The Theological Voice of Kassiani

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THE CHURCH ACROSS TIME The Theological Voice of Kassiani

Susan Arida

1 Christos Yannaras, In his book The Freedom of Morality, a child confessor, a defender of icons The Freedom of Mo- Christos Yannaras cites the Hymn of during the final wave of iconoclasm, rality (Crestwood: St the Nun Kassiani in his discussion of and a prolific composer of hymnogra- Vladimir’s Seminary the “unsearchable immensity” in the phy and non-liturgical poetry.3 While Press, 1984), 45. sin of the human person and the im- the key dates of her biography are 2 measurable mercy of a personal God somewhat difficult to pin down, Anna Other women hym- 1 nographers include for the truly repentant human person. Silvas has determined she was likely Theodosia, Thekla, Sung in the Orthodox Church at the born around 810 and died around and Palaiologina. Bridegroom Matins and the Liturgy of 865.4 On the liturgical calendar, she is the Presanctified Gifts for Great and commemorated on September 7.5 3 The Oxford Dictio- Holy Wednesday, the Hymn of the nary of Byzantium, ed. Alexander P. Kazh- Nun Kassiani is a profound theologi- Coming from an aristocratic family, dan and Alice-Mary cal statement that conveys the kenotic Kassiani enjoyed the advantage of an Talbot (New York: love of Christ for his creation in spite educational curriculum that featured Oxford University of its “multitude of sins.” Greek language, theology, and sacred Press, 1991), 1109. music, as well as classical philosophy It is rare in Orthodox theological dis- and literature. Much of what else we 4 Anna Silvas, cussions for a woman to be quoted as know about the young Kassiani can be “Kassia the Nun c. 810–865: An Appreci- an authority, so it is surprising, yet traced to three extant letters written to ation,” in Byzantine gratifying, to find Yannaras drawing her by her monastic mentor Theodore Women: Varieties of on Kassiani. Though it is likely that (759–826), abbot of the famous Stoud- Experience, 800–1200, many of her writings have been lost, ios Monastery in Constantinople. ed. Lynda Garland extant material shows that Kassiani (London: Ashgate, 2006), 17. made significant contributions to the These letters, which have been trans- intellectual and spiritual ethos that lated by Silvas, are estimated to have 5 It has been sug- form the Orthodox tradition. To be- been written in the 820s. They respond gested that, “while come better acquainted with Kassiani, to several issues, including Kassiani’s recognized as a first we will look at the details of her life, desire for a monastic vocation and, as rate hymnographer, including two significant incidents in this excerpt, her involvement with Kassiani has been denied canoniza- that provide historical and theologi- the iconoclastic persecutions: “In- tion” until recently. cal context for her work, and at texts deed, I hear of your noble deeds from Antonia Tripolitis, that convey her unique perspective Dorotheos, our spiritual child, who Kassia: The Legend, through several recurring themes. is imprisoned very near you. Do you the Woman and Her know what it is you do? You partici- Work (New York: Garland Publishing, Of the four known women hymnogra- pate with him in the struggle. . . .” In 1992), xi. phers of the Byzantine period, Kassi- a subsequent letter, Theodore recog- ani (also known as Cassia, Kasia, and nizes her willingness to endure perse- Ikasia) is the most famous.2 She was cution for her faith: “Indeed, you have

72 already chosen to suffer for Christ in maintaining their virtue. As a young this present persecution—as though it woman, Kassiani appeared at a so- were not enough that you were beaten called “bride show.”6 Bride shows, in the past—and again, you chafe be- organized by the dowager empresses, cause you are unable to endure your were staged to give appropriate can- burning longing for the good confes- didates the opportunity to compete sion. . . .” for marriage to the emperor. Kassiani was among several “finalists” who Beyond Kassiani’s suffering for her appeared before the iconoclastic em- faith, Theodore commends her ability peror, Theophilos. Byzantine histori- to articulate her faith. In another letter ans record the emperor approaching he states: Kassiani and saying, “What a flood 6 See Kurt Sherry, of terrible things came through a Kassia the Nun in Con- Once more, your Decorum has woman.” This provocative statement, text (Piscataway, N.J.: expressed to us things so wise seen as an allusion to the sin of Eve, Gorgias Press, 2013), and understanding, that it is right seems to be a direct challenge to Kas- 120–131. for me to be astonished and give siani, perhaps in view of her opposi- thanks to the Lord when I see tion to iconoclasm. Kassiani’s bold such knowledge in a maiden lately response, “But also through woman sprung. While you have not sur- better things spring”—referring to passed those of old, of whose wis- the incarnation through the Virgin dom and education we in this gen- Mary—demonstrates her mind and eration, both men and women, fall character. By pointing to the dynamic far short—and immeasurably so— between Eve and the Virgin, Kas- you have so with regard to those of siani’s reply prefigures a recurring the present, since the fair form of theme of her hymnography. It is likely your discourse has far more beauty that Theophilos was not impressed than a mere specious prettiness. with Kassiani’s “theology,” however. He married Theodora instead. In writing “once more,” Theodore im- plies that her thought is consistently Some time after the bride show, Kas- well formulated and marked by an siani entered a monastery, fulfilling exceptional articulation of faith. In an earlier desire to pursue a monastic these quotations, we see that a monk vocation. In 843, following the end of not known for flattery or ostentatious iconoclasm, Kassiani became the ab- comments recognizes in Kassiani a bess of a convent on Xerolophos, a hill person of devout faith and an incipi- near the Stoudios community, which ent theologian. The respect that The- had established itself as a nexus of odore apparently had for this young creativity for the liturgical arts in the woman may have been the basis for ninth century. Not much is known Kassiani’s future partnership with the about Kassiani’s monastery, but it is Stoudios monastics, which led them likely that the hymnography she com- to include her hymns in the new ser- posed there between 843 and 865 was vice books they were compiling. originally chanted by choirs of nuns. She probably wrote a much larger In the eighth and ninth centuries, aris- body of work than the 49 hymns and tocratic Byzantine girls such as Kassi- 261 non-liturgical verses that are ex- ani were pushed to prime themselves tant. Most surprising, however, is that at an early age for marriage at court at least 23 of her hymns were accepted by excelling in their education and by by the Stoudios scriptorium and were

The Wheel 9 / 10 | Spring / Summer 2017 73 incorporated into what became the Passover with Miriam and the other Triodion and the Menaion. women who crossed the Red Sea.

Hymnography composed by Kassiani Though this canon was known to have may be familiar because it is still sung been written by Kassiani, it became during the liturgical year in Orthodox associated with Kosmas (685–750), parishes. For example, attributed to Bishop of Maiouma in Phoenicia. In Kassiani in the Festal Menaion is the the tenth century, Bishop Marcus of doxastikon for “Lord, I Call” sung at Hydrous in Italy composed five addi- Vespers for the Nativity of our Lord, tional odes, to complete the nine-ode “When Augustus Ruled the Earth.” canon sung today. Tripolitis states In the Lenten Triodion, the doxas- that, though texts of Kassiani’s tetrao- 7 According to Tri- politis, the twelfth- tikon for the Matins Aposticha sung dion can be found in manuscript form century poet and on Great and Holy Tuesday, “The on Mount Athos, the church’s hierar- dramatist Theodoros Woman who had Fallen into Many chy did not acknowledge Kassiani’s Prodromos wrote Sins,” and the irmoi for the first four work after the ninth century, since it that the Tetraodion was composed by canticles of the canon sung on Great was considered improper for hymns Kassiani, but church and Holy Saturday, were also com- composed by a woman to be included authorities “did posed by Kassiani. in liturgical books.7 The Triodion cur- not want to credit a rently in use, however, attributes the woman for compos- “When Augustus Ruled the Earth” is canon to both Kassiani and Bishop ing a hymn sung on one of the most a stately hymn focused on the theol- Marcus. important feasts.” ogy of the incarnation. “When you Tripolitis, Kassia, xii. were made man of a pure virgin, While some believe that the Hymn of

8 the many gods of idolatry were de- the Sinful Woman is autobiographical, See my forthcoming article “More than stroyed.” Kassiani’s text stresses that it is fairly clear from what we know of One Story: Another the incarnation is the basis for the Kassiani’s life that this is not accurate. Look at the Woman veneration of icons, by distinguish- Nevertheless, the voice of the com- Who Anoints Jesus ing between worship of matter and of poser can be heard clearly in the text.8 and the Hymn of Kassiani,” in Encoun- the “God who was made man” from Kassiani places the sinful woman tering Women of Faith: matter. Additional hymns for the among the myrrhbearers, connecting St. Catherine’s Vision, Vespers of the Nativity, which have the recurring themes of kenotic love vol. 3, ed. Kyriaki been translated by Antonia Tripolitis, and penitential tears. Beginning the Karidoyanes FitzGer- ald (Brookline, MA: are extant but are not found in the text with “The woman who had fallen Holy Cross Orthodox Festal Menaion. into many sins, O Lord,” she tenderly Press). transforms the image of a fallen woman Of great beauty is Kassiani’s canon for into a woman who falls down in repen- Great and Holy Saturday. The irmos tance, weeping at the Savior’s feet. No of the first canticle reads: “Of old you longer hiding from God like Eve, this buried the pursuing tyrant beneath tearful woman perceives that God is the waves of the sea. Now the children before her and, in knowing that, can- of those who were saved bury you be- not remain standing. Kassiani uses neath the earth, but like the maidens, tears to show the woman’s self-emp- let us sing to the Lord, for gloriously tying of sin. The hymn begs the Lord has he been glorified.” In this hymn, to “accept a fountain of tears,” giving she not only proclaims the joy of the us an image of renewal like the earth new Passover, the theme of Holy after rain—but a renewal that origi- Saturday, but draws her community nates in God, who “gathered the wa- into the hymn, celebrating the new ters of the sea into the clouds.”

74 Reflecting on the kenotic love of God, Kassiani describes his creation of heaven and earth and his ineffable entrance into his creation. In Genesis, God walked in paradise; Kassiani con- trasts Eve, who hid in fear from God, to a woman who weeps at the feet of the God-Man. In the plea, “do not de- spise your servant in your immeasurable mercy,” Kassiani connects Eve to this tearful woman, suggesting that the woman’s tender embrace and her anointing of Jesus is the culmination of a repentance that will free Eve, through the death and resurrection of the one who is anointed. Speaking in the first person, Kassiani does not sep- arate herself from the sinful woman or from Eve, but gives voice to their words, so that they also speak for her, for all women, and in fact for all humanity, revealing this act to have a cosmic and eschatological character. In this moment, a woman, in asking her Savior to hear her wordless lament, captures for all of humanity the re- ality of an intimate relationship with the God who does not abandon those who yearn for him. She cries “Woe is me!” expressing the sorrow that fills the hearts of those who discover that and a verse for the Praises honoring 9 Tripolitis, Kassia, in their nearness to God, they remain Great Martyr Barbara (December 4). xi-xiii. far away. Having emptied herself of In addition, Kassiani composed the the fear that trapped Eve, the tear- doxastikon for the Vespers Aposticha ful woman in Kassiani’s hymn sheds which appears in the Triodion and tears of love, which bring her to the is sung for Mary of Egypt. In these transformative presence of the Savior. hymns, Kassiani reprises her signa- In spite of her many sins, she receives ture themes of kenosis, Mary as the his “immeasurable mercy.” new Eve, and the renewal of creation through the watering of a penitent’s Manuscripts from three different tears.9 sources name Kassiani as the hymnographer for other, lesser known works These themes also appear in the hymn in the Menaion, such as the doxastika for Saint Barbara. Bringing to mind her for the Matins Praises honoring the dialogue about women with the icon- Great Martyr Thekla (September 24), oclastic emperor Theophilos, Kassiani for the Vespers “Lord, I Call” honor- honors the victory of Barbara over the ing the Pious Pelagia (October 8), and Evil One. She bookends salvation his- for the Vespers “Lord, I Call,” hon- tory with Eve, who in the beginning oring the Martyr Eudokia (March 1), was an instrument of sin, and Mary,

The Wheel 9 / 10 | Spring / Summer 2017 75 the new Eve, who provides flesh for the entire creation.” Kassiani’s hymn the incarnate Word of the Father. conveys to us that this is why Barbara Here is the hymn for St. Barbara as it is crowned! appears in the December Menaion: The nun Kassiani was a woman of the The evil one has been dishonored, Church, who went beyond traditional defeated by a woman, because he expectations to contribute to the devel- held the First-Mother as an instru- opment of Orthodox liturgy. Growing ment of sin; for the Logos of the up during the final phase of the strug- Father, simple and immutable, as gle against iconoclasm, nurtured by only he is known, was made flesh the spiritual wisdom of Theodore the

10 of a Virgin and removed the curse Studite, and later herself tonsured a Ibid., 13. of Eve and Adam, Christ deserv- monastic, Kassiani was immersed in edly crowned Barbara the Martyr, theology for her entire life. We can be and through her gives to the world grateful that her hymns, which con- a means of atonement and great vey a unique theological perspective, mercy.10 were not discarded. Focused primar- ily on incarnational theology, Kassi- For Kassiani, Barbara’s victory over ani’s poetic texts touch the heart. Her the adversary of God liberates Eve emphasis on the kenotic love of Christ and Adam, and all of creation, from conveys a cosmic and eschatological sin and death. She engages in this fight vision which, according to Yannaras, because the “Logos of the Father” be- expresses a personal experience that came incarnate, born of the woman is the “encounter between freedom Mary. Once again, for Kassiani, the act and love,” and where, in spite of our of one person, in this case Barbara, has “immeasurable sins,” we find life as a cosmic and eschatological affect, in communion with God. Wider discus- which Christ grants the “whole world sion of Kassiani’s work could encour- forgiveness and salvation.” It is impor- age twenty-first-century Orthodox tant to note that for Kassiani, this vic- women to develop theological voices © 2017 The Wheel. May be distributed for tory is not Barbara’s personal triumph and to engage, as did Kassiani, in the noncommercial use. over sin and death, but a martyrdom relevant and ongoing work of the www.wheeljournal.com that brings “mercy and forgiveness to Church in our time.

Susan K. Arida is a founding member of Saint Catherine’s Vision and director of Boston’s YMCA International Learning Center. She is a member of Holy Trinity Orthodox Cathedral in Boston, and attended Saint Vladimir’s Seminary.