AHMOEIETMATA THE ETAIPEIAX MAKEAONIKON TIIOTAON

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I

ROMANOS MELODOS AND THE COMPOSITION OF HIS HYMNS:PROOIMION AND FINAL STROPHE*

Ever since the hymns of Romanos Melodos became known to 'Western

sr:holarship through the efforts and work of C-ardinal J.-B. Pitrar and KarlKrumbacher2, the kontakion has often been defined and its formal elements

described by such eminent scholars as Paul Maas3, C. A. Trypanisa, k. Mitsakiss, R.

J. Schork6, N. B. TomadakisT, and J. Grosdidier de Matonss. Although this formaldescription, as we find it in these studies, also includes the prooimion andlor finalslrophe, I believe that there are still some aspects in connection with these twoelements that require further investigation. I have in particular identified three

such aspects: (i) to establish the various (types)) of prooimion and final strophe;(ii) the various forms of addresseese used; (iii) and the formal way in which the

* I would like to express my gratitude towards the Institute for Research Development of theIISRC for their financial aid towards the completion of this study. The author is solely responsiblefor the trpinions expressed in this study.

I . J.-8. Pitra, Analecta Sacra Specilegio Solesmensi puata, l, Paris 1876; idem, SwtctusRomonus veterum melofurwn princeps, Rome 1888,

2. K. Krumbacher, Die Akrostichis in der griechischm Kirchenpoesie, Mi.inchen lg04,Heftiv, 551-692; Studim zu Romons, Sitzungsberichte der philos.-philol. und der histor. Klasse derkgl.-bayer. Akademie der Wisse.nschaften, Mfinchen 1898, II, Heft I, 69-269; idem, Romousund Kyriakos. Das Yerhiiltnis des Licdes olazarus, von Kyriakos nmt Liedc oludaso vonRomanos, ibid., Mtinchen t901, 693-763.

3. P. Maas, Das Kontakion, BZ 19 (1910) 285-306.4. In P. Maas and C. A. Trypanis, Sotcti Romoi Melodi Cantica Contica gmuina, Oxford

1963, xi-xxxi.5. K. Mitsakis, Bo(avtuil 'YpvoypaE{a, Vol. I, Athens 19862.6. R. J. Schork, The Sources of the Christological Hytns of Romons the Melodist,

l)rrlnrblished diss., Oxford 1957, Appendix III-N, 548-556.7. N. I|. Tomadakis, Bu(avrwil 'Ypvoypwpla rcal no{qog, Athens 1965.[i. J. (lrosdidir:r de Matons, Romanos le Mllode et les origines de la potsie religieuse d

l)yzanrc, l':rris 1977; Idcnr, Kontakion et (hnorr: l)i6ti: poprrlairc i llyzanr:e, Augtstinianum 20(,l1)ri0) 1{)1-20:r.

1) Srrlrork, itt lltr: lwo;rJrpcntlirrrs rr:lilr,rl lo itt rrolc (i, lrus llrr:;rly lour:lrrrl rrlxrrr <ly1x'rrrrrrlt,rtrlrltrssrtl. llow.vcr, nlllrorrglr lltcy rrrlrlrritt vrrlulrlrle ittIotttrlliort, lris strrrly rlrnrt,t'ns orrlv llrr:ll4 (llrrirlolrrdlrtl ltytrrrr", rrrr,l lrir rrrrrrlyrix is nrrrrrr.wlrrrt srrJx.rlililrl irr lrrrlrrrr., tlrrx lx'irrg rrol llrr'lrlrir' ,rl ltrr rlrrrlr lrrlirrrr

rclraitt is itttrodurrrrl by llrrr prrxrirrria antl firral slroplrcsl('. My arralysis r:ovr.r's ollythe 59'gerruine'hyrrrns of the Oxlbrd edition (Vol. l). Rel'crcrrce lo thc lryrnrrs

therefore lbllows the numbering of the Oxlbrd edition (= 0), but tlrr: /exl ol' tlrr.l-rench editionll has been used, except in the case ol 0.35,38-39,57-l-r{), wlrir.lr

have not yet been edited in Sources chr6tiennes.

THE PROOIMION

A.Type

In defining the aspect ((type) we are at the same time louking liu (i) tlrr.

various hymnic elements which may constitute a specific prooimion, arrd (ii) th,.

way in which they are used, i.e., either on their own or in various t:orrrbirurlions,

Some of these elements or components which are used in the prooinria arrrl linnlstrophes are well-known and common elements within the context ol'tlrr: lryrrrrr irs

genre from as early as the Homeric Hymns and the subsequent Gret:k, lilrrrrlrr iurrl

Semitic cultic (liturgical) and literary (paraliturgical) hymns. They arc: rl<,xol,r;gy

(laus), prayer (precatio), confession (xffirivvlrcj angl admonition (paracrrcsis), all

in combination with or without thematic allusion. Before I turn to llrr: slxrcilic(types)) occurring in the kontakia, a few remarks on each of thc alxrvr, lrslrrlcomponents will suffice.

1. Doxology in its broadest sense includes such aspects as praisc or 6;lolif icrr-

tion, adoration, thanksgiving and celebration. The prooimion to Konlakiorr 25

offers a good example of three of these elements in the order ol rrrkrrrrtiorr

(npooxuv6), praise (8o[ri(<,r), and celebration (Eoptri(<,rv).

2. The hymnic prayer occupies an important part in the kontakilr2, lrrrt ismore dominant in the final strophe than in the prooimia.

3. Confession is usually followed or preceded by a prayer for lirrgivcrrcss,:r*we find, e.g., in the second prooimion to kontakion 10:3-9.

4. As poet-priest Romanos often addresses his audienr:e (irrr:lrrding lrirnscll'l r)

t:xhorting them (or himself) to avoid sin, usually expressed by tlrc lrortltivr,

10. 'l'hc lbrmal way in which the rclrairr is itttrrxlurrrl tltrorrglrorrt l partir.ulnr lryrrrrr vrrrrr,r,

lrrrl vrrry olir:tt thr: lttiuurr:r itt whir:h thc littal slrr4rlrr: is rrrrrrlrrrltrl rrrirtr:irk.s witlr tlr,'wrry irr wlrir.lrllrt olltr:r' prrrrrling slrophr:s hnve lxr:rr rrrrrrlrrrkrl lry lht. relrrrirr.

11. l'ilitrrl hy .1. (irosdidicr rL' Mltons, Romunos k'Mthtdc. Il.ynncs I-l',!'nrit 11){i/r l{lttl,rrr llrc Srrrrrr.s (llrrl.lirrrlrr.s sr.rir:s.

,l2. 5r'r. r's1xr:irlly l. (lrosrlirlir,r rlr Mrtlrlts, KotrlrrLrorr cl (hrrrrr: Itii.li.1r,,Pulnrr,. rt llyzrrrrrt.,I9/lt

l,l. (ll rlsrr l.i (i '1i,1'1,irrg,'llrr l','"t l'rir.st irr llyr;rrrtirrrrr, lirn,k ()tthukrt'lharl. lil'ttr'y,14(l1x;1r) irl 4l

(i4 J. I I. llnrkhrtizctt

subjurrr:tive or irnperative nrode. [Kontakion 21 offers an example in which the

;xret addresses his own soul].5. As mentioned above, in many instances these four specific hymnic

ck:mcnts may combine with thematic allusions of some kind, or the prooimion can

cvr:n r:onsist of only thematic allusion(s). In this connection it should be stated

r:krarly that Grosdidier de Matons has rightly rejected the idea that the object or

lurrctiorr of the prooimion is to summarize the general argument or plot of the

lrynrn, as is sometimes believed. With reference to thematic allusion one should

tk.:firre it with caution, as, e.g., Grosdidier de Matons has: it has as object, he writesla

rrde mettre en relief un des thdmes religieux auxquels I'auteur a tenu i donner de

I'importance dans son hymner, whereas the statement of Schork in this connection

tlocs not really fit the evidence. He writesrs: athey usually do display a thematic

r:orrespondence to the body of the hymn by serving as summaries of or intro-dtrctions to the plot-action>. The prooimion to kontakion 4 may serve as illustra-

tion of this element. This prooimion is a good example of the fact that several

prooimia consist of only thematic allusions, the, other components being totallyabsent. We have in these lines an allusion to the theme or subject matter of the

hymn (the massacre of the innocents) as well as to some of the characters involved

in the narrative (the Magi, Herod, the children) and also a reference to time (when

the King was born) and place (Bethlehem). It does not, however, offer us a sum-

mary or introduction to the plot-action at all.

In lbrmulating the various types of prooimia one should always be aware of the

variety of compositional technique Romanos is displalng within a few fixed types,

i.e., although a few <fixed> types can be identified, they do not display a rigidity ofform. The fixed types which I have identified have been classified on the basis ofthe dominance of an element, while the presence of thematic allusion(s) must be

seen as general rule. The fixed types, four in number, are the following:

Type I: Ilpooiptov tfr€ npooEvlfi€

Croup 1: In 6 prooimia the element of prayer is dominant: kontakion 11,17(pro. I ), 18 (pro. I ), 50, 53, and 55 (pro. 4). Example: kontakion 17: prooimion 1:

tlrr: f irst line contains the invocatio, the second the direct prayer, and the third an

rrxtcrrsion of tlte invocatlo, lines 2-3 forming at the same time the refrain.

OrorrJr 2: Several prooimia are basically in the lbrm of a prayer but they

l /r. (lroslirlir.r rk: Mrrkrns, Romtmo:s le M(htth'tt les origines,ll20. Sr, nlso.l. ll. ltrrrklrrrizor,

ltrrrrrrrros lM,.l,r,l,r*: l')ssrry olr llrr'lrrctics ol lris korrlnkiort tlt'rttrrrtlirrtr ol (ilrrrslr (l\4rrrrs''l'rypatris

24]', BZ 71) (l{)r1{;) 2(;rt 'J(i{}.

I Ir Sr'lr,rr l. oy t'il , l'/tl{

irtt:lude ttllttsiotrs lo llrl srrlr;r'r'l nrirllr:r or lo r:haractcrs ilrvolvr:rl in llt: lrilrlir.:rlrtarrative. llowr:vcr, llrrs grorrp ilsr:ll rr:vcals some variely of t:rlrnposiliorr lo lx,noted:

2.1 The prayr:r irrr:lurles a reference to the particular thenrc ol' tlrc lrilrlir.nlnarrative: kontakion 4 (pro.2);7,8,10 (pro. 1), 12,31 (pro.')),:14,1r7 (prr,.2),49 (pro. 1), 55 (pro. l/3\, and 59 (pro. 1-2).

2.2 The prayer includes thematic allusions which are of a lilrrrgir:ll orsoteriological nature: kontakion 13, 44 (pro, 2), 47 (pro.3), and 49 (pro. 2).

Group 3 represents a large number of prooimia, in which tlrt: llrcrrurlir.allusions are presented in a more elaborate form than in group 2, Ihis grorrp ;rlso

reveals several variations.

3.1 Regarding the thematic allusion(s): most are in the second pr:rson styh.,while two are in the third person styler6. In the second person style: korrtlkiorr /r

(pro.3), 10 (pro.2),17 (pro.2), 18 (pro.3),30 (pro.3),40 (pro. 1/2),42,41;(pro. l/21, and 52. In the third person style: kontakion 9, 18 (pro. 2).

3.2 Regarding the prayer: in seven instances the prayer is uttered by rlrc 1xx.t,in five instances by a biblical character. In six instances the prayer is prr:r:r:rL.rl lryconfession. Of special importance in this category are those examples irr wlrir:lr tlr,.poet addresses his own soull?, e.g., kontakion 5l and 56. Prooimia in wlrir.lr rlrr.

prayer is uttered by the poet: kontakion 4 (pro. 3), 17 (pro. 2 ), 40 (pro. 1/')1, 42,46 (pro. 2), and 52.8y a biblical character: kontakion 9, 10 (pro. 2), {fl (pro1/2), and 46 (pro. 1). Prayer preceded by confession or penitence: konrakiorr lo(pro. 2), 18 (pro. 2/3), 47 (pro. 4/6),51.

Type II: Ilpoo{ptov tfiE 6o(d.oyiaE

Group 1: In 4 prooimia (kontakion 19, 25, 27 and 55 pro. 2) rlrr: lxrsi,.

t:fement is doxology which I have defined aslaus Dei or related religious objer:t, r..g.,

the cross, the resurrection etc., while 2 prooimia (36; 38 pro. I )consisl nrtlrr.r'ol rr

po:xapr.ap6c,,61xcilpr,ov, or Bnclvo6 directed to human beings. 58 pro. 2 <:orrtirirrs rrrr

cxlrortation to joyful praise.

Oroup 2 con-sists of 6 prooimia in which lhe thernatirr allrrsiorr(s) :rrc nr(,r(.

rlorrrirrlnl than lhose of grorrp l. Two [):rllerns rx:r:rrr wilhin t[ris grorrlr.

2.1 ln lltr: prooittria to korrtitkiorr 2i:l.vl 24 lltc llrrnralir: rr:lirrr:rr,:r.is loll,,w,rllry rLrxology.

l(i ( ll lrrr tlris ll Norrlcrr, Allrrtrtt.,.t lhrtr llttttt'rut'hungtr ztu l.lutttr'tt14rsrhttht.,rdrgiii:flRrzlr, Slrrtlglrl lll|{i, 14it l{ilr

l'l (:l (,rr,,rlr,lrrl ,1,'l\l,rlorlrr.Ilyntnt'r'. I. notr.?, 11; lll, nrtr. l:l'1.'1, irrrrl alr,ri

ll,,rrriurrrr l\t,'l,rrIrrr, I)rr lrlrr. l'r,-,ltp,r'l lllr,'1,,r unrl 'i.nr lt,rl,lrl^ rtr ] I('lll ,i4 ( Itll'{.i )

r lt It

6ti J ll. Jiurkhrrizcrr

2.2 ln kontakion 4 (pro. I ), 29 (pro. I ), 26 and 39 the thematic reference is

preceded by doxology. In 4 and 39 it is given as the reason for the doxology, in 26 itis given as the result of the doxology, while in 29 (pro. 1) it forms the continuationof the resurrection motive which is doxologized in the first part of the prooimion.

Group 3 consists of only one example (kontakion 23) in which the prayer

is preceded by a doxological reference to the adoration of the cross - cf. Type Igroup 4.

Type III: Ilpooiptov tfiE napareoect4

In the following prooimia either exhortation to a devoted life or admonitionagainst a sinful life style is the dominant motive. They are: kontakion 21,44 (pro.l/41,47 (pro. l/51, and 48.

l. In both prooimia I nd 4 of kontakion 44 the audience is exhorted toimitate the virtue of Joseph, which implies a life of temperance and chastity (sexual

purity), pro. 1 stating the purpose, and pro. 4 the reason for this exhortation.2. In both kontakion 47 (pro. 7\ and 2l the exhortation is followed by stating

the purpose, while the prooimion to 48 states the reason for the exhortation.3. In prooimion 5 of 47 the poet admonishes his own soul for spending his life

in sinful passions.

Type IV: Ilpooiptov tfrE tno06oeaE

In most prooimia of the preceding types thematic allusion(s) are present to agreater or lesser degree. The prooimia of type IV are basically thematic in nature,although a large group concludes with a doxological refrain. These prooimia are:

1. without doxological refrain: kontakion 3, 20 (pro. 7/2),22 (pro. 1-3),28,32 (pro. l-2),37,38 (pro.2), and 44 (pro.3),57 (pro. l-3),58 (pro. l).

2. with doxological refrain: kontakion 1, 5 (pro. l-2),6,74, 15 (here the

invocatio forms a doxology), 16 (pro. l-2),29 (pro. 2),30 (pro. l-21,31(pro. 1),33, 35, 41, 43 and 53.

B.Addressees

The second aspect regarding the form of the prooimion concerns the

addressees in the prooimion. In listing the various forms of address used in the

prooinria, I have differentiated between liturgit:al and t]rerratit: addrcssr:esrB. 'l'hese

firrms ol'addrcss ttr:r:ur itt all tylx:s ol r:lr:rrrr:nts listrxl and disr:ussrrl rrlx)vc, alld aro

ttllcrrrl by lrotlr Ptx:l attrl lrilrlir,ll clurr;tt'lr:rs-

l;l

l. ('lu.ss l: liturgunl

(a) (iotl

Irr nrgsl 9l'llr,, irrsllrrr.r:s llrc prx:l l,llrcsses (lhrist, but it is ttol alwlys lxrssilrlr'

I6 klow whethur it is tlrr: lirtlrr:r or llrc Sorr llrt: pot:t has in nrind. I lttvrt rtr','or',littFly

r:atr:gorized thesr: litk:s as olle suh<rlass, although nrany tilles, ol't:rtttrst:, nrrr wcll

rft:lined and clear cut as to which Divine Person they are referring lo. I lrrtvc lislcrl

the titles under their citation forms.

t. The following titles occur only once: A6yo6 (4 pro' 2);gdrc (5 1'r"' l);iarp6q (8); pr.6vo6 &v*pr,d,Ptr1oc, (8); iledp<ov (13 -cf.46 pro. 1-2); Euvctdq (1/r);

rra,rfp 6rroup,7vrcc, (17 pro. 1);9r,),6oroploq (17 pro. 1); 6 rrotpilv 6 xaltrq (18

pro. 1); xpr,ri16 Stxcr6tato6 (34); &ypdvroq (35); ri0civatoq (1*9 l,r.'.2),;rdvoqriVa06q (51),6 8otip r6v &ya06v (41) and p6voq oixripp<ov (55 pro' ll)'

2. The title trutp<,rtl6 occurs in both prooimia of kollakiorr 40, lrrrl

notru6treoq in both of kontakion 59.

3. Three titles occur three times: navtoS6vapoq (8, 15, and 2tt); &lroq (irr 'llthree prooimia to t8); and 6 oixtippr.<,rv (46 pro. 1-2; 47 pro' ll)'

4. Three titles occur four times each: Seon6rlq (30 pro. 3; 47 y',.11; 4l) t",'.1-2\; @e6c (28;34,47;55 pro' 4); and Xprorbq (5 pro. 2;15;47 pr..r' ll /r)'

5. Two titles occur eight times each: Iotip in 8; 13; 26; lio Pro' 2; 4l;4ll1rro. 1; 54;55 pro.2. Or,trctv0ptono6 in 4 pro. 2-3; 12;17 pro. l;20 prr'' 2; '10 1,ro'

,l; 4l and 47.

6. K6pro6 occurs sixteeu times: in 5 pro. l; l0 pro. 2;11;l'); l/r; lfl yr"' il;

ll{ pro. 1; 32 pro. 2; 36; 49 pro. l-2; 50; 52; 54. Ct. 55 pro' 2: Kripre ri'iv

b'uvcipe<,.rv; 59 pro. t.7. The title Xp1or6q 6 @eds (irr6u) occurs no less th,n 22 lirlr:s rrrrrl is

tlrrrrr:firrr: the title most favoured by Romanos in the prooimia: 4 Pro.,li 7; 10 prt,.

| '); 1il;16 pro. 1; 17 pro. 2; l8 Jrro. 2;20 pro.2;22 pro.2;23;'24;25; 21) 1'rt'' I ;

.10 1rro. l; 31 pro. 2;32 pro. 1; 40 pro. l-2;42;47 pro' 2; Ii{) prrt' 2'

fl. In six instances God/Christ is adrlressed by lnearts of llttr lx,rsottitl Protttttltt

,,r rrrlrr:ly lhr: ser:ontl pers()n o[ t]re verb witlroul alry lilk: lxrilrg trsc,l.'l'lrcy rrrrt: {i;

ll; 21) pro. 2; 30 pro. 3; 53; 55 prtt. I

(lr)'l'lrc cottgrr:grtliolt or atttlit:ttt:r:

lrr 2{i irrsl:rrrr:r:s llrr: pocl lrltlrr:sscs llrr: r:ottgrt:g;tliolt irr tttty ol lltc lollttwirrg

w/t vs:

(rt) Attpttylltlrrsly: irr lltlsl ittslttttcls. ll itr ;rll, llrtt lror:1, itt slrtlirtg llrt lltltttr"

.r rr.llrrirrg l9 ir llrr.nrrrlic r.lcrrrr.rrl rrl llrt ltytrrrr, tt,l,lr,'ssr'" lltc lottgrrglrli,ttr. ttllll,tttglr

Ir,' ,1,,,'" rrol rrrr.rrlirrrr llt,.trr.'l'lt,'v rrtr,llrr silr'trl lrrtl pri'stl;,1xr",',1 tt,l,lrt'srlt','rr,,l llt,'

Ir1,rrurr,, tr.rt 'l'lrr.g,, prooinrrn irr,.: .'l; 1), '.1() pro l; "l'.1

pr,, lz'.1; llfl Irr.' '.1; 4:1,4!.

|r,, .lI 1rH I tilt

:;t!nt

68 .1. tl. IJarkhuizen

(b) By the personal pronoun <we>: the pronoun is used either directly or as

verb-ending in 8 distinct cases (not counting those instances in which it is alreadydefined): 1; 16 pro. 2; 19;33;39; 44 pro. 4; 47 pro. 6; 48.

(c) By a specific title: In 44prooimion l and3,aswell asin47 prooimion I&Eetrgoi is used, and in 4 prooimion I we have Bpotoi.

(d) By a descriptive phrase: Such phrases are used in three prooimia: 27 ,44pro. I, and 55 pro. 3.

(1) ln 44 prooimion I the congregation is addressed as zrdvre6 ciSe),goi in line3, but this title is also preceded by a descriptive phrase (oi tb mtiSrov ...(4),<io<og.ev).

(ii) In 27 and 55 pro. 3 we have only a descriptive phrase.

(c) The poet

The poet addresses his own soul as follows: he uses merely QWi in 47prooimion 4, and 56; Qrfi t ou in 2l and 51; and rluXi &Oliain 47 prooimion 5.

We must keep in mind, of course, that the poet-priest is always speaking on behalfof the congregation, so that these instances include every believer.

(d) Angels

In the first prooimion to kontakion 4 the angelic choir is exhorted to marvel at

the wonder of the presentation of the child, together with <we mortals>. One mayargue that this is an example of indirect address, yet I believe that we must regard

the phrase Xopd6 riyye),rxd6 6xn),4ct6o0o of line I in the same light as Bpotol ...&vaxpd,(<opev of line 2.

2. Class II: thematic

The biblical figures addressed are the virgin Mary, the Three Youths, Elijah,John the Baptist, and the saints.

1. Mary: In the prooimion of 2 (Nativity Hymn No 2) the poet addresses

Mary first with the personal pronoun oou (line 2). From her Christ has been born,and the poet refers to the fact that the Magir angels and shepherds sing of thiswonderful birth. Secondly, in the refrain, Mary is addressed as i xeXapr,r<,1pr.6v4.

For this title cf. Luke 1.28: Xcipe, xelapr,t<opr,6vr1. In 37 (Nativity Hymn No 3)Mary is addressed as @eot6xe.

2. The Three Youths are addressed in 46 prooimion I by their traditional

epithet of rprcpdxd.pr,or,le, while in the second prooimion by the title tityror, rraiEeq.

3. The entire prooimion to kontakion 45 is directed at l)liiah, who is r:allcd

lrlx)n l() ittlrrrccrL' utt l,r'lrrtll,rl llt,' lx'ltr'vr'rs./r. lrr.ltl Prrxrirniorr I .lolrrr tlrr. lhPtisl is arllnrsstxl by his tratlitiorrll lilL'ol

I I p68popte.

5. In 57 tlur sairtls:rrtt itrltlrcsstxl as diyrol p.dptupeq (pro. 1), ci0),og6por (pro.

2), and d.yr,ol (pro. l]); in 58 pro. I as ri0).og6pol Kuplou reoootpdxovra trttrl

paxd,pr,or., in pro. 2 as &O}1tai o[ reooa,pdxovrot.

3. The refrain

The third and final aspect regarding the form of the prooimion is lhc nulnn.'r

in which the refrain is introduced. The original function of the proointiort wrs lrintroduce the refrain of the hymn. In this connection Grosdidier dc Mttlrttt:rlt'

rightly states: (Et mdme ce n'est pas un des moindres plaisirs que I'on prrttr,l rl lrr

Iecture de Romanos, de voir avec quelle habilet6 il amdne son refraitt...t.

The prooimia of the hymns investigated reveal 12 definite types, llrr: ttttntlx'r

of examples within each type varying from I to 23. I have listed the typt:s;t,',',,r,littg

to frequency of use beginning from the highest figure of frequency (2ll) tlrwrr t,r

the lowest (l).Type 121: the refrain is introduced in its entirety or partially as llrr: rlitcct

discourse of the following verbs: Boc{co (l2x), rpaulct(<o (8x), $pv€<,r (l x), xpri(r,,

(2x), 6ptotroy6<o (lx); rlri)'trerv (+ riiServ) (4x).

Type 2222 the refrain is introduced as accusative of direct object of l lrt r','r',lrrg

verb,

Type 323: the refrain is here introduced in the form sf $ + partir:ipk: phr';rsr'(r;

in apposition to preceding titles, nouns or personal pronoun.

Type 42a; in these prooimia the refrain is in its entirety or partially llrc rlircct

contents of the hymnic prayer or petition. In 6 instances (12,50,47 (pr,r. 4), lfl(pro.2/3),and54 this prayer is introduced by xpauyd(co (4x),pot'r (1x) nrrrl

xp&(a (1x) -cf. type l.Type 525: the refrain is introduced as noun vocative(s) itt al4xrsiliorr lr'

preceding titles.

20. Grosdidier de Matons, Romons lc Mtlode et les origines,l+6.

21. lrr: 5 pro. 1-2;12;14;,l6 pro. 1-2;l[i pro. 2-il;22 pro. 1;)4;25;il0 prrr. l/i];ll2 1'rrr

l-2;irt;36;37;4il;47 pro.4;/r8, 50;55 pro. I /,.

2'). ln:lt pro. 1;15;ll.l;.|t1 p'o.2;4!t;47 1rro.2,1,5 (i;5,l;52;Sltl,r(). l;F.'trilivr'lrrl4erlrtrI'r7 pro. l l|.

')!l- ln:7;17 pro l2;?1l2ft;211 J,r,', I 'J1ill 1n'.. I 2; 5li.

2/r. lrr; l()Jrrr' 12; l2;ll'l J,r,' l;/rO|r,' l'J,4);41iy-,' l');47 lrrr /,;lt0;lrlr;l'HJ,r,,'.!')It 1rr. rt ;'r,r 2 il;H; /r l;44 y,, ')

llrr' l,,rrrrfrrrrilvlvll ol lris llytrrrrt

slrt:ssr:rl llrll llrr, r'onr'lu:rrou lllcrr r'ovlls ottly it sct:liott tll'lltrl l'irral slro|lrr'.'l'lx'It:rm <rr:pilogttt'n wottl,l ;,r'tlr:t1ts lr it lx'llr:r rl:sr:riJrliolt.

2. A lirw lryrrrrr* rlr rrot lorrlrrir r litrrrgir:al epilogue, i.t:. llrc l'irutl slrt,plrc ol

the hymn is al llrc slrnr: tirrrc tlx: <:orrr:lusion ol'the lliblirnl ttarritliv,'.'l'ltrxrstrophes3l will h: r:ottsitlt:rtxl separatcly.

3. Although the sanre hynrnic elements are present in the I'inll slroplr', lltrvdo not necessarily form the same kind of types as those of tlte prooirtti,,rt.

4. It is important to note that the hymnic prayer is the most c()Ir!rl:url rtLrttu'ttl

of the final strophe, a fact which coincides not only with the liturgir:al ttalurc ol llrrkontakion, but with that of the ancient hymn in general (i.e. invocatio, nrgunr('nlunr

and precatio32). Due to this frequency of use of the prayer, I have givr:rt prcli'rcttr'r'

to the prayer in determining the basic types. In this connection, ltowevtlr, I cttttttol

agree with Grosdidier de Matons' remark (Dans tous les aulres ltytrrtt,'r, rl"

Romanos, la dernidre strophe est consacr6b, soit d la pridre, soit d unc cxltorlrrliott

de I'auteur i Ia pridre. LeS eXCeptions Sonl rarelrr33. This stalemetrl is ttol ittagreement with the facts: Out of a total of 59 hymns investigated .'if] r:onlttttt rr

prayer in the final strophe, which still leaves us with 21 which do ttol crtttlttirt lltrcomponent of prayer!

5. Thematic references also occur in the epilogue, but to a muttlt lcssr,r tlrgrrr'

as in the prooimion, which is understandable. When it does occur il ltits trtoslly n

kind of resum6 function and is subordinated to the other comp()Ir(lrlls'

The following five types can be identified with the number ol' or,r'ur'r'r'rt,','

indicated in brackets3a:

Type I: hayer including other elements (38)

Group I consists of 23 instances in which only prayer conslilulr:s llrr'f'irrrrl

strophe.Theyare:4.rrt'.7-10;5.rl.1'.7-10;6'r,1 '. 1-10; 7.xu".l-10; lt'14'. I

10; 10. r.r1' . 5-ll; 12. xa.' . l-5; 14. ry' . l-9; 15. rc,'-r'('; 1(;. rq'. I 10;

34. x8'. l-10; 38. r.q'. l-11; 39. xE'. 1-11; 41. x8'. 4-9; 47. ],u '. I l(1,

48. ,.r1' . l-12; 49. xB' . l-14; 50. xa' . l-ll; 52. tC' . l-10: !il. x't)' t't

10; 54. xe'. l-10; 55. I'; 56. r.e'. Note in this r:orttrtx:liott llritl (i) irr /r

instances the-epilogue covers only thc second part of the linal slropltr: (5, 1(), lrl

rrnd 5ii), while (ii) in t5 the prayt:r is conlaincd irr tlrr: tlrirrl uttrl srtottrl lrtsl

;11 . 'l'lrr:y lr'(': I ;2;1); 2(i;.11 ; .12; ,lti-

:12" (:1. .l M lL'r'rrrrr, ( lrilksc lryrnn('lr, I nmpu.r 7')

:l:1, ln " K,,rrlrtkrott r'l ( Jttttttt, llll ll;tlr,'* itt.' !ltill{..14 'l'lrc.*i. nuntl,,"l " rhi trrtl inrlrtrlr' 1111,:rt' r'lctt11'111s rit

:ilf{'r till l,i-nttt,. ll:ilrrl ttt llrrlt' ,ll

(11)71)) 1)7.

lvlir's lotutrl rrr llrr littitl slr(llrlrr ul lltr'

7l70 .1" tl. lfarklrrriz.err

Type 626: the refrain consists of (a) noun(s) or nominal phrase as subject ofthe sentence, as nominative of complement, or in apposition to a preceding noun,pronoun or proper noun.

Type 727: the refrain is introduced as the reason for a preceding statement orexhortation etc., introduced by 6tl, which is part of the refrain.

Type 828: here the refrain constitutes the noun vocative (with or without thedefinite article) of direct address. Compare this with type 5.

Type 92e: the refrain is in the form of the accusative of object in apposition to(a) preceding noun(s).

Type 1030: in three prooimia the refrain constitutes a prepositional phrase

forming the final part of the particular sentence.

Type 11: Kontakion 15 and 38 (pro. l) offer the following examples: therefrain is in the form of a participle phrase used adverbially, indicating in 15 eithertime (aafter having pitied>) or more probably cause (abecause You have pitied>),and in 38 pro. I the cause is indicated by the use of <i6.

Type 12: in 39 the refrain is the final part of a participle phrase, and is in the

form of a noun in the dative followed by a noun in the genitive.

THE EPILOGUE OR TINAL STROPHE

Except for the fact that the main difference between epilogue and prooimion isone of function, i.e., the epilogue is the liturgical conclusion of the hymn, theyhave formally much in common. This close resemblance between epilogue and

prooimion is reflected in their common hymnic nature, i.e., they are composed ofthe same elements and therefore reveal the same hymnic perspective of doxology,

prayer, exhortation or paraenesis, confession and thematic references. Accordinglythe description of the compositional form of the epilogue covers the same topics as

that used in the description of the prooimion.

A.Type

Before we describe the typical forms of the final strophe, a few introductoryremarks will be necessary:

1. I use the term <final stropher in this part of my study although it must be

26. In: 1;11; 13; 19;20 pro. l-2;27 .

27. Itt: iJ;44 Jrro. 7,il-|+.2t1. Irr: 2;il1+;49 [rr(). I - 2; 59 [)ro. 1-2.29. lrr: 6; 9.

:lO. lr': ')') Frr ?, (,'f l'r',r .l);2,1;.1{i

7') .1. ll. llrrrklrrriz.r'tt 7:t

strophes of the hymn; (iii) in 53 the final strophe lirst contains an exhortation to

prayer, while the prayer then follows in the second half; finally (iv) Grosdidier de

Matons3s has aptly classified the type of final prayer into (a) the <pridre nousr,(b) the <pridre je> and (c) the <pridre nous-JeD or (ge-nous)).

Group 2 consists of prayer in combination with doxology. They are: 3. LTt' . l-12; 27.x'.1-10; 28.Iy'.1-ll; 29.x8'. l-13; 51.x8'.1-19; 57.,.0'.1-9; 59. 18'. 1$. In these epilogues prayer is the dominant motive, while doxology,

and even confession of sins, occur imbedded within the prayer. In all but one the

poet addresses Christ Himself, both in doxology, confession and prayer. Inkontakion 3, however, the poet exhorts the congregation to glorify Christ and tojoin him in a prayer to the [.ord.

Group 3 contains prayer in combination with confession. They arc: 23.x8 '; 25. xB '; 30. r,r1 '; and 44. xB ' . In these 4 epilogues we have the followingpatterns:

(a) In three instances (23,25,and 44\ the poet begins with a confession and

ends with a prayer.

(b) In one instance (30) he opens with a one-line prayer, follows with six lines

of confession and concludes again with prayer.(c) In 30 and 44 the poet confesses his sins, while in 23 and 25 the

confession has a soteriological nature.(d) ln 44 the confession * prayer cover the second and third part of the final

strophe (lines 9-12 + 13-17) while the first part (lines l8) forms the conclusionof the narrative (Joseph's temptation).

Group 4 contains prayer in combination with exhortation/paraenesis. Theyarc: l7 . xy' and 18.

"y' .

(a) The combination (prayer * exhortation) occurs in these two epilogues inreverse order: In l7 the prayer covers the first part (lines l-3), and the

exhortation to keep God's commandments and avoid the way of Hades the second

part (lines 4-7), while the refrain is again in the form of a prayer (lines 8-9). In 18

the poet begins with an exhortation and concludes with a prayer directed at Christ.(b) While the exhortation in 17 is addressed to the congregation as a whole,

in 18 the poet specifically addresses the ve6trexror,.

Group 5 consists of one example (42. r,0'. 1-13) containing prayer preceded

hy a typological exegesis. The poet begins by exhorting the congregation, addressing

llrt:rrr as gil,or,, to understand all the things related in the hymn, because all the

tlrings in the Scriptures were written 6v nizrrar. He then explains the typological

rrrr:anirrg of .lar:ob, Esarr and Rebecca (lines 1-9). He exhorts them finallyto pray to

(lotl to sr:lrrl tlr,.rn tlrc er'rArrYl,rv lt,,ttt ltt'itvt,tt (,l0-{:}).(Jrglp (i 1ls1l r.orrsists ol orrl! orrr. r:xlrrrpk:: irr 518. rz1 '. tt-|4 wtr ltltvt' 1trlty,'r

preceded by lhtrrrrtlil tt'lt'tcitt't' (llrr: rrrartyrtlonr ol' lhc sailrts).

Type II: Doxology (6)

Occurrences: in 13. xy '; 15. rc'; 22. q'; 23' xy '; l)3' r't1'; ll7 ' ry' '

Note:(a) What the doxology is directed at is indicated in each instanr:e: tlrr: rtalivily

in 13 and 37;the passion of Christ in22;the new paradise in 23; and lltc lottl;ttrs

of the apostles during Pentecost in 33'

(b) In 37 the poet exhorts Mary to praise Christ for the miracle of lhe rrtlivitv

of christ. In the others the congregation is the subject of the doxology.

(c) In 23 the doxology is contained in the penultimate strophe, thtr ullirrrlk'

strophe being reserved for the prayer, while in 15 the doxology compriscs lltr'

fourth last strophe'

Type III: Confession (3)

Group l: In all three of the following epilogues (19,21, anrl 2/t) tlrr'

confession is of a soteriological nature, while each is concluded with a dox,tl,tgi,'ll

confession.

Group 2 consists of one example of confession preceded by a tylxrlrgir'rrl

exegesis (45. ),y'). The confession relates to the sanctification of tht: haplizrrl lry

the Holy Spirit, while the typology concerns the ascension of Elijah preligrrrirrg llrirl

of Christ, the g.etr<or4 he bestowed onto Elisha prefiguring the sendirrg ol' tlrr: llolv

sprrrt.

Type IV: Exhortation or paraenesis (4)

Occurrences: In 11, 15,40 and 46. Note that in kontakion /16 tlr,r rrpilogrr,'

.:svers only the second half of the strophe. The first four lines are still parl ol llrr'

rrarrative, followed by 2lines (5-6) servingasconclusion of the narrdlivc. Ortly rrl

tlrt: Seginning of line 7 the poet calls on the congregatiott nol lo grievc llrc Lorrl r'lr'.

'l'ypc V: Doxology and Exhortation (2)

'l'lris typc is rr:llrcsrltlr:rl lry otrly lw() o(:(:ltrr(lrrccs: kottlitki,rrr 20. xy'nrrrl4.1. p'.

'l'lrr. 1xrr.t l,,.girrs lry r.rrllirrg olr nr:ur lo 1rr:risr' :rnrl lryllrrr ( llrlrsl, Hlvlllti lls I'ralartlls

llrl l;rr.t llr;rl llr.lrrrs srrllr.rrrl lrrr,l,lrrl lor rtt;ttt, ltttrl llr;tl 1,,'irtg tr'"ttlrcclcrl llc wrll

rrr,tk,.rrrirrr rrr.w.'l'lri.por.l llrrrt rrlrutln llrr l,r'lilvcr ll ptt'lr;llt'lri" lr,'irtl lor Iilrrisl soI9r{ I1){)

74 .1. ll. llrrklrrriz,r'rr

that llc rrrty nrakrr il a lrorven to rlwell in his heart as King. He concludes by stating

that (lhrist will t:ome soorr artd fill man with joy.

B.Addressees

'l'he second aspect of the compositional form of the epilogue is the persons

addressed. Here, just as in the case of the prooimion, I have differentiated between

liturgical (Cod, the congregation and the poet) and thematic addressees (biblical

<:haracters).

l. Class I: Iiturgical

(a) God or Christ36

One important feature of the epilogue is the great variety of titles used forChrist, in fact, twice as many as in the prooimion. A second feature is the fact thatwhereas in the prooimion the title most favoured by Romanos is Xplocd6 6 0e66, inthe epilogue it is the title Xcotdp. A third feature is that many of these titles appear

in an expanded form, e.g. the title Saviour: Saviour of the world, Saviour of all etc.

I have taken all such expanded forms as varieties of one basic title. Again I will listthe titles in the order of frequency, from the lowest up to the highest number.

1. 17 titles occur only once each. They are: xriorrlc, (39); (<oil xai &vcix),r2orq

(41; nnyn (4); p6e (5); ictp6s (6); 'Ttl.,r.otoe (30); g.6voq Suvat6s (2); A6yoq(49); 8r1pr,oupV6e (49); gr.Ioutipl.rcov (29); &vap1o6, followed by 16lo6 6 g,l dlov(25); norarilc, (251; xglt\q Srrar6rato6 (34); 0r!zoto6 8eor6o16 (48); rc&vrovxpr,ti1c, (48); zrdvoogoq 8uvd,oc46 (54); {},ro6 &Euro6, &oBeotoc,, &x*rd}'qncoq(57 ).

2. 5 titles occur twice each. They are: 3l,eripr,<ov (29,51); dvelt*axoq(4,34);),urp<,rrriq $,27); 'IrlooUq (10, 39); zro),u6treoq (27, 591.

3. 5 titles occur three times each: glldvOpcozroq (25, 39, 5l); narilp U,4,29,41); 8eon6cr1c, (14,28,55); ncvroS6vap.oc, (44,55, 56); Bcortredq (39,49, 58).

4. The title civapr,ctprlroq occurs four times: in 7, 8, 13,52; and so does

K'ipro6: in 4, 14,50, 59 (with eUozc),oryyyo6).

5. 2 titles occur six times each: &yroq (3x in 17, followed by rpr.oriyr,o6; 18;

29) and 0e6q (3, 17 , 19,22,25 -followed in this instanceby $1c, dl40eicrq; 52).

6. I'he title Xpror6g occurs 9 times: in 3, 13, 18,23,27,39,44,56 (p6ve

Xpror6), 58.

7 . I'i6c. (irr variorrs r:ornhinations) also <xrr:urs 9 times: in 8, 12, 16, 19,23,/r{), frO, 52, lt4.

"J ,

ll. 'l'lrc titL')r,lrrlp 'rr its owrr or irr r:xPlrrrltxl Iirrrn.x,r'rrrs 2/r lilrres irr llrr.cJrilogu<r: irr (i,7, tt, 1:l (2x), l(;, 10,21,2:1,24,25,28,29,110,1jt2r,1t9, /r7 (llx),48,51, 52,54, 58.

(b) The congregalion or arrdience

1. The congregation is addressed by 8 specific titles: 9[],or, (42);oi div0pr,rnor

:r'dweq (43); &Eelgot (3,17,33,46); '5zrqp6rorr.

Xpr,oroU ({ 1); oi ve6trexror (18); tr

yeyev$,q i20;; ,iu0prne (20); and dpr.crpt<,rloi (23).2. In two instances (15 and 40) the poet employs the <we> for.nr, lrrl irr l-rll

the newly baptized are addressed in the <you> form.3. Finally descriptive phrases are found in 45: r&vreq... oi rd pd.zrrr,opa

Eyovteq;11: o[ grtroUvteq d,ei / r'o,pultivew rci {,,d},}.er,v ei6 86[av uiroi) / rinog.rre0oaweq vUv tdv 8ldBolov...; and 23

-penultimate strophe: rind otcupoiioxerc uo0 iw eq oxrpt6pr,ev...

(c) The poet

The poet addresses himself only once with a specific title in the ftrrrrr ol'rrcombination: Ti 8i rrpri[o 6 tcr],airr<opoq xa.i xardxprcoc, ty6... (441.

2. Class II: thematic

Only two biblical characters are addressed in the epilogue: Mary irr ll7 (r.'r

Moplrip), and John the Baptist in 38 by means of several titles in sur:trrssiorr: rrilroD ... iep6<oq, r6xvov tfic, o'ce|puc, xai npogritr,Soc,, / 0ptpgta 6pdpou, 'l<,rcivvr1.

C.The ref rain

The third aspect of the compositional form of the epilogue is tlrt: rrrlrrrrr.r irr

which the refrain is introduced, in this case, of course, for the final tinxr. I lrrrv,.

encountered 15 patterns, most of which correspond to those ocr:urrirrg irr tlrcprooimia. Again I list these patterns according to their frequency of rrsr,,

1. Since the hymnic prayer is the most constant element of tht: clrilogrrr', it i*ortly natural to expect that the refrain will mostly comprise a prayer. 'l'his is irrrlr:trlllte case, and almost 25% of the liturgical epilogues have their n:frairr irr tlrr. lirrrrr ol'

il J)rlyor. In 8 instanr:es the prayer is introdtrr:erl by various vr:rlrs rtlrctrly

r:rr<:<rrrrrteretl in the prooinria: Bodrvreq (8, 17,40), $rrip<'t1tev (l)); poioorv (/rlt);

xpauyd(orpev (/+21, xpuvra(ovrac (18), arul tr6yetv ({(i). ln onr: cPikrgrrt'llrr'

rclrrirr is llrc tlirrr:l r:oltlcttls of'llrr' prrtyt:r: itr6lorrv Kripce (50)r'/.

:17 lrr,',)nn(.r'liorr witlr rr.lr;rrrrwlil.'ri rrl;t tf'rlitlll'tt rlr' lrr l' t.\tr'

nnrl lrl,lyrt, (,rosrlirltr.r rlc Mlrlolts (K,,rrlithlrlt ..1 (;rtrr)n. lllll)lirrrrlr' r'=rl r'\itrltrtrnrnl v{ln('"r' rliutq li. koltlirkiotr r};l(; (:t

J. ll. lfrrrkhrriz.t:rr

2. rn 7 epilogues the refrain is introduced by those verbs listed in type Iabove, but the refrain constitutes in these instances no prayer, but a doxologicalstatement or confession: 43 (verb: rpri(ovreq); 14 (verb: tr6ycov);16and,55 (verb:Bo&v); 19 (verb: xpd(ezv);24 (verb: {8ouoc); 30 (verb: Bo6).

3. The refrain as accusative of direct object of a preceding verb is anotherfrequent pattern: 15, 27, 33, 47, 51, 52, 54.

4. The refrain as vocative noun occurs in four epilogues: 4, g, 84, 49.5. A pattern which resembles type 4 is that of 6 + participle phrase used as

vocative: 21, 28,29, 56.6' The refrain as noun subject of the sentence occurs four times: ll, l},2s,

45. I1'. 8.7 . The refrain in the form of a prepositional phrase as concluding part of the

preceding sentence occurs in 23,26, and 38.8. The following four patterns occur twice each: (a) The refrain is a vocative

noun in apposition to a preceding title: 5 and 41. (b) In a similar way the refrain isin the form ef s + participle phrase as vocative in apposition to a preceding pronoun(in 6) or title (in 7). (c) The refrain in the form of a lva phrase occurs in 12 and20.An interesting feature of the epilogue of 72 is the fact that the refrain has a differentform as in the prooimion and other strophes. The usual form of the refrain is)6tep o6o6v pr,e. In the epilogue it becomes tvo- o6apq FE. (d) In 32 and 53 therefrain constitues an independent statement or doxology.

9. Finally there are 5 different patterns occurring only once each: (a) Therefrain contains the reason of a preceding statement, introduced by 6rl: 44. (b) rnl0 it is in the form of a noun phrase in the genitive after a preceding verb in theimperative form. (c) rn 22 the refrain is in the form of an adverbial phrase. (d) In39 the refrain constitutes a noun in the dative followed by a noun in the genitive asfinal part of the preceding imperative sentence. (e) In bz it is a genitive of objectafter cuyld,v<o.

D. The para-litur gical epilogue

In seven instances we have what we may define as a paraliturgical epilogue,i.e. the particular epilogue forms at the same time the conclusion of the biblicalnarrattve.

1. The final strophe of kontakion I contains prayer and thematic referenceuttered by Mary to her child, Christ. She addresses Him by various titles: o<,lrrip,u[6 pou, 68r1y6 pou, trorqrd. prou, zrtrourrord, pou incruding two titles of r[rt.: refrain:narliov v6ov lrtrl 6 npd aitlrvt,rv 0e6g.'l'he refrain is <:onnc<:lrxl with tlre strsphe inllrr: lirl'ltt ol lwo vot:;tlivr: pltrlrsr:s irr aplrosiliorr lo vlriorrs prcrrr:rlirrg lilL.s irr llrr:vocrrlivr' cnsr,. lislcrl ;tlrovr..

76

'l'J

2. 'l'lrr: lirrrrl slroplr,, ol korrtrrkrorr 2 r'orrsisls of lxrlh llrenrutir: rclirrcrrlr. rrrrrl

exhortalion. lrr tlrc lirst lrlll ( llrrist rr.Llrr.sscs Mary twice as plre p pou, wlrilt irr llrr.second half wt: I'irrtl Mlry's cxlrollaliorr lo Adam arrd Eve.'lhc rel'rairr is lirrkr.rl t,r

the strophe as lhe r:ontr:rrls ol' lhe partir:iple phrase t6v Bocivr<irv por.

3. The epil<lgue of kontakion 9 contains a biblical quotation relatcrl lo (irxl'n

promises. The refrain is the acc. of object of the preceding verh n4yu\trr\cy1.

4. In kontakion 26 we have a credo of faith spoken by Adanr arillrcssing

Hades by means of the personal pronoun, the title or name "A181 beirrg rrsrxl irr tlrr.

refrain. The refrain itself again forms the content of the participle fornr porirvrr,rv.

5. The final strophe of kontakion 31 contains first Christ's exhortatiorr to hirapostles to save men and baptize them. This is followed by the apostkrs' r:r'r.rkr ol

faith and their prayer to Christ, addressing Him by means of the person:rl pronounXrj. The refrain is the vocative case in apposition to a noun of thc prcr:r.rlirrg

sentence, forming part of the prayer.

6. The epilogue of kontakion 32 contains the disciples'prayer lo (llrlist,

addressing Him as 'Ava,pr.ci,pt4te, while the refrain forms the conlcrrl ol tlrr.

participle e in<irv.

7. Finally, in the epilogue of kontakionthe refrain being the content of the verbal

University of Pretoria

36 Jot"ph addresses Mary ns 7tnp06vc,

phrase ),4).{ool oor.

J. H. BARKI It IIZI.:N