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SINGING WOMEN's WORDS AS SACRAMENTAL MIMESIS 277 of the Psalms4, for Instance, and Jesus from the Cross Uttered Psalm 225

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SINGING WOMEN's WORDS AS SACRAMENTAL MIMESIS 277 of the Psalms4, for Instance, and Jesus from the Cross Uttered Psalm 225 SINGING WOMEN’S WORDS AS SACRAMENTAL MIMESIS 1. Introduction Ironically, two phenomena that were basic to Christian experience, even taken for granted, are neglected in modern scholarship. The first concerns what Christians, from Clement of Alexandria through Gertrude of Helfta and long after, understood themselves to be doing when they participated in the liturgy and sacraments. «Sacramental mimesis» proves to be a fitting term to describe the liturgical imita- tion that was described and experienced by Christians as bringing them into likeness with Christ and the saints, and examining such sacramental mimesis enlarges the modern understanding of the patristic, medieval and Byzantine Church. The second phenomenon is the Christian belief in the spiritual equality of the sexes, a belief evident in the Bible, in patristic and medieval sermons and exegesis, and in the decoration of churches. Complementing this evidence are the liturgical prayers and hymns, both Eastern and Western, that are expressed in the words of women of the Bible. Women’s words prove to be instrumental in the common Christian experience of sacramen- tal mimesis. This is dynamic evidence, not just of what the congrega- tion heard in sermons and saw on the church walls, but of what the congregation actively affirmed. For just as all Christians, male and female, cleric and lay, prayed and sang in the words of men, so too every Christian in virtually every liturgy took part by praying and singing women’s words. In Judaeo-Christian tradition one prays in the words of the right- eous who have gone before1. This dynamic use of holy speech is part 1. For the use of prayers recorded in Scripture for Jewish liturgy, see, e.g., A.Z. IDEL- SOHN, Jewish Liturgy and Its Development, New York 1932 (reprint 1967), p. xi et passim; on the influence of Jewish liturgy on Christian, see pp. 301-8; A. BAUMSTARK, Compara- tive Liturgy, rev. B. BOTTE, O.S.B., trans. F.L. CROSS, Westminster, Md. 1958, esp. pp. 43-51. Of the East, Topping observes, «The liturgical acts of song and drama re-enact the actions of the angels in heaven, and the acts of sacred persons in the past»; © RTPM (2003) 275-328 276 C.B. TKACZ of what may be called sacramental mimesis, a phrase derived from Cyril of Jerusalem (315-87), who terms baptism mímjsiv ‘imitation’ of the Passion of Christ2. Sacramental mimesis is the imitation of the actions of Christ and of the saints with the intention of opening one- self thereby to grace. Liturgically re-enacting the physical actions of Christ has received significant attention3. Uttering the words of the saints, however, making their speech acts one’s own, is a complemen- tary aspect of the Christian experience yet to be examined. Praying in the words of the righteous is evident within Scripture itself. The prophets frequently conveyed their message in the words E.C. TOPPING, «A Byzantine Song for Simeon: The Fourth Kontakion of St. Romanos», in: Traditio 24 (1968), pp. 409-20, at p. 413. Professor Ruth Steiner has my cordial thanks for invaluable advice regarding Gregorian chant, the breviary, and resources for their study, and for reviewing the discussion of «Susanna’s Words in Gregorian Chant». Jeffrey Burton Russell graciously critiqued two full versions of this essay, and its presentation has been much strengthened through his astute advice. 2. CYRIL OF JERUSALEM, Mystagogia prote pros tous neophotistous 2.5-6, esp. 2.5.5-6 and 2.6.6, 12-13, see Catéchèses mystagogiques, ed. A. PIÉDAGNET, Paris 1966 (Sources Chrétiennes 126), pp. 114-6. Discussed by R. BORNET, Les commentaires byzantins de la divine liturgie du VIIe au XV e siècle, Paris 1966, pp. 73-76; and R.F. TAFT, S.J., «The Lit- urgy of the Great Church: An Initial Synthesis of the Structure and Interpretation on the Eve of Iconoclasm», in: Dumbarton Oaks Papers 34-35 (1980-1), pp. 45-75, at pp. 62- 63. Sacramental mimesis, a term introduced in this essay and discussed below, corre- sponds roughly to the sensus moralis of patristic analysis, particularly as it pertains to the Christian reception of the sacraments. On typology see J. DANIÉLOU, From Shadows to Reality: Studies in the Biblical Typology of the Fathers, trans. W. HIBBERD, London 1960; A.C. CHARITY, Events and Their Afterlife: The Dialectics of Christian Typology in the Bible and Dante, Cambridge 1966; and C.B. TKACZ, «Typology», Chapter Two, in: The Key to the Brescia Casket: Typology and the Early Christian Imagination, Turnhout – Notre Dame 2001 (Collection des Études Augustiniennes, Série «Antiquité», 165 = Christianity and Judaism in Antiquity Series 15). 3. E. MALE discusses the Christian liturgy as «endless symbolism», citing liturgists from Amalarius of Metz (ninth century) to Gulielmus Durandus (Rationale divinorum officiorum, written 1286); The Gothic Image: Religious Art in France of the Thirteenth Cen- tury, New York 1958, pp. 15-20. Significantly, medieval interpretations of typological as- pects of the liturgy, both Easter vigil and daily mass, match the sources of the late fourth century (see at n. 35 below). From fourth-century instructions explaining the symbolism of the liturgy for catechumens arose mystagogic treatises on the Eucharist by, e.g. Theodore of Mopsuestia and pseudo-Dionysius the Areopagite; R.F. TAFT, S.J., «Com- mentaries», in: A.P. KAZHDAN (ed.), The Oxford Dictionary of Byzantium (hereafter ODB), 3 vols., Oxford 1991, s.v., and TAFT, «Liturgy of the Great Church», p. 63. Simi- larly the Jewish prayer the Qedushshah, widespread by the second century A.D., «origi- nated in circles of mystics, who probably considered it a means of raising themselves up into the Heavens»; J. HEINEMANN, «The Structure and Contents of Jewish Liturgy», in: H. KÜNG et al. (edd.), Christians and Jews, New York 1974-5, pp. 33-39, at p. 38. SINGING WOMEN'S WORDS AS SACRAMENTAL MIMESIS 277 of the Psalms4, for instance, and Jesus from the Cross uttered Psalm 225. Jewish worship from its inception expressed the community’s faith by reciting the Shema, composed of professions from the To- rah6. The early Christian Church continued the Jewish custom of singing Psalms, and this developed into the Liturgy of the Hours; likewise the early Church continued to sing Canticles uttered first by the righteous in response to miracle7. The praises sung after the crossing of the Red Sea and the Canticle of the Three Young Men were sung at Vespers on Holy Saturday, when the liturgy recalls those miracles as prefigurations of Christ’s redemption of mankind8. Pray- ing in the very words used by the righteous in ages past is part of the «iconic nature of liturgy»9. As Cassian (ca. 360-ca. 435) observes in Conferences 10.11.16, through prayerful, meditative repetition the Psalms become the believer’s own words and prayer10. Similarly St. 4. For instance, cf. Isa. 33:15 and Pss. 14:2, 5, 118:37; Jer. 39:18 and Ps. 36:40; Lam. 5:19-20 and Pss. 9:81, 12:1; Dan. 13:35b and Ps. 111.7; Ezek. 19:10 and Ps. 127:3. 5. Also, all four Gospels and the Letter to the Hebrews allude to Psalm 22; E.M. MENN, «No Ordinary Lament: Relecture and Identity of the Distressed in Psalm 22», in: Harvard Theological Review 93.4 (Oct. 2000), pp. 301-41, at n. 118. 6. Deut. 6:4-9, 11:12-21, and Num. 15:37-21; IDELSOHN, Jewish Liturgy, p. xvi; BAUMSTARK, Comparative Liturgy, p. 51; and HEINEMANN, «Structure and Contents of Jewish Liturgy». 7. See, e.g., A.A.R. BASTIAENSEN, «Psalmi, hymni and cantica in Early Jewish-Chris- tian Tradition», in: Studia Patristica 21, ed. E.A. LIVINGSTONE, Louvain 1989, pp. 15-26. On the development of Christian praying and singing psalms at regular hours, see R.F. TAFT, S.J., The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today, 2nd ed. rev., Collegeville, Minn. 1993; and ID., «Select Bibliog- raphy on the Byzantine Liturgy of the Hours», appendix to «The Byzantine Office in the Prayerbook of New Skete», in: Orientalia Christiana Periodica 48 (1982), pp. 358-70. 8. See J. BAUDOT, O.S.B., The Lectionary: Its Sources and History, trans. A. CATOR, London 1910, p. 47; J. MEARNS, The Canticles of the Christian Church, Eastern and West- ern, in Early and Medieval Times, Cambridge 1914, pp. 18-24; H. SCHNEIDER, «Die biblischen Oden im Mittelalter», in: Biblica 30 (1949), pp. 26-65, 239-72, 433-52, 479- 500; R. STEINER, «The Canticle of the Three Children as a Chant of the Roman Mass», in: Schweizer Jahrbuch für Musikwissenschaft, N.S. 2 (1982), pp. 81-90. For Coptic, see Y. ˆABD AL-MASIH, «The Hymn of the Three Children in the Furnace», in: Bulletin de la Société d’Archéologie Copte 12 (1946), pp. 1-15. 9. R.F. TAFT, S.J., «The Liturgy in the Life of the Church», in: Eastern Churches Journal 7.2 (Summer 2000), pp. 65-106, at p. 70. Typology is also made explicit in the liturgical prayers and in the proper hymns; e.g. R.J. REICHMUTH, Typology in the Genuine Kontakia of Romanos the Melodist, Ph.D. diss., University of Minnesota, 1975. 10. JOHN CASSIAN, Conlationes XXIIII, ed. M. PETSCHENIG, CSEL 13.2.303-6 esp. at 304.16-20: «… psalmorum adfectus in se recipiens ita incipiet decantare, ut eos non tamquam a propheta conpositos, sed uelut a se editos quasi orationem propriam 278 C.B. TKACZ Gertrude the Great of Helfta (1256-1301/2) describes singing the responsorium «Vidi Dominum facie ad faciem, etc.» during the cel- ebration of the Transfiguration: As she sang the words the man Jacob uttered after he had wrestled with God (Gen.
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