelidze, History of Old Georgian Literature, 1980 (in Georgian language). 31 Lela Khachidze, The Poetry of Ioane Minchkhi, Tbilisi, 1987 (in Georgian language). 32 Lela Khachidze, Romanos the Melodist and One of the Earlist Examples of Byzantine 33 Hymography, The .Kartvelologist, 27, 2018, 133-156. 34 Lenten Triodion, I-II, Moscow, 1975 (in Slavic language). 35 Maas Paul – Trypanis Constantine, Sancti Romani Melodi Cantica, Oxford, 1963. 36 Momina Maia und Trunte Nicolaus, Triodion und Pentekostarion, Bonn, 2004. 37 Monuments of Old Georgian Literature, vol. II, Tbilisi, 1967 (in Georgian language). 38 Robert Blake, Catalogue des manuscrits G orgiens de la Biblioth que Patriarcale 39 Grecque de Jérusalem, Paris,1922. 40 Robert Blake, Catalogue des manuscrits G orgiens de la Biblioth que de la Laure 41 d'Iviron au Mont Athos, Paris, 1931. 42 Τριῴδιον κατανυκτικóν, Rome, 1879. 43 Tριῴδιον, Αθήνα, 1975. 44

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