Small Compline with Canon and Akathist Hymn (Third Friday in Great Lent)
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OCTOECHOS – DAY of the WEEK Tone 1 – 1St Canon – Ode 3
OCTOECHOS – DAY OF THE WEEK Tone 1 – 1st Canon – Ode 3 – Hymn to the Theotokos You conceived God in your womb through the Holy Spirit, and yet remained unconsumed, O Virgin. The bush unconsumed by the fire clearly foretold you to the lawgiver Moses for you received the Fire that cannot be endured. Monday – Vespers / Tuesday - Matins: Aposticha – Tone 1 O VIRGIN, WORTHY OF ALL PRAISE: MOSES, WITH PROPHETIC EYES, BEHELD THE MYSTERY THAT WAS TO TAKE PLACE IN YOU, AS HE SAW THE BUSH THAT BURNED, YET WAS NOT CONSUMED; FOR, THE FIRE OF DIVINITY DID NOT CONSUME YOUR WOMB, O PURE ONE. THEREFORE, WE PRAY TO YOU AS THE MOTHER OF GOD, // TO ASK PEACE, AND GREAT MERCY FOR THE WORLD. Tone 2 – Saturday Vespers & Friday Vespers (repeated) – Dogmaticon Dogmatic THE SHADOW OF THE LAW PASSED WHEN GRACE CAME. AS THE BUSH BURNED, YET WAS NOT CONSUMED, SO THE VIRGIN GAVE BIRTH, YET REMAINED A VIRGIN. THE RIGHTEOUS SUN HAS RISEN INSTEAD OF A PILLAR OF FLAME.// INSTEAD OF MOSES, CHRIST, THE SALVATION OF OUR SOULS. Tone 3 – Wed Matins – 2nd Aposticha ON THE MOUNTAIN IN THE FORM OF A CROSS, MOSES STRETCHED OUT HIS HANDS TO THE HEIGHTS AND DEFEATED AMALEK. BUT WHEN YOU SPREAD OUT YOUR PALMS ON THE PRECIOUS CROSS, O SAVIOUR, YOU TOOK ME IN YOUR EMBRACE, SAVING ME FROM ENSLAVEMENT TO THE FOE. YOU GAVE ME THE SIGN OF LIFE, TO FLEE FROM THE BOW OF MY ENEMIES. THEREFORE, O WORD, // I BOW DOWN IN WORSHIP TO YOUR PRECIOUS CROSS. Tone 4 – Irmos of the First Canon – for the Resurrection (Sat Night/Sun Morn) ODE ONE: FIRST CANON IRMOS: IN ANCIENT TIMES ISRAEL WALKED DRY-SHOD ACROSS THE RED SEA, AND MOSES, LIFTING HIS HAND IN THE FORM OF THE CROSS, PUT THE POWER OF AMALEK TO FLIGHT IN THE DESERT. -
THO 3347 (H 2015) – Glossary of Terms
THO 3347 (H 2015) – Glossary of Terms Akathist Literally, “not standing.” A hymn dedicated to our Lord, the Theotokos, a saint, or a holy event. Aposticha The stichera sung with psalm verses at the end of Vespers and Matins. These differ from the stichera at Psalm 140 (Vespers) and at the Praise Psalms (Matins), which are sung with fixed psalms, in that the psalm verses used (pripivs) vary with the day or feast, and do not end the singing of the whole psalm. See also stichery na stichovnych. Archieratikon Тhе book containing texts and rubrics for the solemn Hierarchical (a.k.a. Pontifical) Divine Liturgy. The Archieratikon also contains the sacrament of Ноlу Orders and special blessings and consecrations. Canon A system of nine odes (the Second Ode is sung only during Great Lent) sung at Matins after Psalm 50 and before the Praises. Each ode is connected traditionally with a scriptural canticle (see below for the nine scriptural canticles) and consists of an Irmos, a variable number of troparia and, on feasts, a katavasia. After the Third Ode a sidalen is usually sung, and after the Sixth Ode a kontakion and ikos, and after the Ninth Ode, the Svitelen is sung. The Canon has its own system of eight tones. Domatikon A theotokion sung after “Now…” (or “Glory… Now…”) at the end of Psalms 140, 141, 129, and 116 at Vespers on Friday and Saturday evenings, and on the eve of a Polyeleos saint or saints with a vigil in the same tone as the last sticheron of the saint (at “Glory…”). -
Constructing the Underground Community: the Letters of Theodore the Studite and the Letter of Emperors Michael Ii and Theophilos to Louis the Pious
Vladimir Baranov Novosibirsk, Russia [email protected] CONSTRUCTING THE UNDERGROUND COMMUNITY: THE LETTERS OF THEODORE THE STUDITE AND THE LETTER OF EMPERORS MICHAEL II AND THEOPHILOS TO LOUIS THE PIOUS The Le er of the Iconoclastic Emperors Michael II and Theophilos to Louis the Pious1 (dated to 824) contains a list of off ences that were allegedly commi ed by the Iconodules against what they considered the right practices of the Church. Their list includes the substitution of images in churches for crosses, taking images as godparents, using images to perform the cu ing of children’s hair and monastic habit, scraping paint of images to be added to the Eucharist or distributing the Eucharistic bread from the hands of images, as well as using panel images as altars for serving the Liturgy in ordinary houses and church- es.2 Of course, these might have been easily treated as fi ction and pro- (1) Emperor Theophilus (b. 812/813) was crowned co-Emperor in 821 by his Father Michael II (820–829), and this is why his name appears on the Let- ter. However, since in 824 he was only a 12-year old boy, for the Le er I will use the short title “Le er of Michael II.” (2) The Le er is preserved in the MGH, Leg. Sect. III, Concilia, tomus II, pars 2, Concilia aevi Karolini I (Hannover—Leipzig, 1908, repr. 1979) 475–480; Mansi, XIV, 417–422; the pertinent passage is translated in C. Mango, The Art of the Byzantine Empire 312–1453: Sources and Documents (Toronto: University of Toronto Press, 1986) 157–158. -
A Concise Glossary of the Genres of Eastern Orthodox Hymnography
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section III: Miscellanea, pp. 198–207 ISSN 2342-1258 https://journal.fi/jisocm A Concise Glossary of the Genres of Eastern Orthodox Hymnography Elena Kolyada [email protected] The Glossary contains concise entries on most genres of Eastern Orthodox hymnography that are mentioned in the article by E. Kolyada “The Genre System of Early Russian Hymnography: the Main Stages and Principles of Its Formation”.1 On the one hand the Glossary is an integral part of the article, therefore revealing and corroborating its principal conceptual propositions. However, on the other hand it can be used as an independent reference resource for hymnographical terminology, useful for the majority of Orthodox Churches worldwide that follow the Eastern Rite: Byzantine, Russian, Bulgarian, Serbian et al., as well as those Western Orthodox dioceses and parishes, where worship is conducted in English. The Glossary includes the main corpus of chants that represents the five great branches of the genealogical tree of the genre system of early Christian hymnography, together with their many offshoots. These branches are 1) psalms and derivative genres; 2) sticheron-troparion genres; 3) akathistos; 4) canon; 5) prayer genres (see the relevant tables, p. 298-299).2 Each entry includes information about the etymology of the term, a short definition, typological features and a basic statement about the place of a particular chant in the daily and yearly cycles of services in the Byzantine rite.3 All this may help anyone who is involved in the worship or is simply interested in Orthodox liturgiology to understand more fully specific chanting material, as well as the general hymnographic repertoire of each service. -
The Great Canon of St. Andrew of Crete
THE GREAT CANON OF SAINT ANDREW OF CRETE ON MONDAY OF THE FIRST WEEK OF GREAT LENT DURING THE GRAND COMPLINE, WE BEGIN THE FIRST SECTION OF THE GREAT CANON AFTER THE READING OF PSALM 69 (70). THE REFRAINS ARE SUNG AFTER EACH TROPARION. AT EACH REFRAIN WE MAKE THE SIGN OF THE CROSS AND A FULL PROSTRATION. ODE 1 TONE 6 Irmos: A helper and a protector, He has become my salvation. This is my God, I will glorify Him, my father’s God will I exalt, for gloriously has He been glorified. Refrain: Have mercy on me, O God, have mercy on me. TROPARIA Where shall I begin to lament the deeds of my wretched life? How shall I begin, O Christ, to relieve my present tears? But as Thou art deeply compassionate, grant me forgiveness of sins. Come, O wretched soul, and together with thy body confess to the Creator of all so that henceforth, thou shalt abstain from thy past foolishness and offer tears of repentance to God. Having rivaled the first-formed Adam by my transgressions, I have found myself stripped naked of God, of the everlasting kingdom and all of its delights, because of my sins. Woe is me, O wretched soul, for thou art become like the first Eve! For thou hast looked in wickedness and wast bitterly wounded; for thou hast touched the tree and rashly tasted the forbidden fruit. In the place of the physical Eve, the temptation of Eve hath taken flesh in my mind, showing me what seems to be sweet; but making me taste and swallow bitterness. -
Exegesis of Biblical Theophanies in Byzantine Hymnography: Rewritten Bible?
Theological Studies 68 (2007) EXEGESIS OF BIBLICAL THEOPHANIES IN BYZANTINE HYMNOGRAPHY: REWRITTEN BIBLE? BOGDAN G. BUCUR The article discusses the interpretation of biblical theophanies in Byzantine hymns associated with the so-called Improperia tradition. After presenting the exegesis of specific theophanies as exemplified in hymns, the author argues that this type of exegesis is difficult to frame within the categories commonly used to describe patristic exegesis. He suggests that patristic scholars should instead consider the category “Rewritten Bible” current among scholars of the Old Testament Pseudepigrapha. HE INTERPRETATION OF BIBLICAL THEOPHANIES holds an important T place in the polemical and catechetical articulation of early Chris- tianity’s religious claims. While considerable attention has been given to the exegesis of theophanies in the New Testament and other early Chris- tian (especially pre-Nicene) writings, the use of theophanies in Christian hymns has received far less attention. This is unfortunate, because by the very nature of its performative character, hymnographic material has en- joyed a wider circulation and reception than most patristic writings. The following pages will take into consideration Byzantine hymns of a distinct type, whose roots stretch back to the early patristic era, and that are stillin use in Eastern Orthodox worship. I will first discuss the hymnographic exegesis of specific biblical theophanies (e.g., God’s manifestation to Abra- ham, Jacob, Moses, Isaiah, Ezekiel) and then attempt to “categorize” this type of exegesis. As will become apparent, the biblical exegesis present in these hymns is difficult to frame within the categories commonly used to describe patristic exegesis. Perhaps surprisingly, it appears that the closest parallels can be drawn to the category “Rewritten Bible,” current among scholars who investigate the biblical interpretation of the Old Testament Pseudepigrapha. -
Kassia: a Female Hymnographer of the 9Th Century SPYROS PANAGOPOULOS
Proceedings of the 1st International Conference of the ASBMH page 111 Kassia: A female hymnographer of the 9th century SPYROS PANAGOPOULOS Introduction For over 1.000 years many men and a few women wrote hymns in Byzantium. Their contribution to world literature and to Greek letters constitutes a vast and priceless treasure of sacred poetry. It’s impossible to exaggerate the value of this hymnography, since it expresses, as nothing else can, the spiritual riches, faith and beauty of Eastern Christendom. Some of these hymns are still chanted today in many languages in Orthodox Churches in every part of the world. Others remain unknown. Hidden in manuscripts stored in monastic libraries, they wait to be discovered and to be edited.78 It’s obvious that the Byzantine female hymnography was not flourished especially in Byzantium. We have the names of hundreds male hymnodists who came from all parts of the oikoumene, from Greece, Italy, Palestine, and Syria, as well as from the islands of Cyprus, Crete and Sicily. These hymnodists came of all classes of Byzantine society, from the obscure man who signed his hymn ὁ ἀμαρτωλός (the sinner) to the Emperor Justinian (527‑565), who wrote in imperial red ink the troparion ὁ μονογενὴς υἱός, and then ordered its insertion into the Divine Liturgy. Despite the great number of male hymnodists, we know only six feminine names that composed hymns: Γρηγορίς, Μάρθα, Θεοδοσία79, Θέκλα80, Κασσία and Παλαιολογίνα.81 The fame of Kassia the Melodist outshines by far all other women writers in both medieval and Modern Greek writers. 78 For an introduction in Bzyantine Hzmnography there is a vast bibliography. -
Byzantine Hymnography and the Quest for Orthodox Unity: Notes on the Liturgical Commemoration of the Council of Chalcedon, Towar
Byzantine Hymnography and the Quest for Orthodox Unity: Notes on the Liturgical Commemoration of the Council of Chalcedon, Towards the Reconciliation of “Eastern” and “Oriental” Churches Gregory Tucker* Among the issues remaining to be addressed along the path to reconciliation between the “Eastern” and “Oriental” Orthodox is the characterisation of Oriental teachers as heretics in the liturgical texts of the Byzantine Rite. The mere suggestion of liturgical revision to reflect the agreement that multiple theological vocabularies are legitimate and therefore theologians associated with them should not be anathematized or deprecated has been met with fierce opposition from some Eastern Orthodox. This paper considers what might actually be involved in such a revision, taking as an example the texts for the commemoration of the Council of Chalcedon. It suggests that the extent of necessary revision would be far less than is perhaps feared. Keywords: Chalcedon, liturgy, liturgical revision, Byzantine Rite, Eastern Or- thodox, Oriental Orthodox Introduction From an Orthodox perspective, one of the great fruits of modern ecumen- ism1 has been the inauguration of a new phase in the relationship between the “Eastern” and “Oriental” Orthodox churches.2 An unofficial bilateral dialogue began in 1964, which became an official dialogue in 1985. Initial conversations correctly prioritised discussion of contested points in Chris- tology (disagreement over which contributed significantly to and, to a large * Gregory Tucker, Universität Regensburg, Universitätsstr. 31, 93503 Regensburg, Germa- ny, [email protected] 1 This paper will not address opposition on principle to ecumenical dialogue (including dialogue between separated Orthodox groups) which is a common–indeed, characteristic– feature of some traditions within contemporary Eastern Orthodoxy. -
The Ecclesiological Precepts of Saint Theodore the Studite in Response to Mr
The Ecclesiological Precepts of Saint Theodore the Studite In Response to Mr. Tsingos* I The present year saw the publication of a voluminous doctoral dissertation by Vasilios A. Tsingos, entitled ÉEkklhsiologik¢w Y°seiw toË ÑAg¤ou Yeod≈rou toË Stoud¤tou: AÈyent¤a ka‹ Prvte›o [St. Theodore the Studite’s Ecclesiological Precepts: Legitimacy and Pri- macy] (Thessaloniki: Orthodoxos Kypsele Publications, 1999, pp. 406). After a lengthy “General Introduction” (pp. 15-37) followed by three chapters in which the author makes a laborious effort to delin- eate the teaching of St. Theodore the Studite (Chapter 1, “Regarding the Church” [pp. 39-143]; Chapter 2, concerning the “Sources and Bearers of Ecclesiastical Authority” [pp. 145-246]; and Chapter 3, on “The Primacy of the Bishop of Rome” [pp. 247-359]), Mr. Tsingos’ dissertation ends with “Conclusions” and a “Summary” [in English— Trans.] (pp. 361-366, 367-368), a detailed bibliography (pp. 369- 394), and an index of names and subjects (pp. 395-406). He emphasizes that St. Theodore’s “teaching” with regard to the aforementioned issues “has a unique ecumenical significance” (p. 8), and it is clearly his assertion that the Saint’s “views” should be re- garded as a substantive response “to the fundamental, thorny, and hotly debated issues and problems that have occupied and continue to occupy the entire Church and professional theological research, as well as the contemporary ecumenical movement,” since by way of “Studite doctrine,” the tradition and experience of the Church, which constitute “the ultimate criterion for any kind of concord or disagree- ment...in an era of inter-Christian dialogues,” are reformulated (p. -
Holy Ascension of Christ Orthodox Church Holy Fathers of the First
Православная Церковь Вознесения Христова Holy Ascension of Christ Orthodox Church Ὀρθόδοξος Ἐκκλησία Ἀναλήψεως τοῦ Χριστοῦ Pentecostarion Holy Fathers of the First Ecumenical Council Tone 6 Great Vespers Blessed is the Man At Lord I have cried: Octoechos 3; Ascension 3; Fathers 4; Glory: Fathers; Both now: Dogmatic Theotokion in the tone of the week Readings: 3 for the Holy Fathers Aposticha: Octoechos; Glory: Fathers; Both now: Ascension Troparia: Fathers twice; Ascension, once Matins After God is the Lord: Octoechos, twice; Glory: Fathers; Both now: Ascension After each Kathisma: Sessional Hymns of the Octoechos Evlogitaria Hypakoï, Hymns of Ascent, Prokeimenon in the tone of the week Matins Gospel 10 Having beheld the Resurrection; Psalm 50; Glory: Through the prayers of the Apostles; Both now: Through the prayers of the Theotokos; Have mercy on me, O God; Jesus having risen from the grave Canon Octoechos 2 Glory to Thy Holy Resurrection, O Lord Ascension 2 Glory to Thee, our God, glory to Thee Fathers 4 Holy God‐bearing Fathers, pray to God for us Katavasia Covered by the divine cloud… After Ode 3: Kontakion and Ikos of Ascension; Sessional Hymns of the Fathers; Glory; Fathers; Both now: Ascension After Ode 6: Kontakion and Ikos of the Fathers After Ode 8: My soul doth magnify... Holy is the Lord, our God Exapostilaria: Gospel 10; Glory: Fathers; Both now: Ascension Praises: Octoechos 4; Fathers 4; Glory: Fathers; Both now: Most blessed art thou… After the dismissal: Glory, Both now: Gospel 10 Sticheron At the Hours Troparion: Octoechos; Glory: Ascension / Fathers alternating Kontakion: Ascension / Fathers, alternating . -
Great Compline Served with the Canon of St Andrew
Great Compline with the Canon of St. Andrew of Crete Priest: Blessed is our God, always now and ever and unto ages of ages. Reader: Amen. Glory to You, our God, glory to You. O Heavenly King, the Comforter, the Spirit of Truth, Who are everywhere and fill and things. Treasury of blessings and Giver of Life, come and abide in us, and cleanse us from every impurity and save our souls, O Good One. Holy God, Holy Mighty, Holy Immortal, have mercy on us. 3x Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen. Most Holy Trinity, have mercy on us. O Lord, cleanse us from our sins, O Master, pardon our transgressions. O Holy One, visit and heal our infirmities, for Your Name’s sake. Lord, have mercy. Lord, have mercy. Lord, have mercy. Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen. All: Our Father, Who art in heaven, hallowed be Thy name. Thy kingdom come. Thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive those who trespass against us; and lead us not into temptation, but deliver us from the evil one. Priest: For Yours is the Kingdom and the power, and the glory: of the Father, and of the Son, and of the Holy Spirit, now and ever and unto ages of ages. -
Sinai, Zion, and Eden in Byzantine Hymnographic Exegesis1
Bogdan G. Bucur PiĴ sburgh, PA “THE MOUNTAIN OF THE LORD“: SINAI, ZION, AND EDEN IN BYZANTINE HYMNOGRAPHIC EXEGESIS1 Introduction In the manifesto of the “Theophaneia School,“ Alexander Go litzin ventures the following bold statement: Theophany permeates Orthodox Tradition throughout, informing its dogmatic theology and its liturgy. That Jesus, Mary’s son, is the very One who appeared to Moses and the prophets — this is the consistent witness of the ante-Nicene Fathers, and remains founda- tional throughout the fourth century Trinitarian controversies and the later christological disputes.2 In the pages to follow, I would like to show that, aside from the his- tory of creeds, councils, and condemnations, and accompanying the patristic works of Christology or trinitarian theology, the identifi cation of the Son of Mary with “the Lord of Glory whom Moses saw of old“ is also aĜ rmed by the hymnographic tradition of the Christian East. The witness of Byzantine hymnography is extremely relevant, as no single patristic work has been read so extensively and with such uncondi- tional acceptance throughout the ages. Nevertheless, as I will show, the exegetical dimension of Byzantine hymnography is diĜ cult to de- fi ne using the categories commonly used for early Christian exegesis (“allegory,“ “typology,“ etc); I submit that a more suitable category (1) Except where indicated, the English translation of the hymns is taken from The Festal Menaion (trans. Mother Mary and Kallistos Ware; London— Boston: Faber&Faber, 1969) and The Lenten Triodion (trans. Mother Mary and Kallistos Ware; London—Boston: Faber&Faber, 1977), modifi ed only to con- form to contemporary use of pronouns and verbs.